Tag: Stereogum

New Video: Up-and-Coming British Singer-Songwriter Yola Celebrates the Hard-Working Little Person with Big Dreams

Over the past few months, I’ve written a bit about the up-and-coming London-based singer/songwriter Yola, and as you may recall she’s led a rather remarkable life — the sort that should eventually be made into an inspiring biopic: She grew up extremely poor and as a child was actually banned from making music. As an adult, she has overcome homelessness, being an abusive relationship, stress-induced voice loss and literally being engulfed in flames in a house fire, and all of those things inspired her Dan Auerbach-proudced full-length debut Walk Through Fire, slated for a February 22, 2019 release through Easy Eye Sound. 

So far, the up-and-coming British singer/songwriter has received praise from a number of major media outlets both nationally and internationally including NPR, Rolling Stone, Wall Street Journal, The Tennessean, Refinery 29, Billboard, American Songwriter, BrooklynVegan, Nashville Scene, Paste and Stereogum. But perhaps much more interesting for you reader, listener and viewer, Yola has had a lengthy career as a backing vocalist, songwriter and guest vocalist on a number of pop hits — and she has opened for James Brown and briefly was a member of the renowned trip hop act Massive Attack before traveling to Nashville to work with Auerbach and a backing band that features musicians, who have worked with Elvis and Aretha Franklin.  

Walk Through Fire’s first single “Ride Out in the Country” was a Muscle Shoals-like take on honky tonk country that to my ears recalled Sandra Rhodes’ under-appreciated Where’s Your Love Been. Centered around twangy guitar chords, lap steel guitar, some Rhodes electric organ, a soaring hook and Yola’s easy-going and soulful vocals, the song is an achingly sad breakup song, written from the perspective of someone reeling from a devastating breakup, complete with the recognition that your former lover has moved on and that maybe you should be doing so too — even if it’s profoundly difficult for you. “Faraway Look,Faraway Look,” the album’s second single was a slow-burning and swooning, Phil Spector Wall of Sound, meets classic Motown Records track that was centered around a soulful, old school arrangement and a soaring hook while being roomy enough for Yola’s incredible vocal range to shine in a well-written and well-crafted song. 

Walk Through Fire’s third and latest single “Love All Night (Work All Day)” is a slick and soulful amalgamation of Motown and Muscle Shoals soul, with a dash of Nashville country and 70s AM rock  and it’s a perfect vehicle for Yola’s warm and effortlessly soulful vocals. Much like the preceding singles, “Love All Night (Work All Day)” comes from hard-fought and hard-earned experience, which gives the material a wisdom and honesty that can be so rare in contemporary pop songs. In this case, the song’s narrator details a  life of working multiple jobs to scrape by, having big dreams and at some point taking an enormous risk to achieve them. And what makes the song remarkable, beyond its well-crafted and well-written nature, is the fact that the song is a celebration of the little person, who’s out there busting their ass to get by, trying to maintain their dignity and sanity in the rat race. Keep on dreaming and keep on hustling. 

Directed by Dan Teef, the recently released video for “Love All Night (Work All Day)” was shot in a South London bar and is centered around a beautiful young, working couple with big dreams. “My new video for ‘Love All Night (Work All Day)’ was shot in a stunning pub in Peckham, South London,” Yola says of the video for her latest single. “I’ve lived all over London (including on the streets in East London at one time) but before that I lived in a shared house in South London and I think the area will always feel like my London home. The song celebrates a way of life. It’s a life I used to live, growing up in Bristol and working multiple jobs to get by as I started out in music. I love listening to music from people who’ve not just been on a conveyor belt to the big time and I think it is important to hear more music from the working class again.  People who, at some point, had no choice but to work all day long and maybe take a risk in pursuit of what they love.”

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New Video: Up-and-Coming British Singer Songwriter Yola Releases a Swooning Wall of Sound-Inspired New Single

Late last year, I wrote about Yola an up-and-coming London-born and-based singer/songwriter, who has led a rather remarkable life; the sort of life that should be made into an inspiring biopic: Yola grew up extremely poor, and as a child she was actually banned from making music. She has also overcome being in an abusive relationship, stress-induced voice loss and literally being engulfed in flames in a house fire, which inspired her Dan Auerbach-proudced full-length debut Walk Through Fire,  slated for a February 22, 2019 release through Easy Eye Sound. 

