Raised in Istanbul, Benjamin Dean, an emerging singer/songwriter and multi-instrumentalist. who relocated to the US when he was a teenager. In his early 20s, he wound up in Atlanta, where he studied at Georgia State University‘s School of Music for about a year before leaving school to focus on his own creative projects.
After leaving Georgia State, Dean wound up performing at a a number of venues in the Atlanta area including Eddie’s Attic and Smith’s Olde Bar. Last year, Dean released a series of alternative folk singles before deciding that he should take his music in a completely new direction. Earlier this year, Dean started writing material, which began incorporating elements of New Wave funk, indie rock and R&B — with the end result being his latest EP, Tame the Beast, which was released earlier this year. The EP’s latest single “The Silence” is a slinky and funky track featuring shimmering and atmospheric synths Nile Rodgers-like guitar, thumping drums, a two-step inducing hook paired with Dean’s plaintive falsetto. And while centered around an incredibly upbeat air, the track sonically reminds me quite a bit of JOVM mainstays Tame Impala and Washed Out — earnest and thoughtful, yet dance floor friendly.
Juno Francis is a mysterious and emerging Berlin-based indie synth pop duo, featuring two Swedes, who serendipitously met through mutual friends and had an instant creative connection. With the release of “Dance With Me,” the Swedish-born, Berlin-based duo have received attention in Germany for a sound that they describe as a mix of 60s psychedelia and cheesy 80s sounds. But interestingly, “Dance With Me” sounds as though it were inspired by Giorgio Moroder and Daft Punk – in particular, Moroder’s From Here to Eternity . . . And Back and Daft Punk’s Homework comes to my mind.
Building upon a growing profile, the Berlin-based duo released their latest single “Queen’s Anthem” today – and the single continues a run of shimmering and sultry pop centered around rousingly anthemic hooks but unlike its predecessor, it’s decidedly ‘80s inspired, reminding me of Stevie Nicks and JOVM mainstays St. Lucia and Washed Out. Certainly, as a child of the ‘80s, the track manages to bring fond memories of much simpler – and perhaps, far safer – times.
I recently exchanged emails with the members of Juno Francis for this edition of JOVM’s ongoing Q&A series. In this interview, I chat with the emerging and mysterious band about their shimmering and infectious new single, their influences, Berlin – in particular, places to go, things to see and places to see music, and more. And of course, with governments across the world closing bars, restaurants, nightclubs and music venues to prevent the spread of COVID-19, the impact on the music industry – especially on small and mid-sized venues, and the touring artists, who grace their stages has been devastating and life altering. Over the course of this pandemic, I’ll be talking to artists about how the pandemic has impacted them and their careers. Naturally, there are a lot of lost gigs and lost opportunities and artists across the world have been frantically figuring out what their next steps are – if any. In the case of Juno Francis, they tell me what they’ve been doing to remain creative, as well as continue the momentum of “Dance With Me.”
Check out the interview and the single below.
Solina Records · Juno Francis – Queen’s Anthem
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WRH: Much of the world has been in quarantine and adhering to social distancing guidelines as a result of the COVID-19 pandemic. Hopefully you and your loved ones are safe and healthy. How are you holding up? How are you spending your time? Are you binge watching anything?
Juno Francis: We are safe and healthy and spending most of our time hanging out with a webcam drinking wine or working on some new material. New favorite shows are Foodie Love, Killing Eve and a little bit of Be Cool, Scooby-Doo! when the quarantine loco vibe strikes.. 😉
WRH: Since COVID-19 was declared a pandemic, festivals have been postponed or cancelled outright, artists of all stripes have postponed, rescheduled or cancelled tour dates. Most of the world has been on an indefinite pause. How has COVID-19 impacted you and your career?
JF: All shows have been cancelled or postponed and of course that is affecting our career, but we’re working on new material and some live streams instead and it’s not that bad.
WRH: You’re currently based in Berlin. What brought you to Berlin?
JF: Well we both moved here to float around in the music scene with the intention to float into a person to do great music with. It’s a city we both find fascinating and crazy, right up our alley
WRH: I’ve been to Frankfurt many years ago for the Frankfurt Book Fair. What can I say? It was a free trip. I desperately want to see Berlin though. So, say I get on a Lufthansa flight to Berlin. Where should I go to get a taste of local life? What’s a tourist spot that I’d have to see to get a true sense of Berlin?
