Jane Jensen’s aesthetic encapsulates the glitz and glamour of the 1970’s variety shows consumed by rock and roll, poetry, and electronic music. While her mind and music tend to wander in many directions, her love for industrial music is the thread that weaves it all together.
Her new album, Changeling, consists of 2 new singles, the industrial alt rock “Changeling” and the industrial pop-punk “Revolution Maker,” each with a Dark Wave and Synth Pop remix. They are sister songs with “Changeling” contemplating rebirth and self-transformation and “Revolution Maker” acknowledging a failed state and calls for the universal hero.
Listen here:
“I wrote ‘Changeling’ and re-wrote it again and again until I felt it hit that emotional spot I needed to fill,” shares Jane. “The song means a lot to me for my own development as a person and as a producer. ‘Revolution Maker’ was a collaboration with Marc and Eric Klee Johnson. They invited me to be a back-up singer in their New Wave band back when I was in high school. The rest is history. Writing music is a magical process but working with dear friends is pure icing.”
Singer/songwriter Gia Levé, has evolved her own music to reflect personal triumphs and our human struggle. She is influenced by her Kundalini and meditation teachings of mindfulness and inner strength.
She is set to release her LP, a collection of songs that reflect Gia’s intentions and values like self-love, self-acceptance, empowerment and especially speaking to women to rise up and be the best that they can. She collaborated on her first three songs that combine jazz tones with smooth Latin groove and pop sound: “Hold Me Again,” “Never Lonely,” and “Breathe with Me” with Brothers Koren and which were skillfully produced by four time Grammy award-winner, Bruce Lowe who brought a Latin vibe to the project.
Her new single, “Hermana” reflects not only her ideas of self-empowerment, but also a rallying call for women to come together to be voices for change. Her Celine Dion or Reba McEntire voice and the Latin Jazz essence of the song enhance the feeling of unity and love.
Kremidas, the multi-instrumentalist songwriter, has just released his second album, Hold On Tight, a cool and chill acoustic album inspired by his brave and courageous journey through cancer. It’s optimistic tone is what emphasizes the instrumental stories of love, hope, and pain.
“I am past cancer, thankfully, but it made me pause and think, ‘where do I go from here? what happens when I’m gone?,’” Jim shares. “When I looked back, I felt this real appreciation for life. There is a lot of bad, of course, but really a lot of good—life is so beautiful. I wanted this album to encompass the full span of the wonderful emotions of life. We are here for a period of time—it’s over before we know it—and I wanted to share in the beauty of it all.”
Hold On Tight is a showcasing of Kremidas’ instrumental prowess. The album features his skills with the strings, except those that require a bow, like the banjo, acoustic and electric guitar, mandolin, dobro, dulcimer, and pedal steel. Each aspect brings a different mood and emotion to the forefront.
“Refections (No Regrets)” is faster paced and has a Johnny Cash feeling to it, like he’s purging his emotions, while “Clara” is lighter and more delicate. He experiments with light synth sounds in “Over Half Way,” invoking a sense of mystery, like you don’t know what’s coming next. “You’re Not Losing Me” is the statement song of the album as it’s the only one with lyrics. He sings “You’re not losing me/I’m not losing you/ we’re just moving on/we’re just passing along.” The song is about moving on to new things and that being a good thing. “Between the Lines” is ambient yet carries a darker country sound. Jim says “This song expresses those times when you feel down—it’s meant to be sad, but also comforting.” The title song, “Hold On Tight” is interesting because it harkens back to “Refections” with the outlaw country vibe. The verses build tension that’s then released in the chorus. It’s emotive and moving.
With an extremely pop-electronica-type intro, Bob Dimick of Ricksha Radio bursts onto the scene with what may arguably be one of our most exciting debut tracks from an artist that we have seen in a long time.
“Hideaway” is Ricksha Radio’s newest release, following his 2011 project, “Welcome to My World.” And with almost a decade since the last time he released music, this feels almost like a rebrand, a new beginning, a debut release for us- and we are LOVING it.
With Bob’s smooth transitions, sultry vocals, and classic instrumentals, it is clear he has been doing this “music thing” for quite some time. But unlike many artists, he is able to put a modern swing on some classic sounds, and that’s what makes him so interesting.
We are so looking forward to hearing more from this artist, and can’t wait to see what else he has in store for us.