The up-and-coming British singer/songwriter has received praise from a number of media outlets both nationally and internationally, including NPR, Rolling Stone, Wall Street Journal, The Tennessean, Refinery 29, Billboard, American Songwriter, BrooklynVegan, Nashville Scene, Paste and Stereogum. But perhaps much more interesting she has opened for James Brown and joined renowned trip hop act Massive Attack before traveling to Nashville to work with Auerbach and a backing band that features musicians, who have worked with Elvis and Aretha Franklin.  

Now, as you may recall, album single “Ride Out in the Country” was a Muscle Shoals-like take on honky tonk country that to my ears recalled Sandra Rhodes’ under-appreciated Where’s Your Love Been. Centered around twangy guitar chords, lap steel guitar, some Rhodes electric organ, a soaring hook and Yola’s easy-going and soulful vocals, the song is an achingly sad breakup song, written from the perspective of someone reeling from a devastating breakup, complete with the recognition that your former lover has moved on and that maybe you should be doing so too — even if it’s profoundly difficult for you. Walk Through Fire’s latest single is the slow-burning, swooning, Phil Spector Wall of Sound, meets classic Motown Records-like “Faraway Look.” Centered around an old-school arrangement and a soaring hook, the song is roomy enough for Yola’s incredible vocal range to shine. 

Certainly, what the first two singles reveal is that the British singer/songwriter is a rare vocalist, a vocalist, who can wail the blues and belt like a true pop balladeer — sometimes within the same song. And in this case, “Faraway Look” is about that precise yet profound and deeply awkward moment when it’s so obvious that you’ve fallen in love with someone that everyone else notices, including your object of affection. And in that peculiar moment, it’s now or never. 

Directed, by Tim Duggan, the recently released video follows several very lonely people. who seem to be longing for much more in their lives — and yet, they’re not quite sure how to go about it; but part of their longing is stirred by watching Yola perform the song on a variety of devices. Interestingly, the video is shot with grainy Super 8 Film, which gives the video an appropriate old-timey feel. 

New Video: Introducing the Soulful Honky Tonk of London’s Yola

Yola is an up-and-coming London-born and-based singer/songwriter, who has led a rather remarkable life. She grew up extremely poor, and as a child was actually banned from making music. The up-and-coming British singer/songwriter has also overcome being in an abusive relationship, stress induced voice love and literally being engulfed in flames in a house fire, which inspired her Dan Auerbach-proudced full-length debut Walk Through Fire, which is slated for a February 22, 2019 release through Easy Eye Sound. 

Since then, Yola opened for the James Brown and joined renowned trip hop act Massive Attack before traveling to Nashville to work with Auerbach and a backing band that features musicians, who have worked with Elvis and Aretha Franklin.  Adding to a growing national and international profile, the up-and-coming British artist has received praise from NPR, Rolling Stone, Wall Street Journal, The Tennessean, Refinery 29, Billboard, American Songwriter, BrooklynVegan, Nashville Scene, Paste and Stereogum. Additionally, she will be appearing on BBC’s Later . . . with Jools Holland New Year’s Eve edition, where she’ll be performing alongside Michael Buble, Jess Glynne and the legendary Nile Rodgers

Walk Through the Fire‘s latest single, “Ride Out in the Country” is a Muscle Shoals-like take on honky tonk country that recalls Sandra Rhodes’ under-appreciated Where’s Your Love Been as its centered around twangy guitar chords, lap steel guitar, some Rhodes electric organ, a soaring hook and Yola’s easy-going soulful vocals. However, at its core the song is an achingly sad breakup song, written from the prospective of someone reeling from a devastating breakup, complete with the recognition that your former partner has moved on and maybe you should too, even if it’s profoundly difficult. Of course, the song’s narrator feels she has only one option — to get into the car and drive, and experience some of life’s small pleasures: having the wind in your air, of being out in open space with your thoughts, memories and regrets. 

Directed by Reid Long and Kip Kubin, the recently released video stars Yola driving through the country in an old Ford truck — but to eventually bury the bodies of two people in a shallow grave. On one level, the video’s main character is essentially burying a part of her past in an attempt to quickly move on. 

Deriving their name from the Icelandic explorer, believed to be the first Westerner to reach the shores of the Americas, the London-based indie rock quintet Leif Erikson, comprised of Sam Johnston, Oliver Wright, Tom Leader, Greg Austin and Giles Robinson, can trace their origins to the breakup and reunion (of sorts) of the band’s previous iteration, Flashguns. The band’s self-titled debut effort was released last year to critical praise from the likes of StereogumClash Magazine and The Line of Best Fit.