JF: Berlin has many sides and in our side there’s not that many tourist spots or book fairs, but if we were your guide for a weekend we would probably show you ”Juno Juno Shop” a great vintage store and the location for our studio. We would take you to nice wine bars and show you some nice industrial areas where you can boogie woogie to some disco beats all night long. 🙂
WRH: Where’s your favorite spot to see live music in Berlin?
JF: We describe our sound as mix of psychedelic 60s and 80s pop. So far we only released songs that sound more 80s pop but later this summer we will release an EP that show the other side of the Juno Francis project..
WRH: Your latest single “Queen’s Anthem” officially drops today. I love the track It’s got that anthemic 80s synth sound paired with enormous hooks – and as a child of the 80s, it brings back a lot of memories. What’s the song about?
JF: It’s a nostalgic memory of growing up in Sweden and the mixed emotions connected to moving back. It’s also about believing in yourself and the longing for something more.
WRH: How do you know when you have a finished song?
JF: It’s all in the vibe, if it feels right and sounds right it’s done. Some songs take a week to finish others months and some haunted ones never seam to be done..
WRH: What’s next for you?
JF: We are working on an EP at the moment and aim for a release in the middle of this summer. It will be exploring other sides of the project and sound a bit more dreamy and mysterious…
Ernest Greene is a Perry, GA-born, Athens, GA-based singer/songwriter, multi-instrumentalist and producer, best known for his acclaimed synth pop/chillwave recording project Washed Out. After earning an undergraduate degree and a Master of Library and Information Science degree from the University of Georgia, Greene was unable to find a job as a librarian. Greene moved back in his parents and began writing and producing material in his bedroom studio as well as with a local electro pop act Bedroom.
Greene started Washed Out in 2009. Shortly after posting material on his MySpace page, the Perry-born, Athens-based singer/songwriter, multi-instrumentalist and producer was discovered and championed by a number of influential blogs, who compared his sound to Neon Indian and Memory Tapes.
He released his first two Washed Out EPs in rapid-fire fashion in August and September of that year. Building upon a growing profile, Greene played his New York City debut — which interestingly enough, was only his second live show ever — at the now, long-shuttered Santos Party House. 2010 saw Greene continue the amazing momentum of the previous year: he played that year’s Pitchfork Music Festival and “Feel It All Around” became the opening theme song for the acclaimed TV series Portlanadia.
In early 2011, Greene signed with Sub Pop Records, who released his his full-length debut Within and Without to critical applause and commercial success: the album peaked at #26 on the Billboard 200 and #89 on the UK Albums Chart. He ended a breakthrough 2011 by co-curating that year’s ATP Nightmare Before Christmas in Minehead, UK with Battles.
Greene’s sophomore Washed Out album 2013’s Paracosm was a decided change in sonic direction, as it featured a warmer, tropical-inspired sound while retaining the ethereal quality of his previously released material, as you’d hear on album singles “It All Feels Right” and “Don’t Give Up.” The year ended with Life of Leisure EP track “New Theory” being featured as background music in a scene of the rom-com The Spectacular Now.
His third Washed Out full-length, 2017’s Cole M.G.N. co-produced Mister Mellow was released through renowned hip-hop label Stone’s Throw Records, which he supported with the Get Lost! tour. Since the release of Mister Mellow, the Perry-born, Atlanta-based artist has released a handful of singles including “Face Up” as part of Adult Swim’s applauded Singles Series.
Greene began this year with the release of his latest single “Too Late.” Sonically, the song is a bit of a return to form for the critically applauded and commercially successful artist: a swooning yet bittersweet bit of synth pop centered around layers of arpeggiated synths, stuttering beats, Greene’s ethereal and plaintive vocals and a soaring hook. And while sonically sounding as though it could have been released on Within Without, the song captures the thoughts and feelings of a narrator, who’s fearful that he may miss out on a chance on love — but at the same time, he’s ambiguous and confused. We’ve all been there at some point and the song captures that uncertain and awkward feeling with a profound accuracy.
Much like countless artists across the world, Greene has found himself in an indefinite state of limbo with the necessary postponements and cancellations of live performances and tours, and strict travel restrictions. And as a result, the Perry-born, Atlanta-based artist had to cancel a long-planned video shoot in Italy, where he was set to collaborate with an international team of filmmakers.
