John Legend released his much-anticipated album Bigger Love on Friday. Inspired by his wife, and family, the album explores themes of love, sensuality, and intimacy, but also draws from the extensive tradition of black music that has influenced Legend as an artist. Among the anxiety induced by the pandemic, and the outraged and mourning protesters flooding the streets, Legend explains how he intends for this album to fit: “During these painful times, some of us may wonder if it’s ok to laugh or dance or be romantic… but it’s important for us to continue to show the world the fullness of what it is to be black and human. Through our art, we are able to do that. This album is a celebration of love, joy, sensuality, hope, and resilience, the things that make our culture so beautiful and influential.” In a nod to his debut album Get Lifted, Legend offers Bigger Love as an uplifting, heartfelt work that inspires you to love, dance, and be happy.
Listening to this album, the overarching quality that comes to mind is soul. Bigger Love is soulful in its music, Legend’s voice and the surrounding harmonies, and even its message. The use of “big” in the title refers to the album’s expansive amounts of joy, soulfulness, and diverse range of musical styles. The tracks embody many different genres, and expressive vocals, gospel-like harmonies, and Legend’s expert falsetto are ever-present. Every song has an easy, untroubled sound to it, but they also have unique touches that elevate them to a higher level.
“Ooh Laa” tells you right away what the album is going to be like: a clash of contrasting forces. It kicks things off with two wildly different genres– 50’s doo-wop and trap music. The doo-wop comes from a sample of a 50s recording of the song “I Only Have Eyes For You” by the Flamingos. Continuing in the vein of hip-hop, “Actions” samples a song known from “The Next Episode” by Dr. Dre and Snoop Dogg, reminding listeners of that era of hip-hop. The central lyric plays on the phrase “actions speak louder than words,” a mantra that is especially relevant to the protests that have been happening recently.
Moving over to funk, “I Do” and “One Life” are dance songs. They have groovy basslines and are mellow but have catchy choruses that make you want to move. “One Life” stretches into contemporary jazz and uses strings to add some individuality. The chorus, with lyrics like “We’ve got one life, I won’t waste it,” are universal and inspiring, they really feed into the uplifting sentiment of the album.
Beginning with “Wild” featuring Gary Clark Jr, we begin to see a lot of slow jams and ballads, but there is still some contrasting material inserted in between. “Wild” tugs at you. It is a song that you would play in the car on an open road at dusk with the windows down. Its hard-hitting beat and the chromatic upwards motion in the guitar part pulls you along with it. “Bigger Love” takes a right turn with its Afro-Caribbean beat, but continues to include elements of gospel and house music in the vocals of featured artist Natalie Imani. It really drives the central message of the album: hope, optimism, and resilience.
Bringing the energy back down, “U Move, I Move” featuring Jhené Aiko is about two people in complete harmony. What’s unique about this track is how the beginning has a very minimal amount of music. Legend’s voice really stands on its own. When the music does come in, it’s swelling and romantic. Aiko’s voice complements Legend’s nicely, but it has its own distinct timbre that adds interest to the song. Despite being recorded in quarantine, the effortless harmonies between the duo are coordinated perfectly. In “Favourite Place”, short brushstrokes of harmonies paint the background. The tune is sultry and alluring, with more trap beats and gospel harmonies. “Slow Cooker” on the other hand, is all about taking it slow. It’s infused with cuisine-related metaphors, which work well for Legend since he and his wife Chrissy both like to cook. The swaying 6/8 time makes one think of a couple slowly moving to the music, delicately enveloped in an intimate moment.
Just when you think the album has hit a plateau when it comes to genres, some folk music is thrown in. “Focused” reaches out to ordinary people with lyrics like “everybody has their days when the work feels like chains.” Its defining musical characteristic is the acoustic guitar, but the connections to gospel and jazz remain strong thanks to the harmonies and jazz chords. “Conversations in the Dark” is a soulful love song reminiscent of Legend’s 2013 hit “All of Me.” It highlights the small intimate moments in a relationship. “Don’t Walk Away” features artist Koffee, who pilots a return to the Afro-Caribbean flavour from earlier. Gentle harmonies subtly support the infectious chorus that really highlights Legend’s control over his voice in this song.