The British quintet’s latest single, the shimmering and atmospheric “Matter” is the first bit of new material since their self-titled effort, and is a bit of a taste of what to expect from a forthcoming EP slated for release early next year. Interestingly, the track is a bold step forward for the band as it finds them gently pushing their sound in a new direction, with the song nodding towards 70s AM radio rock while retaining a cinematic quality; thanks in part to an arrangement featuring dramatic piano arrangement, shimmering guitar lines, shuffling drumming and Johnston’s soulful crooning. But underneath the easy-going self-assuredness of the song, Johnston’s narrator find himself asking much larger questions about life and time, which he recognizes he won’t have easy answers for.

As the band’s Sam Johnston explains in press notes, the song was the band’s attempt “to capture something esoteric about life’s purpose, about making the right choices and following the path that is right for you. What it is to be human and be given this existence that is such a bizarre miracle, but can also be full of pain and struggles. Are there any clues within the infinite universe, a tiny blip of which we occupy or is everything simply the product of chaos? We were very inspired by Curtis Mayfield‘s album ‘Roots’ when thinking about ‘Matter’. He so effortlessly makes these incredible statements about life and society over these stunning, super funky musical arrangements.”

 

 

Comprised of Joe Parella, Jon Rodney, Joe Cowell and Chris Donofrio, the Asbury Park, NJ-based indie rock band Deal Casino formed back in 2013, and as you may recall, the band released a series of EPs before releasing their full-length debut last year to praise from the likes of Stereogum, New Noise and others. Building upon a growing profile, the Asbury Park-based quartet’s sophomore album LLC is slated for release this month, and from album single “Happy People,” the band has expanded upon the sound that has won them attention as the single was centered around jangling guitar chords, a chugging and propulsive rhythm section and wobbling and droning synths. And while infused with a Wes Anderson soundtrack-like quirkiness, the song is bitterly ironic, as its narrator openly questions how people can be happy with themselves and the world around them when so much is dreadfully wrong — and although these happy people may seem superficially content, the song’s narrator points out that he’d rather not put on the happy mask that erases reality; even if it’s absurd and painful.

LLC‘s latest single is the breezy yet bittersweet “Baby Teeth,” which the band explains in press notes is about growing up and coming to terms with your own life. They add that the song “. . . touches upon wanting to takes control and then realizing that in order to progress, grow, and be happy in life you have to be able to rely on other people. ” Interestingly, the song sonically finds the band carefully walking a tightrope between a clean studio sheen and an old-timey lo-fi, as the band recorded the song with some unusual accents like mic’ed up trash bags, bells and vintage modular synths paired with a traditional rock instrumentation — and the end result is a song that manages to be imbued with both a sense of gratefulness over having people that give a damn about you and your well-being.

 

 

New Video: Deal Casino’s Quirky and Playful Visuals for the Bitterly Ironic “Happy People”

Comprised of Joe Parella, Jon Rodney, Joe Cowell and Chris Donofrio, the Asbury Park, NJ-based indie rock band Deal Casino formed back in 2013. The band cites Pink Floyd, Nick Drake, The Band and Led Zeppelin as some of their influences but more importantly, since their release the band has released a series of EPs before releasing their self-titled, full-length debut last year to praise from Stereogum, New Noise and others. LLC, the Asbury Park-based quartet’s sophomore album is slated for release later this month and its latest single “Happy People” is centered around jangling guitar chords, a chugging and propulsive rhythm section and wobbling and droning synths.  Infused with a Wes Anderson soundtrack quirkiness, the song is actually bitterly ironic, as its narrator openly questions how people can be happy with themselves and the world around them when so much is dreadfully wrong — and although these happy people may seem superficially content, the song’s narrator points out that he’d rather not put on the happy mask that erases reality; even if it’s absurd and painful.

Directed by Anthony Yerba, the recently released video is centered by an ironic juxtaposition. Shot with a fish eye lens,  the members of the band goofing off and being playful during rehearsals and practices. Initially bearing fake smiles, the smiles frequently become real smiles or wild bursts of laughter as the camera zooms up for extreme close-ups, capturing the band within their own natural habit — all while pointing out the irony within the song. 

