Julian Japser is a San Diego, CA-born, Los Angeles, CA-based singer/songwriter and multi-instrumentalist, who has publicly describes his own sound as being a 21st century Steely Dan or a lapsed Todd Rundgren after he had crossed paths with Ariel Pink — and although maybe to some that may be true, to my ears “2AM, Chinatown” and “I Don’t Mind,” the first two singles off his forthcoming 2AM, Chinatown/I Don’t Mind EP remind me quite a bit of Oracular Spectacular-era MGMT, Tame Impala and Milagres as both singles possess soaring and infectious hooks, swaggering strutting vibes and a funky bass line; however, both singles thematically focus on a desperate and gnawing loneliness and isolation — in particular “2AM, Chinatown” has its narrator reminiscing over a lover he hasn’t seen or spoken to in some time, and as a result, the lonely narrator of the song is desperate to connect with that lover or with anyone really, as long as he felt some connection with someone, even if it were brief. “I Don’t Mind” possesses a funky, 70sAM rock feel that evokes a lazy morning with a lover — the sort in which limbs and sheets are hopelessly entangled and entwined, and you spend much of the day making love and chatting about all manner of things big and small. And as a result, it’s the sexiest song of the two; but underneath the surface there’s this sense of all things coming to its inevitable conclusion. All things lead to the same result — the endless search to not be as lonely as you were before, and both songs capture that with an uncanny verisimilitude.
If you’ve been frequenting this site over the past year, you’d likely be familiar with Sunderland, UK-based indie electro pop act Field Music. Comprised of creative masterminds and primary members, sibling duo Peter and David Brewis and featuring contributions from Kev Dosdale, Andrew Lowther, Ian Black, Liz Corney, Andrew Moore, Damo Waters and a rotating cast of other musicians and friends, the British pop act have developed an internationally recognized profile for a sound that’s comprised of the siblings interwoven harmonies, off kilter chord progressions and a quirkily yet approachable sensibility wrapped with infectiously catchy hooks.
Earlier this year, the duo released Commontime, the first new bit of material from Field Music in several years, and the material was written and recorded over spontaneous bursts over a six month period in their Wearside, UK-based studio. And interestingly enough, the material which embraces a collaborative spirit thematically focused on the passing of time — acquaintances coming and going, friendships drifting and diffusing over time, random snippets of the every day and real-life conversations between friends and acquaintances being endlessly replayed.
Since the release of Commontime, the duo have hosted a Spotify radio show Commontime Extra Time in which the duo celebrate the influences behind the album’s material. And during the latest episode of their show, the Brewis brothers shared a previously unreleased single “How We Gonna Get There Now,” that was recorded during the sessions for 2012’s Plumb because the duo felt it sounded a bit too much like Todd Rundgren — although to my ears, the song sounds as though the duo were nodding at Steely Dan‘s “Reeling In The Years,” and “Peg“as the song begins with gentle percussion, twinkling keys, strummed guitars and an arena rock-friendly hook an alternating loud and quiet sections — but at its core a deeply British irony. A bluesy guitar solo holds a carefully crafted yet off kilter bit of pop confection.
Over the almost 6 year history of this site, Dam-Funk has not only seen his profile grow both nationally and internationally for a sound that channels Parliament Funkadelic, 80s synth-based funk and R&B, Parliament Funkadelic-inspired G Funk and for collaborations with Slave’s Steve Arrington and Snoop Dogg in their funk project 7 Days of Funk, but he’s also become a JOVM mainstay artist, who I’ve written about on a number of occasions.
Last year was a rather prolific year for one of Stones Throw Records better known artists as Dam-Funk released a 4 song instrumental EP STFU that he wrote and recorded while on tour opening for Todd Rundgren. His long-awaited solo effort, Invite the Light was one of my favorite albums last year — and I’m looking forward to the sophomore 7 Days of Funk album. But in the meantime, In the meantime, Stones Throw Records and Dam-Funk released album single “O.B.E.” on vinyl with the B side single “Special Friends,” a track that pairs shimmering layers of cascading synth stabs, squiggly and funky bass with handclap led percussion. Sonically, the song will further cement Dam-Funk’s reputation for crafting silky smooth and danceable funk that channels the synth funk that I remember listening to when I was a child.
If you’ve been following JOVM for some time, you’d likely know that over the past couple of years, the incredibly prolific multi-instrumentalist and producer, Dam-Funk has seen his profile grow exponentially for a sound that simultaneously channels […]
Over the past couple of years, Dam-Funk has seen his profile grow exponentially for a sound that simultaneously channels late Parliament/George Clinton solo work, 80s synth-based funk and R&B, and Parliament-inspired G funk and for his collaborations […]
If you’ve been frequenting JOVM over the last couple of years, you will likely be very familiar with producer, composer, multi-instrumentalist Dam-Funk. Over the past couple of years, the Stones Throw Records artist has seen […]
Over the last couple of years, DJ, producer, composer, multi-instrumentalist, and Stones Throw Records artist Dam-Funk has seen his profile grow exponentially for a sound that channels late Parliament/George Clinton solo work, 80s synth-based funk […]