Take the purity and resonance of Hozier and pair it with the soulful grit of Son Little. Entitled ’Sons & Daughters’ it is a refreshing throwback to the glory days of Motown, but with a unique modern indie pop interpretation. The single has already had the seal of approval from audio guru Brian Lucey (The Black Keys, Arctic Monkeys) who worked on their album.
About the name of the song: "Sons & Daughters" is the encapsulation of perseverance in the name of change. An attempt to not only survive in the modern world, but to live and flourish. Despite the madness of the times, positive encouragement and reinforcement light the way towards a brighter future. Now is the time to break the chains of yesterday's mistakes and free ourselves with today's knowledge. We are all sons and daughters navigating our ways through life with more similarities between us than differences. Rejoice in these similarities, share the music, spread the love, and know that we will persevere”.
Sound x 3 Records is pleased to announce the worldwide digital release of 'Old Soul New World' by California neo souland indie pop writer and recording artist, John Klezmer aka “Klez” in fall 2017. 'Old Soul New World' is the explosive and aptly titled second EP of Klez, whose music lies somewhere in the nebulous middle of the soul spectrum. Take the purity and resonance of Hozier and pair it with the soulful grit of Son Little, and you get Klez. Old Soul New World is a refreshing throwback to the glory days of Motown. It is Klez unchained and ready to steal the anthems of summer. The EP was recorded in the Bay Area; mixed in Northern California and mastered by audio guru, Brian Lucey (The Black Keys, Artic Monkeys, and Cage the Elephant) at Magic Gardens Mastering in Los Angeles.
"Countless Ways" is a song of loss, a performance where the empty RSVP seats in a concert hall are lovers lost to memory. “Don’t pick up when I call” is that one-sided ending we all know too well. “Like you somehow appear” as a ghost, a phantom limb, that empty expectation of an impossible return as if from the dead.
The song divides into two major parts. In the first, the narrator goes from a dark longing to attempting acceptance: “I hope that you’re well” -- but your photos “can and do tell me that you’re longing”. By that halftime switch in the middle. we are cast far away as if in the audience ourselves being told to sing along.
"Sing it to the empty seats / When we sing they’re not gone."
Here he seems to come to full terms with the loss, the changes after a relationship are internalized and mutual. The song would conclude. but instead it pretty much starts over, but this time the duration is shorter, paralleling the process of acceptance.
In the age of social media we have “countless ways” to miss someone, to drive ourselves into the past with repetition and longing. Loss has never been harder, more public, more ruminative..
Brooklyn-based Trevor Gittelman has always had a revivalist sensibility, starting by singing for a classic/alt-rock cover band at 14 favoring music by Zeppelin, Radiohead and Muse. He had a knack for imitation but developed a more personal tenor style through college. His music production studies began during chronic illness in high school and college, the time he would spend alone recovering was also spent learning about sound design, arrangement and composition. Studying music composition and working with film scores he developed minimalist electronic music and dense psychedelic/hard rock in his home studio.
Gittelman gathered an ensemble around the solo project Van Vega in early 2014 and won Hofstra University’s battle of the bands. This performance with Phony Ppl and X Ambassadors gained the band a following, but inner band conflict caused the group to split. Van Vega has reformed in its third incarnation today but the vast solo productions accumulated over that long hiatus is now being released and performed as the one man show known as Trevor Forrest.
Gittelman's performances range from minimal acoustic to maximalist laptop productions. He uses a TC Helicon Voicelive 3 to achieve harmonies live and uses looping to create dense arrangements. His performances are intimate, psychedelic, and wide-ranging in style.
Folk/soul singer/songwriter Nora Rothman recently announced her debut self-titled EP, set for release on July 21, 2017, introducing her emotive performance style with a live studio version of her original track, "Judy Garland," followed by her spine-tingling song, "Note to My Ex Lover." Today, Rothman is back with a new single and official music video for "Truth or Dare," a sweet ukulele melody about the games we play with love. The video features behind-the-scenes footage of Rothman setting up to film a live performance on her fire escape and taking a detour along the way. In fact, Rothman & videographer Tommy Ufland were actually trying to film a live version of "Truth or Dare," but there was an unforeseen festival happening on her block. Since they couldn't film with the noise from the street, they took their camera down to the festival and joined. It turned out to be a leather bear convention and live rock show, giving the video a unique story behind it.
Hailing from Hollywood nobility as the daughter of Tom Rothman (Chairman, Sony Pictures Entertainment) and Jessica Harper (Actress), it was inevitable that indie singer/songwriter Nora Rothman would find herself fully immersed in all things music and entertainment. At three she laid down her first recording, at eleven she wrote her first song, and at sixteen she played her first professional show. Finding a relief in music while struggling with an anxiety disorder, Rothman immersed herself in songwriting and vocal studies as she channeled her contemporary rawness and pop sensibility into acoustic, 70s-esque arrangements. Now at 26, Rothman has more experience under her belt than most. After graduating from Brown University with honors in Creative Writing, she picked up a ukulele, and settled into her unique soulful folk sound while simultaneously appearing as an actress on stage and screen. As a professional vocalist, Rothman soloed at the KJazz Fall Benefit Concert, toured through Italy, played at the inaugural Life is Beautiful Festival in Vegas, and collaborated with visionary director Nathan Kim on their video "Strange // Humanshapes." As an actress, Rothman has starred in Criminal Minds: Beyond Borders and acclaimed indie film, Hunky Dory.
