Tonstartssbandht the musical due of brothers Edwin and Andy White have today announced their 18th album Petunia, set to be released on October 22nd via Mexican Summer. Pre-order here. They have also shared lead single “What Has Happened” alongside an accompanying music video directed by Case Mahan.
A press release about the album said:
Where most Tonstartssbandht albums come together slowly over years, recorded on the fly whenever the Whites have a few spare moments on the road, Petunia was largely written and recorded in their home city of Orlando in 2020. Many of the tracks had been played live, but in extremely rough form, and hadn’t yet developed into any kind of mature stage. With plenty of time on their hands thanks to the lockdown, and no shows to play, Andy and Edwin decided to pack some flesh onto those skeletons and bring them to life on their own. Petunia is the first Tonstartssbandht album to be created in a sustained manner and in a consistent environment, written and recorded in a single place over a focused period of time.
As a result, Petunia feels like a unified aesthetic statement. Using little more than a 12-string guitar and a drum kit, Andy and Edwin weave together the gentle headiness of Laurel Canyon and the sweaty pacing of Cologne; like a gyroscope, its constant motion produces the illusion of stillness—and that stillness gives it a sense of intimacy and introspection, something that’s further illuminated by the new emphasis placed on the brothers’ vocals. Taking cues from The Zombies and the falsetto-feathered singing of ’70s funk and reggae, Andy and Edwin stitch their voices together so easily, and with such generosity, it’s virtually impossible to see the seams.
Juan Wauters is becoming as prolific as he is emphatic to listen to. This is his first full length album since 2019’s La Onda De Juan Pablo, with his Más Canciones de La Onda EP coming in between. At its core this album celebrates the many connections and friendships that Wauters has established over the years, both musical and personal. In our interview with Juan he said that the idea of this collaborative album came about after realising how many crossovers appear in rap music and wanting to do the same. He then enlisted a bunch of musical companions to make an album that breezes through hip-hop, Latin folk, indie rock, synth-wave and everything in between. Like walking through a contemporary club with various rooms of throwback disco, heavy hitting beats and laidback lounges, there’s something for everyone on here.
This album acts as almost a diary turned radio station of Wauters life through 2019 – 2020. The initial recordings were done before the pandemic started but as it was being completed suddenly all these connections that are captured on this album had to stop. And although we may never know what others could have happened, this fact simply just makes the cameos and features that much more special. From the synth-pop infused “Monsoon” featuring Homeshake and his signature style of digital landscapes, to the ballad turned folk “Real” with former label-mate Mac DeMarco there’s an underlying sense of joy within all these songs. In our interview with Juan he said “when I met with all these people to make the songs with, those were definitely real life situations” and you can hear this authenticity of sound throughout. Wauters mixes the home style recordings he’s become known for on the likes of “Carmina Pensá” with the symphonic “Powder” to create a collection of songs that have one core element tieing them all together, Wauters resoundingly vibrant personality.
One of the biggest influences Wauters had coming into this album was falling back in love with hip-hop, namely Outkast. There are course Wauters takes on hip-hop classics with the likes of the 90’s nostalgia driven “Unity” with Cola Boy. And “Presentation” with Nick Hakim and Benamin that’s beat would be a producers dream to sample. But the biggest influence perhaps comes in the way this album is tied together. Through various audio samples, field recordings and voice notes there’s a human element tied directly into this album. Almost like the skits found throughout hip-hop classics these moments not only introduce the album, but bring the real world into every aspect.
Fans of Wauters classic works haven’t been forgotten of course. There’s still flavours of Latin folk mixed into the playlist with the likes of “Estás Escuchando” featuring El David Aguilar that’s melody will be left floating around your head for weeks. And “Lion Dome” with Air Waves that’s as melancholic as it is encapsulating; getting lost in a song never felt any easier than this. It’s in these moments that you realise how far Wauters has come as an artist since the breezy days of “North American Poetry”. He’s kept true to his sound whilst also incorporating more and more expansive and vibrant songwriting. “You thought my music was like this, now you think my music is like that” Wauters declares on “Unity”.
Although this album was completed during lockdown it’s very much not a lockdown album. Rather a celebration and reflection on those connections we so dearly long for. It’s a joyous listen that only becomes more vibrant on each repeat. With it’s depth in styles and sounds you find a new favourite each and every time.
