by Katy Mombourquette | Jun 24, 2020 | premieres, videos, wolf tracks
As a player and producer, Les Nuby is no stranger to the music world. The virtuoso began in Birmingham, Alabama as the drummer for indie-rock band Verbena but never settled, exploring as many opportunities as he could. Notable endeavours include touring with the esteemed Scottish band Idlewild, as well as playing guitar for Amy Ray of the Indigo Girls and the band Vulture Whale. A marvel behind the scenes as well, Nuby has produced releases for artists such as Will Stewart, Sarah Lee Langford, The Dirty Clergy, and Witch’s Wall. Alongside being the current guitarist and vocalist for Holiday Gunfire, he is finally adding a solo album to his repertoire. Clouded will be released on July 10th, 2020.
“Know What She Said” will be the first single, and it lets you in on the secret of what to expect from this long-anticipated album. The song is quite melodic and emanates exciting but controlled energy, meanwhile the surrounding music is made up of skilled instrument playing. A particularly bouncy bass part especially stands out and would be worth keeping an ear out for. In fact, you could listen to this song over and over again and rediscover it each time as you listen to the intricacies of each instrument. The vocals and overall atmosphere of the single is reminiscent of 80s era R.E.M., but the melody points more towards early 90s power pop, and the two blend together wonderfully.
The video is a captivating, artsy black and white live visual that allows you a brief glimpse into Les Nuby’s live performance. It’s enough to make you yearn for pre-Covid days.
You can look forward to these well-executed aspects in Clouded as well. In a culmination of his musical resume, Les Nuby produced, engineered, and played all the instruments on the album, and that care and experience is certainly heard in “Know What She Said.”
Be sure to check out Nuby’s earlier release “Never Falling Away” here.
by Katy Mombourquette | Jun 22, 2020 | albums, review
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.
by Katy Mombourquette | Jun 19, 2020 | singles, wolf tracks
London-based, female-fronted trio Dance Lessons released their single “New Job” today. The track comes on the heels of their successful “domineering debut” single “SMABTO.” “New Job” is what Dance Lessons defines as “serrated pop,” and shows off jagged, zany harmonies. It shines a light on the shared experience that two people may have after a breakup as they both distract themselves from their sadness. Though, the song was conceived before a breakup had happened, and ended up becoming a sort of “self-fulfilling prophecy.” This electric dance-pop hit is accompanied by a vivid music video that was filmed during the COVID-19 lockdown in LA. The dancers had no crew and minimal gear but managed to film a hauntingly beautiful interpretive dance in the deserted streets.
Parallels between the music and dance are found throughout the entire video. There is a nice give and take between the two vocalists in the track, and there’s also a strong interplay between the dance and the song. The moves echo the rhythm of the words, every step is in tandem with the music. Just as the video progresses through different scenes in the area, the music explores different sonic features, such as the wispy background vocals, plucky guitar, and the electronic wind-like blur that drifts in the background. Color plays a prominent visual role in the music video, just as the groovy harmonies in the bridge add color to the music. These parallels are captivating, so when the music fades out, you’re confronted with the eerie silence of the once-bustling LA street, save for a faint siren in the background.
Keep up with the snazzy trio on twitter and instagram, and check out their groundbreaking debut single here.
by Katy Mombourquette | Jun 18, 2020 | singles, wolf tracks
Philly and NYC based indie rock and folk trio TEOA present their soul-baring offering to a departed friend today with their new single “Canyon.” Inspired by Jack Kerouac’s On The Road, TEOA stands for The End of America. The band forms their sound from a blend of three-part harmony with rock and Americana. Preparing for an upcoming year of touring, TEOA soon will grace their audiences with their powerful mix of voices and strong stage presence. If you’re interested in seeing them in action, the band has a live show on Facebook every Thursday at 8:30pm EST. In the meantime, the guys will be releasing a single every month, so be sure to keep an eye out!
Band member Brendon Thomas wrote “Canyon” for his friend and partner Amy Regan, who passed away in 2016. Thomas describes Amy as “a beautiful person with a stunning voice and wrote the songs to match it. Music was in the fiber of her being.” The pair dreamed of playing a concert at Red Rocks, an Amphitheatre near Denver. As Thomas continues to strive for this goal with TEOA, he hopes that “Canyon” can act as an invitation to her spirit to follow him so that she too can achieve her dream and “howl at the moon” with them.
The lyrics are filled with touching personal connections to Amy. Embraced by soaring harmonies, Thomas says “If you’re here, sing now.” He references one of Amy’s songs “Some Kind of Blues” in the outro as an homage to her music and all that it taught him. Born from freestyling in his car, Thomas’ lyrics are conversational, a heartfelt call to his friend. They are the focal point of the song. The music simply lifts them up so that they might be heard. The entire arrangement was built around the wistful opening guitar riff, which Thomas wanted to save for the right song. It plays its role well, for it engages the listener, but also establishes a doleful mood. When Thomas brought the song to his bandmates James Downes and Trevor Leonard, he imagined “harmonies in the chorus that could paint the sky.” Indeed, the background voices coming together sound majestic, even otherworldly.