Viewing it as an opportunity to engage his fans, Greene launched a collaborative project to create the recently released video for “Too Late.” Asking fans for footage they shot of their hometowns and from their own travels, the response was overwhelming and flattering — but it manages to touch upon every corner of our planet, while capturing the longing we all have for the aspects of our lives we can’t have right now and my never get back.
“I’d spent months planning a music video for a new song called ‘Too Late.’ My inspiration was a Mediterranean sunset I saw late last year, and the plan was to shoot on the coast of Italy with a team of UK and European collaborators,” Greene writes in a statement. “As we got closer to the shoot date, word about the severity and the speed of the virus started becoming daily news, and it became clear it wasn’t going to happen the way we’d planned. We tried to move the shoot several times (to Malta, Croatia, Spain, and eventually the UK), and one after another, countries shut their borders. Seeing Italy hit so hard was especially difficult to see.
I put up an IG post asking for fans to help me come up with the raw footage I had in mind — those first few days, as I was going through photos of my trips and tours, the memories of traveling and experiences I’d had took on a new significance. I wanted the video to capture those same moments for other people in their lives, and give us all an excuse to remember what it’ll look like again when it passes.
I went in thinking if I got 100 clips, I’d have enough to make the video I wanted to make. 30 minutes in, I had the 100 clips, and a few days in, I had over 1,200 clips — from London, Bali, Okinawa, Ann Arbor, Dubrovnik and a few hundred other places around the world. It was pretty amazing for me to see the vids and pics flood in like they did.
I was blown away by the response, and I’m excited to share the project with everyone now. For me, it’s turned out to be a much needed reminder of how connected we can all be when we’ve never been more physically distanced from each other. I hope everyone that contributed and everyone that watches the video gets the joy from it I do.
I don’t know what the immediate future holds for Washed Out… I have a lot of new music in various states, and other projects I was looking forward to working on this summer. I don’t know when I’ll be able to tour again, or when any of the other new music will come out, but I’m staying optimistic about both . . . “
Fronted by its Cleveland-born, Salt Lake City-based founder, frontman and creative mastermind, singer/songwriter Adam Klopp, the rising indie pop act Choir Boy derives its name from an insult that was given to Klopp in his early teens when he fronted some of his earliest bands. Given Klopp’s religious upbringing and angelic voice, the insult at the time, may have been both fair and fitting.
After graduating high school, Klopp left Ohio for college in Utah. Although, his college career was short-lived, he left religion behind and quickly integrated into Provo’s and Salt Lake City’s underground music and art scenes, eventually starting Choir Boy. With the release of the project’s full-length debut, 2016’s Passive With Desire, Klopp’s work drew comparisons to Scott Walker, Kate Bush and Talk Talk.
Klopp’s Choir Boy debut won the attention of Dais Records, and building upon a growing profile, he released “Sunday Light” in 2018, which was followed by a reissue of Passive With Desire on vinyl and CD. Recently, Klopp has filled out the band with a permanent lineup: Chaz Costello (bass, sax), Jeff Kleinman (keys) and Michael Paulson (guitar). Each member has brought their unique influences to the table, helping to develop subtly more dynamic sound for the band — one in which, there’s a bit of post-punk grit and 80s-influenced swing to the mix.
Slated for a May 8, 2020 release, Choir Boy’s sophomore album Gathering Swans is the first bit of recorded output with the band’s new lineup. And importantly, while seemingly drawing from Roxy Music/Bryan Ferry, The Cleaners from Venusand others, the material features Klopp’s achingly earnest and angelic falsetto, expressing those emotions that are particularly difficult to name.
The album’s first single is the dance floor friendly “Complainer.” Centered around shimmering synth arpeggios, some industrial-like drum machine and organic drumming, a looping and shimmering guitar line, an ehe enormous and rousingly anthemic hook and Klopp’s achingly tender falsetto, the song — to my ears, at least — seems like a synthesis between Meat Is Murder-era The Smiths, Tears for Fears and contemporaries like Washed Out. Interestingly, Klopp explains that the song “marked a shift in lyrical tone from previous releases. While many of our earlier songs serve as flowery lamentations of loss and grief, ‘Complainer’ snakily examines the self absorption of sadness. The opening line Oh my life was something I privately uttered while stewing over daily anxieties. It became comical to me that I would express my self pity like that, in earnest when my struggles seemed so relatively tame. The song continues, It’s a phrase so funny when it’s spoken so sincere. But it’s not that bad, I’ve never really had it worse. I’m just a complainer. ‘Complainer’ multi-tasks as a pop song and a reminder to keep my privilege in check.”
