Fall in love with Love Your Own Noise
NEW MUSIC FROM NEW ORLEANS
It's time to thrust a probing shrimping net into the musical rockpool of recently-released New Orleans' music and see what we snag. Looks like everything from hyperpop to rock, psyche-folk to modern jazz. Listen along - we've embedded all the music for your listening pleasure...and be sure to sign up for your free weekly newsletter with the city's latest arts and culture...
It's time to thrust a probing shrimping net into the musical rockpool of recently-released New Orleans' music and see what we snag. Looks like everything from hyperpop to rock, psyche-folk to modern jazz. Listen along - we've embedded all the music for your listening pleasure...and be sure to sign up for your free weekly newsletter with the city's latest arts and culture...
Harvesting
Lazarus Dance
Does Lazarus Dance have what is surely among the best showbiz names? Possibly. Does he have the musical chops to back it up? For sure. I had his song ‘Lucy’ on heavy rotation for a while, sounding as it does like Nick Drake serenading a tiki-themed cocktail bar (in a good way). Harvesting also begins with some Drakian acoustic plucking but it’s a darker affair altogether, edging towards darkly melodic psychedelic folk. The guitar line is dramatically swamped by insistent strings, and when LD gets to some of the more excitable points, it’s an evocative trip through a bucolic bad dream. Atmospheric and sinister (also in a good way) and the sentiment kind of reminds me of Robert Wyatt's 'Shipbuilding'.
Biology
Love Your Own Noise
Some optimism-forward loveliness here, this time a funk-fueled romp that brings to mind Stevie Wonder or some of Michael Franti’s poppier jaunts. I guess you might call it jazz fusion, and there’s lots of familiarity to hang your listening hat on, with nostalgic hints of D’Angelo and Erykah Badu. The vocals soar and dip with impressively effortless nimbleness, and the backing instruments and voices alike come in with flourishes that carry you along on joyous waves. I’ll love my own noise in good time, once I’m done loving this sexy slice of sunshine.
Love Your Own Noise
Some optimism-forward loveliness here, this time a funk-fueled romp that brings to mind Stevie Wonder or some of Michael Franti’s poppier jaunts. I guess you might call it jazz fusion, and there’s lots of familiarity to hang your listening hat on, with nostalgic hints of D’Angelo and Erykah Badu. The vocals soar and dip with impressively effortless nimbleness, and the backing instruments and voices alike come in with flourishes that carry you along on joyous waves. I’ll love my own noise in good time, once I’m done loving this sexy slice of sunshine.
More Than Yesterday
Kid Eggplant and the Melatauns
Ah, nothing like heading into a spring morning with some sunny, jaunty guitar pop, and this little gem hits the spot. This kind of thing is timeless, channeling some retro backing vocals over a lazily meandering main vocal. It kind of reminded me of the tuneful simplicity of Daniel Johnston or some of The Lemonheads’ catchier noodling. The sun’s out, there’s a cooling breeze as you reach for your sunglasses, and you’re whistling this one all weekend.
Kid Eggplant and the Melatauns
Ah, nothing like heading into a spring morning with some sunny, jaunty guitar pop, and this little gem hits the spot. This kind of thing is timeless, channeling some retro backing vocals over a lazily meandering main vocal. It kind of reminded me of the tuneful simplicity of Daniel Johnston or some of The Lemonheads’ catchier noodling. The sun’s out, there’s a cooling breeze as you reach for your sunglasses, and you’re whistling this one all weekend.
Opus For The Hopeless
Whisper Party!
This is a sweet dose of dream/hyper-pop with Foals-like guitar riffs and syncopation that keeps things driving along nicely. The sophisticated and seductive production sounds elegantly euro in the way that, say, Saint Etienne does, and the soft singing hits in a way that's cooler than strawberry ice cream. There are some captivating chord progressions that elevate things enjoyably, and take you to some musically unpredictable places. Hopelessness it may tout, but it’s euphoric at its heart, with dashes of M83 or maybe April March? Hey, is that a marimba? Doesn’t matter, I’m already playing it on repeat.
Whisper Party!
This is a sweet dose of dream/hyper-pop with Foals-like guitar riffs and syncopation that keeps things driving along nicely. The sophisticated and seductive production sounds elegantly euro in the way that, say, Saint Etienne does, and the soft singing hits in a way that's cooler than strawberry ice cream. There are some captivating chord progressions that elevate things enjoyably, and take you to some musically unpredictable places. Hopelessness it may tout, but it’s euphoric at its heart, with dashes of M83 or maybe April March? Hey, is that a marimba? Doesn’t matter, I’m already playing it on repeat.
So Damn Wrong
Few Blue
This e.p. opens with ‘Oops’, a stompingly energetic call-and-response-style gambol that harks back to rocky 80s classics in the vein of Alice Cooper or Pat Benatar. The confidence on display belies the group’s young years, and tracks like Forbidden Road sound like a fully mature band that have been cranking these numbers out for decades. Title track ‘So Damn Wrong’ allows lead singer Camryn Wisniewski to blast out some full-throated cynicism, like Ariana Grande fronting Led Zeppelin.