The much buzzed about EL VY creates an inspiring album, Return to the Moon, out now via 4AD. Consisting mainly of Matt Berninger of The National and Brent Knopf of Ramona Falls/Menomena, what the duo creates is something honest, heartfelt, and truly unique.
Like when all high profiled musicians break off from their main band, there seems to be a bit of a back and forth skeptical reaction that travels throughout the internet. I believe it was in Pitchfork that I had read a blurb stating that Berninger and Knopf were “incompatible” as musicians. To be honest, yes, they kind of are incompatible as musicians; but on the bright side, that is exactly what makes this combination work well.
The first two singles shined light on the blending of two parties; first with “Return to the Moon (Political Song for Didi Bloome to Sing, with Crescendo)” and the follow up “I’m the Man to Be.” The first singles were definitely a departure from Berninger’s deep and heavy sounds of The National, but it allowed us to see a more upbeat version of what he has to offer. Knopf on the other hand, brings a stunning element of instrumentation to the table that sometimes provides a lively vibe, and other times, a haunting and unusual sound. The mixture of these elements seem to work completely, as they weave throughout each track of the record.
The biggest misconception that a listener can have going into this, is that it’s going to sound like a “National” record. It’s not. Then Berninger would just be working on National songs right now (Right? Right.). What would be the point? The voice is there, but the content isn’t always as heavy. You’re going to dance, you’re still going to get depressed as hell, and you are going to love every moment of it.
Releasing a series of lyric videos directed by the multi-talented Tom Berninger, it provides multiple songs with an intimate look to capture your attention even more. Tracks such as “Happiness Missouri” bring a haunting, yet determined sound into play, while harmonies fill the album in pieces such as “Silent Ivy Hotel,” or the chilling musicianship of “Paul is Alive.” Songs such as “No Time to Crank the Sun,” offers up Matt’s signature delicate crooning, as “Need a Friend,” shares a more vibrant sound, that brings Knopf’s intricate brand of musicianship to the table. Together they create a truly special musical experience within Return to the Moon.
Each piece on the record is strong enough to stand on their own, which is perhaps why the group decided to release a track one at a time leading into the record. Return to the Moon is perhaps the finest record of 2015; mark my word.
EL VY is currently on tour, recently kicking off their Eastern U.S. dates, with two stops in New York. Friday at Bowery Ballroom, and Saturday at Music Hall of Williamsburg. See you there kids.
Fans of Jonathan Boulet‘s self-titled début may be somewhat thrown upon first listen to “You’re A Animal.” The newest track from the Australian folk-pop artist offers a sneak peek at his forthcoming sophomore album (set to be released next year), and it indicates a significantly new direction in his sound. From the very first note, “You’re A Animal” announces itself as a martial anthem powered by a relentlessly pounding drum rhythm. With lyrics like “I will soldier on…and on, and on, and on!” being chanted over a soundfield of guitar and myriad indeterminate instruments, the song leaves no space for the sort of reflective rumination that pervades (most of) the first album. Gone is anything acoustic, and likewise any lines as meditative or somber as, for instance “March to the Poles and meet me there/ Leave all your wars and all your cares/ Find me and you, my name, but I can’t remember you/ Would you go?” (from “North to South East to You”).
But it would be flat out wrong to suggest that these almost defiant gestures of ceaseless energy – which are at once carnal and furious – have no precedent in Boulet’s prior work. Disappointed – or shocked – fans should note that they didn’t just appear from nowhere. Just give “Ones Who Fly Twos Who Die” another listen; though less of a full-fledged manic attack than “YAA,” the tune features the same “tribal” tympani sound and choral vocals. Both tunes seem to reveal a range of influences, from Animal Collective’s Water Curses EP to fellow-Aussie Xavier Rudd to, of all things, Chumbawumba (yeah, I went there… bet you didn’t see that one coming).
In short, there are continuities that shouldn’t be overlooked. And frankly, what Boulet is doing is technically more interesting than before. “YAA” contains atmosphere and confusion, and it brings to the listener an almost cinematic feeling of being chased through the forest. Some may lament the loss of the more personal voice that showed on the self-titled album, but I, for one, look forward to the next full-length release to see what the dizzying swirl of energy unveiled here yields.
Modern Mystery 
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