Directed by the members of Choir Boy, edited by Choir Boy’s Adam Klopp and featuring an action cameo by Sam Rodriguez, the recently released video for “Complainer” is a decidedly lo-fi, fittingly 80s-inspired visual split between footage of the band playing the song in random locations while mischievously revealing the band’s involvement in a seedy, back alley, Fight Club-like fighting ring.
With the release of his breakthrough debut EP Infused Romance, the Amsterdam-based singer/songwriter, multi-instrumentalist and producer Ruben Pol received attention across Europe and elsewhere for crafting shimmering and celestial electro pop. So far Pol’s debut effort has amassed over two million streams and has helped him land work with a handful of renowned fashion brands, including Dior, Gucci, Calvin Klein and Burberry.
Building upon a rapidly growing profile across Europe, the Amsterdam-based Pol has plans to continue releasing new material in 2020 but in the meantime, he closes out this year with “Painting Mirrors,” the first bit of new material from the rising Dutch-based artist since the release of his breakthrough debut. Centered by thumping, organic drum patterns, shimmering and atmospheric synths, reverb-drenched guitars, a soaring hook and Pol’s achingly plaintive vocals, the new single sounds indebted to Within Without and Paracosm-era Washed Out. And while initially seeming placid, on repeated listens, the song has a subtle yet palpable tension and turbulence, as its narrator describes hiding their true self, in order to protect themselves and their partner: love is inevitably pulling them closer to their partner, but the fear of the truth is tugging them away; they’re in love but not fully ready and open — and they’re constantly aware of it.
“Love can be blinding and it can make you do crazy, sometimes reckless things,” Pol says in press notes. “I myself am guilty of this too. The urge to be with someone can be so strong, it damages the very thing that you are chasing, love itself.”
Filmed and edited by Victor Griffioen, the recently released video is based on black and white VHS footage of the rapidly rising Dutch artist performing the song live in front of an enraptured audience.
Jude Woodhead is a London-based electronic music producer and electronic music artist, who emerged into the national scene with release of his first two singles “Beautiful Rain” and “For The Birds,” both of which revealed a young, upstart producer whose sound was compared favorably to the likes of Floating Points,Four Tet, Joy Orbison, and RJD2. But since the release of those two earlier singles, Woodhead started a new recording project Saint Jude, which was partially inspired by the tinnitus he developed while spending his formative years as a DJ and club-goer. And as a result, Woodhead turned from the euphoria and strobe light of the dance floor and towards the bedroom, where he began working on much more intimate material.
Woodhead’s forthcoming, self-titled Saint Jude debut is a decided sonic evolution that finds the up-and-coming British producer moving from the loop-heavy EDM-styled production for a sound that may recall Caribou and others — propulsive rhythms paired with shimmering guitar lines. The EP’s first single “Deaf Ears, Blind Years” is centered around hushed, reverb-drenched vocals ethereally floating over a lush and moody production featuring shimmering guitars, twinkling keys, four-on-the-floor like beats — and while recalling Paracosm-era Washed Out, the track evokes an aching nostalgia for a rapidly-passing youth full of excitement and waywardness. In press notes, Woodhead describes the song as “a bit of breakthrough for me in terms of songwriting: I was writing about real stuff rather than abstract ideas.”
Deriving its name from the Trollhattan, Sweden kindergarten, where its somewhat mysterious creative mastermind attended as a boy, the up-and-coming indie recording project lodet specializes in breezy, 70s AM rock inspired pop melodies as you’ll hear on its debut single “Calling.” Centered around four-on-the-floor drumming, shimmering guitar chords, plaintive vocals and a soaring hook, the song sonically bears an uncanny resemblance to Paracosm-era Washed Out but with a rickety, analog feel that emphasizes the song’s swooning nature.
Raised in the Atlanta suburbs by Chinese immigrants, the Los Angeles-based electro pop producer, multi-instrumentalist and singer/songwriter Kenny Zhao studied classical piano and composition before he relocated to Southern California. Largely inspired by M83, Charlift, RHYE, Miguel, Washed Out, and Gorillaz, Zhao through his solo recording project, the aptly named Zhao had a breakthrough year last year, with tracks landing on Spotify‘s “Fresh Finds” and “Summer Heat” playlists, eventually reaching #9 on the Hype Machine charts. Adding to a growing profile, Zhao has contributed vocals on tracks by Eric Sharp, Armand Van Helden and Black Coffee — and he’s played at a number of venues across the Los Angeles area, including The Moroccan Lounge, The Satellite and at LA Chinatown’s Lunar New Year Festival. And while his sound is evolving, he has generally taken a dance floor friendly path.