“Canyon” is infused with a muted sadness, but the harmonies and steady tempo also make it feel wonderfully uplifting. It’s heartbreaking, resounding, and absolutely beautiful.
by Katy Mombourquette | Jun 17, 2020 | singles, wolf tracks
Tap into your summertime nostalgia with Simpson’s new track “Summer”! The sizzling single may seem out of place considering how messy the summer of 2020 has been, but what Simpson offers is a reminder of how the concept of summer can mean different things. When describing the song she states “’Summer’ is so much more than a song about the summer. It’s about bottling, escaping nostalgia, being present, being flung into the afterthought of the future. It’s sarcastic, it’s cheeky, it kisses your forehead. Summer sees you, remembers you, and doesn’t forget you. Summer is what you were looking forward to that ended up letting you down, but you were so fucked on it exceeding expectations that you didn’t even realize it. Summer is a person, summer is a place, summer is a thing, summer is a feeling.”
Indeed, “Summer” embodies the kind of energy that you feel on a sunny, clear-skied mid-July day. Beginning with just a guitar riff and drums, the music starts off muted before sharpening, like you’re stepping out into the brilliant warmth. The guitar part is persistent and has that happy go lucky sound that’s characteristic of summer. It complements the vocal line well, at times tracing the same melodic arc. While the track certainly leans into the whole summery vibe, the bassline adds an attractive contrasting element. It sounds like something you would hear in a song by The Human League from the 80s. This detail, slight as it may be, gives “Summer” a bit of extra oomph.
Simpson released her first gem in 2017 with her debut song “Switch Lanes.” Since then she has been touring and releasing other singles along the way. “Summer” is her freshest track yet, with more to come in 2020! Be sure to also check out her accompanying new single “I Miss My Dawgs.” All the streaming revenue for this track will go towards organizations that support black LGBTQIA+ people around the United States.
by Katy Mombourquette | Jun 16, 2020 | videos, wolf tracks
Alt-R&B artist ROSA displays courage in his painfully raw single “BLOW” and accompanying music video. The track unearths and sets free some deeply buried demons surrounding ROSA’s personal battle with depression and drug abuse. Living with depression from an early age, ROSA quickly learned to adapt, to suppress his emotions, and instead forced himself to think clinically. While clever, this approach only prevented him from actually confronting his issues. It was his crafty thinking that allowed his severe cocaine addiction to fly under the radar for years without his friends or family noticing. Written, composed, produced, and arranged by ROSA alongside Joveek Murphy and Axe Hessel, the title “BLOW” refers both to cocaine, but also to what happens when you fail to deal with your emotions. The track is not only about someone coming to terms with their drug problem, but also with the root of the problem: depression. It is the second of a trio of singles that will be released before ROSA’s anticipated debut EP FEMALE. This EP will deal with female empowerment but also tackles issues of male emotional vulnerability. ROSA aims to challenge the stereotypes that surround masculinity by exposing some dark parts of himself. In the interest of honesty, “BLOW” speaks frankly, eschewing metaphors and symbolism to avoid romanticizing the matters of drug use in the track. By doing so, ROSA hopes to offer an alternative to the glamourized portrayal of drug use in pop culture.
The music video was directed by ROSA himself and illustrates his experience, from the initial ecstasy of cocaine to the inevitable deterioration as the high wears off. To show this, we first see shots of pleasant images: green trees and manicured bushes, women in dresses, bright blue lipstick, and deep red and white cloths. But each of these images are a double-edged sword. The groomed shrubbery and vivid colours seem out of context against muted colours and barren landscapes in the background. The faces of the women are void of expression. As the video progresses, we start to notice certain unsettling subtleties in the initial shots– the expression of pain on someone’s face with their mouth duct-taped shut, the fact that the fabrics are stretched over the people’s face. Eventually, you see that these people are struggling, even screaming through their restraints. Towards the end, fuzzy, black and white shots are interspersed among the others, before the harrowing final ten seconds arrive.
While ROSA’s alternative R&B and pop sound fits in somewhere near Frank Ocean, Kid Cudi, and Dev Hynes, his sound also has distinct touches that make his music his own. In “BLOW”, the music follows the same path of decay as the video, beginning with a smooth bassline and vocals, but finishing with stuttering words and haphazardous pauses before stopping suddenly, holding its breath for the final shot in the video. When the grainy black and white shots appear, some grungy guitar fills out the music, and shortly after ghostly harmonies chill you to the bone. The most impact, however, comes from the inserted spoken lines. Used sparingly, these lines directly get the message across, and uphold ROSA’s goal to show authentic emotions in a straightforward way.