For the last four tracks, deep emotions move to the forefront. “Remember Us” featuring Rapsody uses lounge piano, flute flutters, and deep bass to make a beautiful musical foundation that supports the emotional lyrics which remember some departed friends. Rapsody adds a contrasting but fitting quality to the music, expertly spitting out lyrics but still matching the vibe of the song. “I’m Ready” featuring Camper recalls Marvin Gaye’s soul-stirring music and is a tribute to him in that way. This track has a very cool a capella beginning that establishes some surprising rhythms and harmonic changes which continue throughout the entire song. “Always” is another love song. It has a simple, sweet message and relatively straightforward music but still has some twists along the way.
The final song, “Never Break” is an anthem for 2020. It discusses the power of the human spirit, something that is crucial for the valiant protesters around the world. Suspended chords create a deep sense of passion, which is amplified by the wonderfully jazzy chords. Towards the end, there’s a powerful build-up before the haunting final “no” that instills a great sense of resolve within you. The track, with its resilient sentiment and hopeful mood, is the perfect ending to Bigger Love.
Ultimately, this is an album you won’t want to miss. It sweeps through and lifts you up at a time when things feel low. Give it a listen on Spotify or other streaming platforms, and be sure to check out the amazing cover art painted by artist Charly Palmer.
Singer-songwriter ALIX recently released a new pop hit. Featuring pop sensation NEZZA, “Good” is a timeless track that works through the conflict between finding closure and wanting to move on after a relationship ends. The ballad is a model of classic pop, but the smooth vocals and subtle funk undertones give it a tasty R&B twist. The lyrics are simple but sincere, giving them a kind of universality that ALIX herself values in the music of her favourite artists. NEZZA shared in this universality as she bonded with ALIX over experiencing the aftermath of ex-relationships. From their bond, “Good” was born.
The solace found in the lyrics is enhanced by instrumentals that truly encompass the word “good.” Not the “better than alright but worse than great” definition of the word, but the one that means “pleasurable” and “enjoyable.” The song is in 6/8 time, which makes the music sway, each bar punctuated by a clean guitar chord. The harmonies are dreamy, wrapping you in a tender embrace to comfort you through your heartbreak. Towards the end there’s a satisfying key change that instills within you a resolution to persevere through any negative emotions you may be left with. In the end, “Good” is soothing, uplifting, and freeing.
While this track delights in its meaningful simplicity, one can also endeavor to go deeper and look for touches of California, where ALIX grew up. See if you can hear the gorgeous redwood forests and rolling hills that The Golden State is known for. Growing up near San Francisco meant that ALIX was exposed to an array of musical influences, providing her with a nifty toolkit that she would go on to utilize in her music. The music video for ALIX’s debut release “Come Alive” opened the door for her music career, gaining a million views in the first month. Her forthcoming album Feel Better builds on the momentum she’s created, with “Good” being only a taste of what’s to come.
Meryem Aboulouafa offers an introduction to herself in the music video for her track “Ya Qalbi” alongside the release of her debut album. “Ya Qalbi” is a magical and stunning Algerian song from the Arab-Andalusian repertoire. With the help of producer Franceso Sanalucia, the addition of modern effect brings the track into the 21st century.
The video is moving art, simply put. The color schemes are lush, highlighting simple visuals layered behind footage of the artist singing in black and white. It packs maximum impact in a quick 2 minutes.
Her debut album excels in the ‘game of reference.’ Being able to track all influences of this album is almost impossible, as she has many. Parallels can be made of her limitless imagination to Kate Bush, her creation of intimacy and emotion to James Blake, and her ability to hypnotize the universal language of music without denying the musical traditions of her origins from Oum Kalsoum.
TheHoldup is the solo project of San Jose-based artist Mike Garmany, and his new single “Cool Spot” drops this Friday. TheHoldup fuses modern pop and R&B while spicing things up with a dash of reggae. Garmany approaches his music with honesty, which has proven to be an outlet in his day to day life as well as a universal consistency that draws in fans from all over the world. With streams totaling a cool 60 million and a sold-out show at iconic Los Angeles venue The Roxy in 2019, Garmany is yet another example for independent artists to look up to, with his approach allowing him to write and produce music from his bedroom while also consistently touring the U.S.
“Cool Spot” falls right into his sweet spot, with bright island sounds accenting his catchy hooks, which feel like they could be ripped straight off of the radio. Reggae instrumentation and a hip-hop beat neatly compliment each other, proving that Garmany is just as skilled at production as he is at songwriting and performing.