Building upon a growing profile, Zhao’s latest single is the summery “Feeling Today” will further cement his developing reputation for crafting breezy and funky synth pop, as the track is centered around a sinuous bass line, twinkling keys, shimmering and arpeggiated synths and Zhao’s sultry and soulful vocals. Sonically, the song is a slick amalgamation of 90s neo soul and 80s synth funk that manages to nod at some of Zhao’s influences; but thematically, the song touches upon treating every situation in life as valuable and necessary and putting aside fears of being taken advantage of and processing the idea that all people deserve love. That’s the message – that kindness will set you free. That resentment and fear put you in a cage, and the solution is to forgive yourself, forgive others and move on. There’s also an element of reassuring myself that whatever happens, the best thing I can do is operate within what I can control – honing my craft, and checking in with people I care about”, explains the Zhao. “I’ve always viewed my songwriting process like a form of self-psychoanalysis…like finding out what I’ve really been thinking about.”
Over the past couple of months, I’ve written a bit about Liam Brown, an up-and-coming Liverpool, UK-based singer/songwriter, multi-instrumentalist, producer and electro pop artist, best known as Pizzagirl. Now, as you may recall, with the release of his debut EP An Extended Play earlier this year, Brown was quickly championed by Huw Stephens, Annie Mac and Lauren Laverne, and received praise fromDIY, Highsnobiety, Wonderland, The Line of Best Fit and others for an 80s synth pop inspired sound. And adding to a growing profile, Brown opened for acclaimed British act Her’s during their most recent UK tour.
Building upon a growing profile and growing buzz, Brown’s sophomore Pizzagirl EP season 2 is slated for a November 2 release, and from the EP’s first two singles “highschool” and “gymnasium,” Brown will further cement a reputation for crafting swooningly heartfelt, shimmering synth pop that draws from several decades simultaneously; in fact, both singles brought the likes of Washed Out, St. Lucia and Tears for Fears to mind. “body part,” the EP’s latest single while clearly bearing an uncanny resemblance to its predecessor, the song finds Brown successfully walking a difficult tightrope of an oversized, larger-than-life cinematic feel with an emotional intimacy that continues to evoke the very urgent emotions and thoughts of being a teenager in love.
Danny Murcia is a Los Angeles-based singer/songwriter, founding member and creative mastermind of Los Angeles-based bilingual indie rock act El Mañana. As an English major in college, Murcia immersed himself in magical realism, a major tenet of modernist and post-modernist Latin American literature, and after graduating, he was able to marry his loves for language and music as a songwriter. Interestingly, the Los Angeles-based singer/songwriter wound up penning a number of songs that were recorded by mainstream radio and as a result of the attention he received as a go-to songwriter, Murcia wound up as part of the major label system, signing a record deal with a major label that released a single; however, it didn’t take long for Murcia to to realize that he was a commodity in a machine that wanted to exploit his Colombian heritage — and that the label was actively trying to mold him into a white person’s version of a Latino pop star. At the end of the experience, he felt as though is creative energy was sapped.
El Mañana finds Murcia returning to his original dream of what he wanted his sound and music to be: insightful, earnestly emotional and bilingual rock driven by enormous power chords and plaintive vocals. As the story goes, Murcia who suffers from bipolar disorder began writing material for this new project while he was battling cancer, having to undergo multiple surgeries before the cancer went into remission. During his recovery, he read the works of Pablo Neruda and Gabriel Garcia Marquez, which long informed his own work.
“Gota En El Mar,” the Los Angeles-based band’s latest single sonically manages to bridge the dreamy psych pop of Tame Impala and Washed Out with enormous Siamese Dream Smashing Pumpkins-era like power chords fed through distortion and other effects pedals, thumping drumming and arena rock friendly hooks — but most importantly, the song is a swooningly urgent and earnest song.