A singer-songwriter with a singular folk soul sound, Rothman finds a home somewhere in between the deep vocals of Sarah Vaughan, poetic lyrics of Joni Mitchell, and honest musicality of Frank Ocean. An avid feminist and political voice, Rothman moved to Boulder, CO working as a field organizer for the Hillary Clinton campaign and after a six month hiatus, returned to music to release her self-titled debut EP this summer. Recorded at The Fortress LA in downtown Los Angeles, the EP will feature three spine-tingling tracks that highlight Rothman's dynamic vocal range and intimate songwriting. All songs on the EP were written and arranged by Nora Rothman and produced by Grammy-nominated Felix McTeigue (Radio Perfecto, Florida Georgia Line), Drew Guido (Ingrid Michelson, Sara Bareilles),and Nora Rothman. The EP was mixed by Drew Guido, mastered by Amar Lal, and engineered by Adam Lathrum and Brian Harris
On Saturday, May 20, multi-instrumentalist and lauded bass player Erik Kramer released his debut studio endeavor, an EP entitled ‘Missed the Boat.’ The Brooklyn-based musician has an especially eclectic sound, one that employs the talent of a slew of musicians: saxophone, trombone, viola, trumpet, back-up vocalists - they’re all there. An experimental record through and through, ‘Missed the Boat’ is an indie record quite unlike anything else that’s come across my desk in recent months.
The most unique quality ‘Missed the Boat’ boasts is its ability to effortlessly hop between genres, all while maintaining an aura of cohesiveness. It’s very difficult to be an artist that pulls influence from so many sonic avenues and keep your sound organized, and Kramer does this remarkably well. The titular track, which opens the EP, has a very Radiohead-infused sound. The soft vocal croons, funky bass riffs, and erratic brass sections all sound like they’re from a ‘King of Limbs’ session.
The following track has much more of a jazz influence, offering a rather beautiful soundscape of piano noodling accented by a fantastic string section. If New York experimental music was written for a late night jazz club, ‘Seagulls’ would be the song that would result from it. ‘One of Many,’ the track after that, is a tune that really lets the brass section shine. There’s more funk and fusion influence apparent on that song, and the more upbeat nature of the track gives Kramer more room to experiment as a vocalist.
The EP’s most easy-listening track is surely ‘Tell You Otherwise,’ a sublime listening experience that washes over the listener in a surreal fashion. The equally enigmatic lyricism matches the instrumentation beautifully, as does the sparse, but effective female vocal backing. Heavy jazz inspiration then returns for ‘The Way It Goes,’ exhibiting some of the collection’s most excellent musicianship.
The finale of the EP, ‘The Light,’ may be its strongest song, at least, lyrically. The story-like lyricism puts the vocal content at the forefront of the song, whereas the rest of the EP usually reverses that dichotomy. At this point, it’s also very much worth mentioning that the production on ‘Missed the Boat’ is incredibly good, too, and Kramer has a superb hand over such a large soundscape of musicians.
‘Missed the Boat’ is an excellent EP from beginning to end, defying genre by jamming together funk, jazz, and experimental influences. It does it in an unpretentious fashion, too, which is rather vital to success in this arena.
“Blinding Sights (Left Me Cold in the Night)” is off Yellow House's brand new EP, 'A Carnival of Fears', which chronicles the severe juxtaposition of expectation and reality in young adulthood. It is an intimate journey through the first contact with love, alienation, disillusion and politics. Emile van Dango (aka Yellow House) wrote, produced, and performed the album's tracks in his home studio by himself.
Compiled through years of home recording and writing, 'A Carnival of Fears' is an "all scars bared" approach to detailing a young musicians journey from teenage folky, to the fruition of a young man settled firmly in his unique unapologetic vision.
Yellow House is the recording project of Cape Town based singer-songwriter and multi-instrumentalist, Emile van Dango. After years of venturing through the endless genre waves which flood the Cape Town music scene, yet never quite feeling at home, Emile instead opted to dream up his own unique universe.
Yellow House serves as the embodiment of all that Emile could sink his teeth into during his formative years as a young songwriter and producer. Having spent a couple years honing his craft as a folk musician, Yellow House carves out a broader space, a home of artistic experimentation and endless possibility -- a haven which currently exists as the headquarters for Emile’s new dream-pop/psych-soul visions.
These Are Truly The Last Days is a musical project with a driven experimental twist. Their music blurs the lines between various genres, including ambient, electronica, glitch hop, and more. The project’s self-titled studio effort features 11 studio tracks.
Crafting a concept album is an incredibly difficult task. Tying together a cohesive narrative across a record’s worth of songs isn’t just daunting, it’s an endeavour that even some of the industry’s finest have failed to do memorably. This task, however, becomes notably more difficult when you’re dealing in the abstract via instrumental soundscapes. That is what Chronotope Project, the moniker of composer Jeffrey Ericson Allen, attempts to do with his latest project, ‘Ovum.’