JOVM celebrates what would have been Joe Strummer’s 68th birthday.
JOVM pays tribute to G.U.R.U. on what would have been his 59th birthday.
Comprised of Julian Hamilton and Kim Moyes, the Sydney, Australia-based electronic music production and artist duo The Presets can trace their origins to when the duo met while studying at the Sydney Conservatorium of Music. Hamilton and Moyes quickly became recognized for crating a sound that electronic dance music with an arena rock energy and vibe — and as a result, the duo signed with renowned Australian dance music label Modular Recordings, who released their first two EPs and their 2005 debut, Beams.
2008 saw the release of the duo’s critically and commercially applauded sophomore effort Apocalypso, an effort that went Triple Platinum in their native Australia and featured four smash hits, including “My People,” one of their biggest songs. And adding to a breakthrough year, Hamilton and Moyes won 5 ARIA Awards — including Album of the Year, 2 ARIA Artisan Awards, the J Award, the FBI SMAC Award for Album of the Year, and they shared the Songwriter of the Year at 2009’s APRA Awards.
The duo’s third, full-length effort, 2012’s award-nominated Pacifica featured Rolling Stone Australia’s Song of the Year, “Ghosts,” and was nominated for an ARIA Award, shortlisted for the AMP Award, the J Award and was named the Herald Sun’s Album of the Year, the Daily Telegraph’s Album of the Year and the Sydney Morning Herald’s Electronic Album of the Year. And although, it’s been some time since I’ve personally written about the acclaimed, Aussie electro pop duo, the duo have been busy collaborating with a variety of artists —Hamilton cowrote Flume’s “Say It” and contributed tracks to albums by Flight Facilities, Steve Angello and Meek Mill, while Moyes produced the DMA’s latest album, remixed tracks by The Drones and The Jezabels and started an underground techno label Here To Hell.
“Do What You Want” is the first single from the duo in over four years, and it’s also the first single off the duo’s highly-anticipated fourth, full-length album slated for release sometime in 2018 — and unsurprisingly, the new single will further cement the duo’s reputation for crafting festival bangers with enormous, crowd rousing hooks and thumping beats; but interestingly enough, the new single features a looped, glitchy sample reminiscent of Boys Noize’s “ICH R U,” while also nodding at Tweekend-era The Crystal Method and Come With Us-era The Chemical Brothers.
Directed by Kris Moyes, the recently released video is a wild, psychedelic homage to doing whatever the fuck you want, as long as it floats your boat, doesn’t harm anyone and is relentless and ridiculous fun.
I suspect that it’s a sign of getting older is when people you admired, listened to or just remembered from your childhood start to die, whether suddenly or after some protracted illness. Certainly, as a child of the 80s, George Michael and his music both with Wham! and as a solo artist informed significant portions of my music listening life; so as you can imagine hearing about the man’s death the other day was both a surprise and a reminder than I’m getting older. Interestingly, a few months ago I had stumbled onto George Michael’s Faith on Spotify and I had forgotten that it was very good pop album with a ridiculous number of chart topping singles. And if you’re unfamiliar with it, give it a spin; it’ll be worth it.
In terms of this post, George Michael had a collection of songs that I remember very fondly and still occasionally play but by far some of my favorites were “I Want Your Sex,” “Careless Whisper,” “Everything She Wants” “Freedom 90” his duet with Elton John “Don’t Let The Sun Go Down On Me” and his duet with Aretha Franklin “I Knew You Were Waiting (For Me).” As I mentioned on Facebook, “Holy shit, that was a white boy, who could sing his ass off.”
Interestingly, over the past week Sharon’s family, friends and fans gathered in Brooklyn and Augusta, GA to remember her and celebrate her life. And in an almost prescient sense of timing, the Rudolph the Red Nosed Reindeer-styled Claymation video for “Please Come Home For Christmas” was posthumously released — although it was finished and planned for release before Jones’ death last month. Arguably because of Jones’ death, the ache, longing and loneliness and the narrator’s hope that her suffering and loneliness will soon to be over, the song just manages to possess a deeper and visceral heartbreak.
Adding to the song’s ache, the video follows a profoundly lonely old man, who is constantly reminded that doing the holiday season that out of some occurrence of fate or bad luck is alone — that is until he takes a chance and is warmly welcomed by the one person, he desperately missed the most. God, it’s kind of dusty in here.
Currently based in Portland, OR, the indie rock trio Other Lives have received national attention and praise for a lush, orchestrated sound that channels Nick Cave and the Bad Seeds, The National and Ocean Rain-era Echo and the Bunnymen but with the sort of […]
As a singer/songwriter and composer PT Walkley has managed to successfully and carefully walk the tightrope between creating music for mass entertainment and consumption such as TV shows, commercials and movies without losing sight of […]
French DJ and producer Simon Delacroix writes, records and performs under the moniker the Toxic Avenger. Delacroix has developed a reputation for a sound that fuses club-ready, pulsing electronica with a pop sensibility — in some […]
Swedish quintet Colleagues won over the attention of a number of blogs back in 2012 with a sound that was exuberant and was comprised of layers of synths and melodies with anthemic choruses. “Tears,” is […]
https://scache.vevo.com/m/html/embed.html?video=USUV71400937&playerType=embedded Although they’re now based in Los Angeles, the Stewart brothers – Sam and Django – grew up in the UK and pursued different musical paths as Sam was in Blondelle and Django was with […]