Watch the striking video here, and look out for the third FEMALE single and the EP itself in the future.
by Katy Mombourquette | Jun 15, 2020 | singles, videos, wolf tracks
Experimental pop and R&B alchemists Black Grapefruit have reanimated their 2019 song “Waist” from their dance-inspired EP of the same name. The duo released a pertinent video and compelling remix that offer fresh takes on the track.
Produced by Not 97, the video features footage from fans, friends, and family dancing to “Waist” from the comfort of their homes. Ironically, the video was put together way before the coronavirus-induced mandate to stay home was in effect. The sense of community present in the video has only gotten more relevant. Black Grapefruit mentioned that this video is a “reminder that we can share energy regardless of distance, and that we are all more connected than we sometimes realize.” It’s something to keep in mind as we all brave the isolating effects of seclusion. There are several cameos in the video as well, such as Emmy-nominated actor Zazie Beetz and model and co-host of MTV’s Catfish Kamie Crawford.
The song itself is quite chill but is also infused with a danceable energy, adding another dimension to the song’s relevance. Black Grapefruit explains the place of “Waist” in light of recent events by saying that “humans have been dancing through pain and turmoil since long before recorded music. With full respect for the moment, this is our creative offering. It’s made from ceremonial, positive intention. We can only hope that its movement somehow supports our collective and continued fight towards justice and healing.” Overall the track has a good continuous flow, but anticipation is created by the few pauses that are thrown in to keep the listener on their toes. The remix takes these pauses further, breaking up the melody into fragments and weaving them together into a fractured tapestry. Despite this, there are still tons of beats to attach dance moves to, preserving the rhythmic essence of the original track.
by Katy Mombourquette | Jun 12, 2020 | singles, wolf tracks
Alannah Kavanagh’s indie rock project Grizzly Coast has added a new feel-good indie bop to their repertoire. Inspired by her countless nights in the Toronto music scene, Kavanagh wrote “End of the Night” with the intention to mimic the energy of live music. She fondly recalls how at a show, the music is too loud for anyone to talk, and so it can quell any anxiety over what to say and just allows you to focus on the experience. Even out of the context of a live venue, “End of the Night” delivers on this front.
Kavanagh’s heavenly voice starts the track off by singing “Here we go,” backed up by hazy guitars and a slow tempo before accelerating to the actual tempo of the song. She’s taking you by the hand and leading you to the live show. The rising harmonies and the fuzzy but joyous guitars make the song feel very uplifting– you can feel your own troubles start to alleviate. It’s easy to imagine how this feeling would be amplified if it were heard live. Kavanagh’s voice is the icing on the cake. She effortlessly moves through notes and sings with a freedom that compels you not only to listen, but to be free with her.
“End of the Night” will be a part of Grizzly Coast’s EP Party of One which will be released on July 17th, 2020. The EP will highlight the human need for community and the dividends that pay from having the courage to reach out to those you care about, and who care about you.
Keep up with Grizzly Coast here.
by Katy Mombourquette | Jun 11, 2020 | singles, wolf tracks
Buckle up your rocket ship seat belts for this one. Eclectic visionaries Moviestar have released their new interstellar single “Waste of Space.” Band members Infinity Vik, The Octopus Goddess and Anaconda first revealed their eccentricity back in 2018 with their critically acclaimed debut album Stupid People / Happy Days. Now they are here to astral-project far into the future and eradicate boundaries. They are described as “intergalactic archeologists” who formed in the future to produce avant-garde music that dabbles in the genres of art-pop, indie, and sci-fi punk… to name a few.
“Waste of Space” is loud, harsh, and full of energy. The initial obstinate beat and the gritty guitar immediately grabs a hold of you and pulls you along. Each verse is static, the unrelenting pattern of drums, guitar and bass grounds you, but the energy builds like a static charge. When it reaches its peak, all this energy diffuses into a dynamic chorus that coasts through its duration. The second time around, a surprisingly dulcet melody meets you after the chorus, allowing you to fully transcend into space.
This single is only one piece of the puzzle, however. Moviestar’s new album The Curse and the Currency of the Twenty-First Century is a concept album about the state of the world in 2020, but from the perspective of the future. It confronts various issues surrounding social media, technology, the environment, and the human condition. Just like the wonder of space, Moviestar’s music is limitless. They are a ghostly presence from the future that has come to show us the extent of what’s possible. If you’re looking for something idiosyncratic, or are a fan of the Yeah Yeah Yeahs, David Bowie, The Kills, or Blood Red Shoes, this band is absolutely for you.
Be sure to check out the video for “Waste of Space” here, and listen to the rest of their earth-shattering album on Spotify and Apple Music.