New Video: JOVM Mainstays WINDHAND Release a Roger Corman-Influenced Video for Pummeling Dirge “Red Cloud”

Throughout the past few years of the site’s eight-plus year history, I’ve written quite a bit about the  Richmond, Virginia-based doom metal band WINDHAND, and as you may recall, the band which is currently comprised of Dorthia Cottrell (vocals), Garrett Morris (guitar), Parker Chandler (bass) and Ryan Wolfe (drums) can trace their origins back to 2009. Within a year of their formation, they released a two-track self-recorded CD that quickly garnered comparisons to Electric Wizard, The Devil’s Blood and Black Sabbath. Building upon a growing profile, their 2012 self-titled debut became an underground hit and sold out multiple vinyl pressings within a few months. 

Released in 2013 through Relapse Records, the Northern Virginia-based band’s critically applauded sophomore album Soma received praise from Stereogum, Spin, LA Weekly, Revolver, Invisible Oranges, MetalSucks, Metal Injection, Rolling Stone and NPR — with Pitchfork naming the album as one of the third best metal releases of the year. Adding to a breakthrough year, the band spend the bulk of 2013 and 2014 touring North American, the European Union and Australia supporting Soma with Sleep, High on Fire, Dead Meadow and Kvelertak — and they made stops on the international festival circuit with sets at Roadburn, SXSW, Scion Rock Fest, Day of the Shred and Maryland Deathfest. 
2015’s Jack Endino-produced, third full-length album, Grief’s Infernal Flower managed to further cement their reputation for crafting sludgy, murky, punishing power chord-based dirges. Released earlier this month, WINDHAND’s fourth, full-length album Eternal Return finds the band continuing their collaboration with renowned producer Jack Endino — and the album thematically is centered around observations and reflections on life’s ups and downs, joys and sorrows, beginnings and ends. Between Grief’s Infernal Flower and their recently released album, the members of the band welcomed the births of children, experienced a number of lineup changes and mourned an unexpected and tragic death. And unsurprisingly, as a result, the album’s material and the sequential order of its song are the direct result of those experiences — while sonically, the band crafts material that balances heavy and brooding dirges with psychedelic and meditative passages.  Album single “Grey Gardens” was part of an early batch of album singles that were among the heaviest batches of material they recorded — and while being a thunderous and slow-burning dirge, the single finds the band’s sound and approach subtly moving towards Screaming Life/Foppand Badmotorfinger-era Soundgarden, complete with a lysergic bridge. “Red Cloud,” Eternal Return’s latest single continues in a similar vein as its predecessor as it’s a heavy and psychedelic dirge, centered by some explosive guitar work, rumbling low end, thundering drumming, Dorthia Cottrell’s smoky vocals and an anthemic hook; but unlike it’s predecessor there’s a sense of foreboding doom at its core. 

Directed and animated by Zev Deans, the recently released video  features a seamless blend of live-action and animated scenery, as it follows a washed-up and hopelessly incompetent warlock and imbecilic and hunch-backed henchman as they try to kidnap The Scarlet Woman. Visually, the video is reportedly a homage to the horror films of the early 1960s, specifically Roger Corman’s Edgar Allan Poe series — and naturally, it’s perfect for the Halloween season. 

New Video: JOVM Mainstay Eliza Shaddad Releases 90s Rom-Com Inspired Visuals for “Just Goes To Show”

With the release of her first two EPs Run and Waters, the London-based singer/songwriter and guitarist Eliza Shaddad quickly rose to international prominence, receiving praise from a number of major media outlets including The Fader, Nylon, Stereogum, The Line of Best Fit, The Independent, Clash, The 405, as well as airplay from BBC Radio 1, BBC Radio 1Xtra, Beats 1 Radio and countless others for a sound that some have compared to the likes of PJ Harvey, Cat Power and others.

Over the past few years, I’ve written quite a bit about the acclaimed British singer/songwriter, and as you may recall, Shaddad’s highly-anticipated full-length debut Future is slated for an October 26, 2018 release through Beatnik Creative. Earlier this year, I wrote about Future‘s second single “My Body,” a moody track featuring shoegazer-like atmospherics and a dark, seductive, trip hop-inspired groove that evoked a plaintive and uncertain need. “This Is My Cue” the album’s third single continued in a similar vein as its predecessor — moody atmospherics but centered around a candid and ironically rousing breakup song.