Germany’s personal brand of groovy, melody driven pop gives him a unique flavor that has resulted in his cult-like following. While many of those fans might mistake TheHoldup for a group, Garmany carries the project all on his own, writing, producing, performing and engineering all of the material on his albums.
It’s often said that music is a universal language, but even so it’s rare to see a group that represents that so literally. Progressive-indie electronic group Me & the Monster all came together when they met at their shared university in Berlin, but they possess an additional layer that sets them apart from the typical cliche of starting a band in college; the 4 musicians all hail from different countries.
While most bands start off arguing about when they’re going to rehearse or who’s going to bring snacks, this group had to immediately face an obstacle that most would never even consider; figuring out how to deal with the cultural and linguistic differences that existed as a result of their varied backgrounds. But luckily, they all had one overwhelmingly important thing in common that transcended these barriers: their love and appreciation for music. Their self-titled EP, dropping January 31st, 2020, is the group’s debut.
The influences of their different homelands come through in their music, and the result is a beautiful melting pot of sounds and ideas. A range of modern influences can be heard in The Monster’s music; Of Monsters and Men seem to show on their indie folk-rock side and Alt-J in their experimental sounds and concepts. The progressive debut EP touches on political issues such as the rapidly-changing coral reefs and the controversial political scenes in the hometowns of some of the band members. Their debut is representative of who the group is and what they stand for, and everything about them supports this; even the name Me & the Monster itself is a take on describing “modern man and his connection to the most original part of himself, the subconscious: his monster.”
The opening track, “My House”, is an introduction into the Monsters’ world, and they waste no time in welcoming their listeners into their melting pot of music. Hearty tribal drums and soulful vocals immediately draw you in; “Greetings / This is the jungle of my feelings” sings vocalist Andrea Trujillo. Here, home exists not as a place but as an idea, as a feeling, and as the people that become home for you when you leave the place you’ve always known. The opening track is the perfect intro to the group, who are all familiar with this concept as they hail from Spain, Venezuela, and Italy and all found unity and this idea of home through their common love for music.
“The Shadow” touches on the concept that the group is named for; the idea of recognizing the monster inside of yourself and the battle that everyone goes through with that. Meanwhile “Give Me Fire” stresses the importance of finding a source of light to keep you fighting through dark times. “Here” is a brightly-colored river of sounds that winds slowly before building into an explosive chorus heavy with tribal drums and echoing harmonies. The passionate political anthem introduces a sense of urgency as the group makes a call to action; “We cannot pretend / That this isn’t real / This is not the end”.
The closer, “Colours” touches on the issue of the damage of the coral reefs as a result of climate change. “It’s in my body / It’s in my bones / I must keep fighting,” Trujillo repeats, her passion for the cause evident in her moving and soulful voice. Smoothly rolling guitar riffs reminiscent of the ocean waves themselves accent the anthemic chorus. Shouting background vocals call for unity as the group reminds listeners of the importance of using music as a channel for activism for important causes.
The debut is a rare case that leaves listeners not only with a crystal clear idea of where the group stands musically, but also politically. While each track shows off a varied side of who the Monsters are and what they’re all about, the EP has a strong feeling of unity and coherence that makes the group’s debut body of work feel strong and memorable.
There are certain experiences in life that are universal to all of us and with his new hit “Memorial” Devendra Banhart is able to capture and express the full realm of one of these experiences, loss. His lyrical genius provides metaphors that paint an intense picture of mourning and grief as seen in the human realm. When asked about the song himself, Banhart said, “Memorial is about loss & the strangeness to feel so numb and yet, so completely heart-broken-open…” The song was written for three people he loved the most in life as a tribute to ones who are taken from us too soon. It’s a perfect example of an artist trying to understand death, and truly features the different stages in the process of grieving. Banhart was able to cross musical boundaries with a waltz-like background bass and forefront finger plucking from the lead guitar while his wavering vocals carry the listener along. “Memorial” is just one song from Banhart’s album Ma coming out September 13.