Over the past few months, I’ve written a bit about the Viersen, Germany-born, Cologne, Germany-based singer/songwriter, multi-instrumentalist, electronic music artist and electronic music producer, Marius Lauber, who writes, records and performs Roosevelt. Now, as you may recall its the release of Elliot,” the lead single and EP title track of his 2013 debut EP Elliot, Lauber received praise from the likes of Pitchfork, who named the track one of their “Best New Tracks.” 2015 saw the release of the double A side single “Night Moves”/”Hold On,” which was released through Greco-Roman Records and further cemented his reputation for crafting material with warm, synth-led Euro-disco sound. Building upon a growing profile, Lauber’s 2016 full-length debut featured standout tracks “Colours” and “Moving On,” and has led to attention-grabbing tours with the likes of Hot Chip, Totally Enormous Extinct Dinosaurs, Crystal Fighters, as well a remixes of singles by Glass Animals, Jax Jones,Truls, Sundara Karma, Luca Vasta and Kakkmaddafakka and others.
Building upon a growing international profile, Lauber’s recently released sophomore Roosevelt album Young Romance finds the acclaimed German singer/songwriter and multi-instrumentalist, electronic music artist and electronic music producer making a decided move away from the slickly produced EDM of his previously released material to a warmer, hook-driven, guitar and synth-based sound, complete with a wistful escapism. Thematically, Young Romance fittingly focuses on — well, young romance, including the trials, tribulations and frustrations of falling in and out of love, and of desperately trying to find some semblance of home and life while on the road. As Lauber says of the writing process for the album “I ended up processing a lot of emotions that I felt during my youth. Faded relationships that haunted me for years, being on the road for what seemed like forever and the constant search for a place to call home.”
Album single “Forgive,” featured Lauber collaborating with Ernest Green, a.k.a. Washed Out, who contributes his ethereal and imitable vocals to a shimmering, disco-like production centered by a Chic-era Nile Rodgers groove, African percussion and an infectious hook that sounds as though it could have been a Paracosm B-side. “Shadows,” continues in a similar, breezy yet disco-inspired vein, as it’s centered around a buoyant two-step friendly groove, arpeggiated synths, Lauber’s plaintive vocals, an incredibly tight, infectious hook that recalls Miami Horror, Washed Out and Random Access Memories-era Daft Punk to mind — but somehow even lighter. Young Romance’s latest single “Under The Sun” will further cement Lauber’s reputation for crafting hook-laden, and breezy pop centered around the German singer/songwriter, multi-instrumentalist and producer’s yearning vocals, thumping beats, a sinuous disco-inspired bass line, twinkling keys and ethereal electronics — and while continuing to nod at the likes of Miami Horror, Washed Out, Random Access Memories-era Daft Punk and St. Lucia, the song much like its predecessor reveals an ambitious songwriter and producer, who has put a unique and urgent take on a familiar and beloved sound.
The recently released video for “Under The Sun” is a cinematic and fittingly nostalgic visual that features Lauber yearning singing the song and playing guitar on the beach, reflecting on a past relationship.
Earlier this month, I wrote about Liam Brown, an up-and-coming Liverpool, UK-based singer/songwriter, multi-instrumentalist, producer and electro pop artist, best known as Pizzagirl, and with the release of his debut EP An Extended Play earlier this year, Brown was championed by the likes of Huw Stephens, Annie Mac and Lauren Laverne, and received praise fromDIY, Highsnobiety, Wonderland, The Line of Best Fit and others for an 80s synth pop inspired sound. And adding to a growing profile, Brown opened for acclaimed British act Her’s during their most recent UK tour.
Building upon the growing buzz surrounding him, Brown’s sophomore Pizzagirl effort season 2 is slated for a November release, and as you may recall EP single “highschool” was an achingly wistful and pensive synth pop track centered around arpeggiated synths, thumping beats and a sinuous hook that immediately brought Washed Out, St. Lucia and classic 80s synth pop to mind. “gymnasium,” season 2‘s latest single continues on a similar vein — swooningly heartfelt and oversized teenaged sentiment paired with a breezy yet decidedly DIY production featuring twinkling keys, thumping beats, Brown’s plaintive vocals, a Tears for Fears-like bridge and incredibly infectious hooks. Just as important, Brown manages to accurately capture and evoke what it feels like to be a high schooler and desperately in love.
Marius Lauber is a Viersen, Germany-born, Cologne, Germany-based singer/songwriter, multi-instrumentalist, electronic music artist and electronic music producer, who writes records and performs with his solo recording project Roosevelt. Now as you may recall, with the […]