Future‘s fourth and latest single “Just Goes to Show” continues a run of atmospheric tracks with a deceptively anthemic nature but much like its immediate predecessor, the track is deeply confessional and unabashedly honest description of the desperate, uneasy feelings of a breakup –but from the perspective of the person being left behind to deal with the aftermath. And while some have compared the song to The Cranberries,Wolf Alice and Marika Hackman, the song isn’t completely dire as it (subtly) suggests that life and one’s heart does go on after a while.

Directed by Patrick Taylor, the recently released video was shot in one of Shaddad’s favorite venues in London, specifically decorated to fit, along with some willing friends and family as extras “(My little (big) bro is in it, and my cousins, in fact it’s a repeat performance from one:) The costume and hair and make up teams worked total miracles on all of us and then we channeled our inner teenagers and the result is something completely and bananasly different for me.” Of course, the video features Shaddad at a painfully awkward and terrible 90s-like prom, complete with its attendees doing sad two-steps, while the video’s protagonist sit off to the side singing the song before being asked to dance — while capturing the innermost thoughts, desires and frustrations of teenagers. Interestingly, as Shaddad says, the “song has always felt like the kind of thing that would be playing in one of those terrible but incredible 90s movies prom scenes and so I was dying to make a video played on that.” 

With the release of her first two EPs Run and Waters, the London-based singer/songwriter and guitarist Eliza Shaddad quickly rose to international prominence, receiving praise from a number of major media outlets including The FaderNylonStereogumThe Line of Best FitThe IndependentClashThe 405, as well as airplay from BBC Radio 1, BBC Radio 1XtraBeats 1 Radio and countless others for a sound that some have compared to the likes of PJ Harvey, Cat Power and others.

Over the past few years, I’ve written quite a bit about the acclaimed British singer/songwriter, and as you may recall, Shaddad’s highly-anticipated full-length debut Future is slated for an October 26, 2018 release through Beatnik Creative. Earlier this year, I wrote about Future‘s second single “My Body,” a moody track featuring shoegazer-like atmospherics and a dark, seductive, trip hop-inspired groove that evoked a plaintive and uncertain need. “This Is My Cue” the album’s third single continued in a similar vein as its predecessor — moody atmospherics but centered around a candid and ironically rousing breakup song.

Future‘s fourth and latest single “Just Goes to Show” continues a run of atmospheric tracks with a deceptively anthemic nature but much like its immediate predecessor, the track is deeply confessional and unabashedly honest description of the desperate, uneasy feelings of a breakup –but from the perspective of the person being left behind to deal with the aftermath. And while some have compared the song to The Cranberries, Wolf Alice and Marika Hackman, the song isn’t completely dire as it (subtly) suggests that life and one’s heart does go on after a while.

 

 

Live Footage: Moaning Performs “Artificial” at Tapetown Studios

Over the better part of this year, I’ve written a bit about the Los Angeles, CA-based trio Moaning, and as you may recall, the band which is comprised of Sean Solomon, Pascal Stevenson and Andrew MacKelvie have spent the past few years crafting a moody and angular sound that draws from shoegaze, slacker rock and post-punk — and as a result, the Southern Californian trio has received attention both nationally and internationally from the likes of The Fader, The Guardian, DIY Magazine, Stereogum, and others.

Moaning’s self-titled, full-length debut was released earlier this year through Sub Pop Records, and the album’s fourth single “Artificial” is centered around angular guitar and bass chords, thundering drumming and an anthemic hook — and while recalling Joy Division, Interpol, Preoccupations and others; but just under the surface, the song bristles with a tense an uneasy self-awareness of the narrator’s own artifice, superficiality and ugliness, as well as that of the larger world he lives in. 
Interestingly, if you’ve been frequenting this site over the 18 months or so, you’d also recall that Aarhus, Denmark-based recording studio Tapetown Studios and Sound of Aarhus have been inviting national. regional and even internationally recognized touring bands to come into their studios for a live session, which they film and release through the interwebs. And during that time, they’ve invited British indie rockers Ulrika Spacek, Gothenburg, Sweden-based trio Pale Honey, the Bay Area-based JOVM mainstay Tim Cohen and his primary project The Fresh & Onlys, renowned British psych rockers The Telescopes,  Malmo, Sweden-based punk rock act Sista Bossen, Copenhagen, Denmark-based indie rock quartet ONBC and a growing list of others. The members of Moaning had stopped by Tapetown Studios during their second European Union tour, and performed an urgent rendition of the attention-grabbing “Artificial” as part of the Tapetown Studio sessions. Check it.