Devendra Banhart North American Tour Dates:
09/27/19 – Dana Point, CA @ OHANA Festival
10/15/19 – Ventura, CA @ The Majestic Ventura Theater ^
10/16/19 – San Francisco, CA @ The Fillmore ^
10/18/19 – Portland, OR @ Crystal Ballroom ^
10/19/19 – Seattle, WA @ Moore Theatre ^
10/20/19 – Eugene, OR @ WOW Hall
10/22/19 – Berkeley, CA @ The UC Theatre
10/24/19 – Los Angeles, CA @ The Theatre at Ace Hotel
10/25/19 – Santa Ana, CA @ The Yost Theater
10/26/19 – San Diego, CA @ The Observatory North Park
10/27/19 – Phoenix, AZ @ Crescent Ballroom
10/30/19 – Boulder, CO @ Boulder Theater *
11/01/19 – Omaha, NE @ The Slowdown *
11/02/19 – Minneapolis, MN @ Varsity Theater *
11/03/19 – Chicago, IL @ Thalia Hall *
11/05/19 – Memphis, TN @ The Hi Tone *
11/07/19 – Austin, TX @ Stubbs (Levitation)
11/23/19 – Leon, Guanajuato Mx @ Tecate Bajio Festival
11/25/19 – Mexico City, Mx @ El Plaza Condesa
11/30/19 – Detroit, MI @ Museum of Contemporary Art *
12/01/19 – Toronto, ON @ Danforth Music Hall *
12/03/19 – Montreal, QC @ The Olympia *
12/04/19 – Boston, MA @ The Wilbur *
12/05/19 – Brooklyn, NY @ Brooklyn Steel *
12/07/19 – Washington, D.C. @ 930 Club *
12/08/19 – Philadelphia, PA @ Union Transfer *
* w/ Black Belt Eagle Scout
^ w/ Daniel Higgs
For more on Banhart himself be sure to check him out here.
As a music journalist, you’re never quite sure what interviewing a band will get you. Will they be awkward? Will they provide good insight, or just one-word answers? There are questions that plague your mind leading up to it. And it’s those incredible storytellers that spin their lyrics so well that seem to come out of the woodwork and really make you laugh. This proved true with Chicago-based art rock/psych pop collective The Curls. In fact, a full giggle fest ensued, and you’ll see why below. So take some time to enjoy this one. It’s well worth it!
What was your first musical memory, and do you think it has any bearing on who you are as an artist now?
Weird Al, first concert when I was just a little boy. Still one of the greats. I just re-watched his movie UHF for the thousandth time. Or maybe the Paul Simon song You can call me Al. That bass solo is a magical thing. I remember my dad or maybe my mom would play Paul a lot on our car rides. I’m sure the influence is there somewhere.
What’s the conception story of The Curls? Was it a meet-cute?
We met at this old mom and pop starbucks joint. We all ordered the same extra-fat hot chocolate Nutella truffle oil bacon latte at the exact same time! We looked at each other and of course laughed and laughed and laughed and laughed. We were in that line just laughing for maybe an hour. They had to call the police and they dragged us out laughing our heads off, just like in the movies.
You have been working together for a while now. How do you keep from ripping each other into pieces sometimes?
We’re just popping muscle relaxers and goofballs constantly so the vibe is very communal.
Do you think being from the midwest has any bearing on your sound?
I have absolutely no idea. I don’t think so? I’d be curious to hear what others think. Most of us come from different midwestern states so I wonder if anyone hears that classic Ohio or Michigan or Illinois or Indiana or Minnesota sound.
Where do you draw the most inspiration from, for both your lyrics and your soundscape?
Who knows?! Sometimes it’s obvious. The song or a number of songs can start from a reference point inspired by another artist’s sound or arrangement style. Or maybe what I’m eating or drinking at the time. Like I had been drinking a lot of lemon lime Gatorade recently, so now I’m writing a song based around that. Eating and drinking are very universal concepts. There is inspiration all around us!
You played HHM Fest recently. How was that? Give us a snapshot!
I will give you a step-by-step account. We come into town late afternoon, check into our 5 star hotel as per usual and head straight for the pool. The chlorine level was a bit much, and don’t think I didn’t complain to anyone who would listen. We took a walk around beautiful Bay City, MI and arrive at the venue quite early. We spend the next few hours enjoying this terrific spread of pizza, chips, locally catered apps while polishing off some of Maps and Atlases personal beers. Sorry buds! And of course we went on to play an unforgettable set. So it was a great experience, a great crowd, the festival did a great job, we did a great job and I can only hope we’ll do it again someday.
Do you prefer playing festivals or more intimate shows? Why or why not?
