Tag: Touch Sensitive

New Video: Rising Ghanian-born Aussie-based Artist Genesis Owusu Peers into Madness

With the releases of his debut effort, 2017’s Cardrive EP, which garnered an ARIA Award nomination for Best R&B/Soul Release and praise from Sir Elton John (!), NME, i-D, mixmag and others, the rapidly rising Ghanian-born, Canberra, Australia-based, , 20-something artist Genesis Owusu — born Kofi Owusu-Anash — quickly developed a reputation for being a maverick presence with an ability to conjure powerful and deeply personal storytelling in diverse forms, centered around a genre-defying sound and approach that’s uniquely his own. Adding to a growing profile, Owusu has opened for the likes of Dead Prez, Col3trane, Sampa The Great, Cosmo’s Midnight, Noname, Animé, Ruel and others in Australia.

Building upon a rapidly growing profile, Owusu-Anash has released a handful of highly-celebrated singles over the past year, which have included “Whip Cracker,” and the ARIA Award-nominated smash hit “Don’t Need You,” which quickly became the #1 most played song on triple J radio — and since then has received airplay in the UK on both BBC Radio 1 and BBC Radio 6 and recently here in the States on KCRW, KUTX, The Current and Alt98.

“Whip Cracker” and “Don’t Need You” will be prominently featured on Owusu-Anash’s forthcoming 15 song Andrew Klippel-produced full-length debut Smiling With No Teeth. Slated for a March 5, 2021 release through House Anxiety/Ourness, Smiling With No Teeth reportedly sees the rising Ghanian-born, Aussie artist further honing and developing his genre-confounding sound and approach while charting the epic peaks of troughs of mental health struggles and his experience as a black man in a very white world. Centered around raw hip-hop energy, the material routinely veers into industrial, punk, funk and pop, sometimes within the same song. And as a result, the album’s brash and defiant material is dedicated to those who boldly refuse to be boxed in by stereotypes or cultural norms, or at the very least, don’t feel that they fit in anywhere.

“Smiling With No Teeth is performing what the world wants to see, even if you don’t have the capacity to do so honestly,” Owusu explains in press notes. “Slathering honey on your demons to make them palatable to people who only want to know if you’re okay if the answer is yes. That’s the idea, turned into beautiful, youthful, ugly, timeless and strange music.” Each of the album’s 15 tracks can trace their origins back to studio jam sessions with a backing band that features Kirin J. Callinan, Touch Sensitive’s Michael DiFrancesco, World Champion’s Julian Sudek and the album’s producer Andrew Klippel.

“The Other Black Dog,” Smiling With No Teeth’s third and latest single is a cinematic take on contemporary alternative hip-hop, industrial music and pop centered around Owusu-Anash’s breathlessly rapid-fire delivery and barking, and an industrial stomp featuring off-kilter, stuttering beats and wobbling synth arpeggios. Somehow managing to balance dance floor friendliness with a sweaty mosh-pit energy, the song is a full-throttled nosedive into the hell of madness that brings the drug and booze fueled chaos of ODB, and the fury and menace of DMX to mind. Thematically, the single finds the rising Canberra-based artist giving the fearsome inner and outer demons he lives with and informs his life, the “black dogs,” a name. “The track explores the internal struggle between a hopeful spirit of endurance, and a gnashing black hole of ugliness,” Owusu-Anash explains. “One is me, and the other is also me.”

Directed by Riley Blakeway, the recently released video for “The Other Black Dog” brings the track’s kinetic and forceful menace to vividly nightmarish life: the video finds the rising Aussie artist running for his life along a deserted, night time road, desperately trying to outrun a relentless and evil version of himself and the demons that feed off his fear and insecurities. The video suggests something deeply fearful and disconcerting that we all know but don’t want to admit: there’s no escape from the devils that torment our hearts and souls — and there’s no escape from the devils that torment us in our daily lives. You can run but you can never hide.

New Video: Introducing the Club-Banging Sound and Trippy Visuals of Sydney’s The Goods

I’ve been in Washington D.C. for the past day and a half on a business trip related to my day job as an acquisitions editor at a SoHo, Manhattan-based publisher, and as a result I haven’t been able to post as frequently as I’d prefer; but at the same time I’ve been with two colleagues, who I met while in the Netherlands, who I’ve quickly become fond of and some extremely lovely folks in sales and marketing, some of who are based here in the States and a couple, who are based in the UK. But if you know me well enough, you know that I typically survive on 4-5 hours of sleep during the workweek and as it is I’m fitting in a post or two while my colleagues are asleep. So let’s get to the business at hand . . .

With the 2016 release of their self-titled double EP, the Sydney, Australia-based electro soul act The Goods, currently comprised of founding members, multi-instrumentalists and production duo Boris Bangaltar and Rosario D’Awesome, both of whom have toured and recorded with nationally known acts such as Touch Sensitive, Daniel Merriweather, Dereb The Ambassador and George Maple, and newest member Black Tree, who has a stint as a touring backing vocalist for Sydney-based soul singer/songwriter Ngaiire — and who started collaborating with the band on “Ninja Trolls,” the trio quickly developed a reputation for a sound that reportedly blurred the lines between disco, funk and classic house while nodding at Gorillaz and Outkast. And as a result, the then-duo received radio airplay across community radio and on Triple J. Adding to a growing profile, the act opened for Onra, Oddisee and Winston Surfsshirt.

“Make Your Move,” the first single from the newly constituted trio will further their growing reputation for a slickly produced track that sounds as though it nods to several disparate sources including DFA Records, classic house, 80s electro soul and contemporary electro soul acts inspired by the 80s, including Dam-Funk and others; in fact the track features Black Tree’s soulful and sultry vocals paired with a slick, thumping, club-banging production featuring arpeggio keys, wobbling synths, tons of cowbell, finger snap-led percussion, razor sharp yet infectious hooks and a feel, good, cosmic glow in what may arguably be one of the most dance floor friendly songs I’ve come across this year.

The recently released music video follows the trio as they wander around, and goof off around a rainy Sydney — but if you pay close attention, the trio slowly turn aspects of their world into bold, brilliant colors.