Few Blue
This e.p. opens with ‘Oops’, a stompingly energetic call-and-response-style gambol that harks back to rocky 80s classics in the vein of Alice Cooper or Pat Benatar. The confidence on display belies the group’s young years, and tracks like Forbidden Road sound like a fully mature band that have been cranking these numbers out for decades. Title track ‘So Damn Wrong’ allows lead singer Camryn Wisniewski to blast out some full-throated cynicism, like Ariana Grande fronting Led Zeppelin.
High Tide
Lynn Drury
LD (the second LD this month) has coined the term NOLA-mericana for herself, staking out her spot in this city as a regular at French Quarter Fest and Jazz Fest for years. According to her bio, she’s played just about everywhere in town, and you can tell she’s really found her groove. Tracks Love Bomb and Live My Life are stand-outs for me. The former is a laid-back, mid-tempo mooch through an imploding relationship (“Everybody said I dodged a bullet/But it feels more like I took the hit”) while the latter is a quicker, spirited burst of self-affirmation with some playful guitar effects. It’s gonna be OK, she sings, and when the claps and ooo-ooo’s kick in, I kind of believe her.
Lynn Drury
LD (the second LD this month) has coined the term NOLA-mericana for herself, staking out her spot in this city as a regular at French Quarter Fest and Jazz Fest for years. According to her bio, she’s played just about everywhere in town, and you can tell she’s really found her groove. Tracks Love Bomb and Live My Life are stand-outs for me. The former is a laid-back, mid-tempo mooch through an imploding relationship (“Everybody said I dodged a bullet/But it feels more like I took the hit”) while the latter is a quicker, spirited burst of self-affirmation with some playful guitar effects. It’s gonna be OK, she sings, and when the claps and ooo-ooo’s kick in, I kind of believe her.
The Eclipse
Sailem
A bubbling electro anthem that builds steadily as the beats and loops dance around each other. It’s got that beefy 80s bass synth feel that - if you’re a certain age - will hit you like you’re mainlining a medically pure shot of Korg. The vocal refrain is simple, repeating intenssssse pressuuuuure that stops short of being claustrophobic but still manages to envelope you with its potency. The dark electronic shadows are cast but, as with any great eclipse, there’s hints of light shining through.
Sailem
A bubbling electro anthem that builds steadily as the beats and loops dance around each other. It’s got that beefy 80s bass synth feel that - if you’re a certain age - will hit you like you’re mainlining a medically pure shot of Korg. The vocal refrain is simple, repeating intenssssse pressuuuuure that stops short of being claustrophobic but still manages to envelope you with its potency. The dark electronic shadows are cast but, as with any great eclipse, there’s hints of light shining through.
New Eyes
Ben Fox
I don’t really have the musical knowledge or critical vocabulary to evaluate modern jazz, so all I can say (being a jazz ignoramus) is that...I really like this? It’s from an upcoming album called The Pavanist which is, in the words of composer and musician Ben Fox, “A journey into a space of jazz and freedom, swirling mysteries and great empty spaces.” Even for a jazz layman like myself, this rings true, the astral jabs of what I believe is a jet-age sounding aerophone punctuating a summery, sax and keyboard-embellished frolic. The bass and drums veer off on all kinds of beguiling trajectories, and though it's densely layered, it's not too overwrought to take flight.
Ben Fox
I don’t really have the musical knowledge or critical vocabulary to evaluate modern jazz, so all I can say (being a jazz ignoramus) is that...I really like this? It’s from an upcoming album called The Pavanist which is, in the words of composer and musician Ben Fox, “A journey into a space of jazz and freedom, swirling mysteries and great empty spaces.” Even for a jazz layman like myself, this rings true, the astral jabs of what I believe is a jet-age sounding aerophone punctuating a summery, sax and keyboard-embellished frolic. The bass and drums veer off on all kinds of beguiling trajectories, and though it's densely layered, it's not too overwrought to take flight.
Messy (*nsfw)
Donyae Asante
Blimey. This is a saucy little number and no mistake. Donyae Asante unleashes a sexual manifesto that’s as explicit as it is detailed. Simple loops and beats bloop away in the background but it’s the sheer uncut raunchiness, delivered with Asante’s trademark indignation, humor and wordsmithery, that drives this one. Maybe don’t play this at your church social or lunch with the grandparents - blast it in your car, or better still, play it to someone you’re hoping to seduce...there’ll certainly be no misunderstandings about your intentions.
Donyae Asante
Blimey. This is a saucy little number and no mistake. Donyae Asante unleashes a sexual manifesto that’s as explicit as it is detailed. Simple loops and beats bloop away in the background but it’s the sheer uncut raunchiness, delivered with Asante’s trademark indignation, humor and wordsmithery, that drives this one. Maybe don’t play this at your church social or lunch with the grandparents - blast it in your car, or better still, play it to someone you’re hoping to seduce...there’ll certainly be no misunderstandings about your intentions.
JAZZ DADS: A FIELD GUIDE
AN INTERVIEW WITH NEAL TODTEN: BRINGING MUSICAL MINIMALISM TO THE HAPPYLAND THEATER
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AN INTERVIEW WITH NEAL TODTEN: BRINGING MUSICAL MINIMALISM TO THE HAPPYLAND THEATER
MORE CULTURE
LATEST REVIEWS