It’s all good. I love smaller clubs like The Hideout in Chicago but I have to say I also love playing shows with the big, roomy stages that might allow for us to assemble a larger arrangement and to play to a larger crowd, like when we crushed at Pitchfork Fest. It’s a wash!
How did you prep to film the “Bad Boi” video? Looks like it took a little bit of yoga and a lot of drugs?
We were so hopped up on drugs and yoga you wouldn’t believe. I was taking one drug then hopping into a downward dog that would make your head spin, then another drug and even MORE of the drugs before settling into the most beautiful warrior pose anyone has ever seen. Then bada bing bada boom, the light bulbs went off and along with our terrific collaborators and directors at New Trash Productions we managed to create one of the great videos of our time.
If you could have your dream rider list, what would be included on it?
Donuts or waffles? (Your answers to these questions will determine our future together, obviously.)
Of course if it’s a dream list I think we could manage to get both a waffle making station and as many donuts as we like. You didn’t ask but my favorite donut? The chocolate long john. Beautiful donut. However, I was just thinking it would be good to request 100 copies of infinite jest to throw at the crowd if they lose their shit or seem disinterested. Maybe a few drones to fly and keep an eye on things.
Any dirt you want to dish on your band mates?
If my band mates were here they’d probably dish A LOT of dirt about me. Stuff like, “Oh Mick? He’s a garbage person. He cares too much, he works too hard, he’s too nice, he’s too inspiring.” The usual gripes.
Do you believe in aliens? Why do you think we should or shouldn’t?
This has been coming up a lot in my life lately. My friend had an encounter a few weeks back. Took a picture of a strange flying object in the sky, sent me a detailed account. He even claimed at one point that the objects in the sky were moving according to thoughts he was having. Very compelling. We’ve all seen things in the sky we couldn’t explain. I think It’s fun to believe and speculate. There must be something going on out there right?! I mean are ya kidding? Have you seen this documentary Independence Day?
One part June Carter sassing Johnny Cash along with two dashes of Itzhak Perlman on a midnight hayride, Mad Crush’s songs contain theatrical, back-and-forth performances between their singing protagonists Joanna Sattin and John Elderkin. Complete with humor and heartbreak, their songs are in fact bright little dramas about fussing, fighting, and occasionally making up—universal truths sprinkled with brand-new magic dust. Below, Elderkin discusses his first musical influences, which are readily apparent upon listening to Mad Crush’s recently-released debut LP.
I have a habit of dismissing great albums on my first listen. I had friends with an advanced copy of Nirvana’s “Nevermind” who freaked out when they heard it, but when I listened, I thought it sucked. Later, I gave it another try and realized I was way wrong. Like the rest of the world, I ate it up. I had a similar reaction to R.E.M.’s first EP, called “Chronic Town.” Friends I respected said that it sounded unlike anything they’d ever heard anywhere. I listened and shrugged. It was different, but what was it? But when I pulled the record out again a few months later, I was flabbergasted. Those guys were speaking my language!
The one time I got it right came before these albums, on my first listen to The Clash’s “London Calling.” I was a teenager but I’d never heard of The Clash, and I bought it because I liked the cover picture of the bass player smashing his guitar on stage. I turned on my record player and by the end of the first song I was jumping up and down on my bed like a maniac. When my younger brother came in to ask what the hell was going on, I pointed to the record player and sure enough, he jumped on the bed, too. The only time I got down was to turn over the sides. I didn’t own a lot of records yet, and afterward I probably assumed that most albums would knock me out this way, that life would be one “London Calling” after another. Maybe that’s why I wasn’t so impressed later with other records that were supposed to bowl me over. Or maybe it’s just that great…
L.A.-based group Transviolet is high off the critical acclaim of their debut EP Kaleidoscopes and national tour with their latest video for “Bad Intentions.” At first glance, the electro-pop track seems to be accompanied by the visuals of a carefree party. But as we follow frontwoman Sarah McTaggart around, we see the darker side of your typical house party music video. It’s magnetic and colorful, yet there’s a deeper meaning behind the imagery. In light of a major cultural shift, the video highlights the power of women and what they can achieve when they stand together. In this case, it’s the women versus those ever-present jerks at a party. But the message is universal – stand up for what you truly believe in and watch what happens. Despite their major success, Transviolet remains fearless in their music and their mindset, and we need that now more than ever.
Check out their EP, and keep up with the band here.