JayWood is the musical project of Winnipeg, Canada based artist Jeremy Haywood-Smith that at its core is ultimately infectious in every moment. His styles range from bedroom-pop, funk, jazz, indie-rock, psychedelic pop and just about anything in between. But the true enticement of JayWood comes from diving deep into the soundscapes he creates, with embellishments and subtle flairs of genius striking up within every corner. He’s now taken his next step into musical glory after signing with New York indie powerhouse Captured Tracks, whose roster has included the likes of Mac DeMarco, Juan Wauters, Diiv and Becca Mancari. His new EP Some Days will be his first major label release which was originally written and recorded in 2015 as his first venture of recorded music. Revisiting the EP he’s added new flavours of funk and undying grooves to bring the songs in line with the modern JayWood sound. We spoke to Jeremy ahead of the release to learn about the EP and his evolution as an artist.
The EP was originally written and recorded in 2015, what made you come back to it all these years later?
With everything going in with the pandemic and everyone stuck at home I was just sitting in the present and thinking about the past and I thought “Well i don’t wanna be doing something that is uncertain, like new music for right now” and I was just very much feeling a lot of writers block at the same time as well. Two things to do in that situation were just record covers or just revamp old ideas. So I thought i’d rather just polish off the first JayWood ideas that were not really done that well the first time and just give them a new life. As well as honouring the past and just reconnecting with that time when I was just writing pretty much every single day and getting into that mindset. Funnily enough it really helped with working on new music after that. I just found myself sitting in the past a lot and that’s what really spurred the idea to re-record those old songs.
At the time of writing the EP you were going through a lot of transitions, was the EP a way of documenting those or was it more of an outlet?
Yeah I definitely think both as some of those things were happening as I was writing it and some of those things were past and were done but I hadn’t really vented them out or really made sense of them. It was really like a journal entry. There are lot more songs on the original version but on this version I thought that I didn’t really need all the excess crap that’s not really doing much. It was just a way to vent and just track my thoughts because everything just felt like I didn’t really feel like I had my footing in anything at the time so working on the EP was a nice way to stay grounded and see what I was thinking at that time. And also reflect and make sense of that time.
To initially record the EP was something that took you out of your comfort zone, did coming back to the EP take you out of your comfort zone as well?
I think going back to it, it felt not necessarily out of comfort but definitely felt like I was taken back. I was almost re-learning how to play songs so it almost felt like I was making new songs on top of things that already existed. So it was just a weird getting into that mindset as well, so what was I thinking when I was singing these lyrics, what was I going through, putting some emotion into that. I think as well at that time as well the music was a lot more vulnerable too. In a sense I was getting out of my comfort zone by getting into that mindset where I was just saying what I wanted to. After that EP started to hide what I was really trying to say by adding more effects or being as vague as possible. It was definitely more of form of discomfort in just speaking your truth and being honest. And what I took from that is that I should just honour that way more in newer writing and just being honest in what I want to say.
Going from the bedroom pop sounds of Time your last album to the new EP there’s a lot more elements of funk and jazz within, what made you move over to this style?
I think when I first started writing music I was just trying to write what was popular at the time. Back in early 2014/15 Mac DeMarco was huge, Real Estate, all those types of bands were really big. So I thought I should really try to make music like this because it’s the popular way to go. But it was never really natural for me and it felt like I was forcing it out of myself and I didn’t really like it. So when I stopped and assessed and thought “What do I want to write? What comes natural to me?” and what i’m currently doing now was kind of the first thing to happen. So I thought “Alright it’s like the path of the least resistance” and I didn’t want to fight that and I kind of just went with it and continued to experiment and continued to dive deeper into what i’m interested in making. I think there’s definitely elements of jazz and funk and psych and all these things I like. I just try and take little bits and pieces of all the music I like so that’s where my current style came from.
What inspirations did you draw from for this sound?
Definitely Unknown Mortal Orchestra at the time and Neon Indian’s third album Vega Intl. Night School was the most important album I was listening to in 2015. I also got really into Tame Impala early in 2015, just after Currents came out so that was the album of my summer. And my biggest inspiration always and forever is Gorillaz and that’s a project that’s constantly changing. I’ve always loved that idea but I never thought I could do that, then I thought “Oh wait, there aren’t any rules when you do music your own way and at your own pace”. You know I can do that and I can constantly be re-inventing and changing what I want to do and it doesn’t need to be this whole thing, it can just be part of my ethos. I was definitely still listening to the bands that were really popular at the time, but i was just trying to not make what they were making. Anything that was really capturing something for me.
That evolution of sound, is that something you look for when writing new material?
When I start a new project I got to the idea of “What haven’t I done yet that I want to try?” which is the big thing. I listened back to my old music a lot when I’m working on new music, so I can think “this is where i’ve been, where am I trying to go?”. I often just don’t listen to anything at that time when I’m writing, I don’t listen to any new music. And then after thinking what haven’t I done I become fully uncomfortable when working on new music. So i think “This sounds a lot like something I shouldn’t be doing” but then i’m like “Alright I’m just gonna go with it and hope for the best” haha.
I often have ideas that aren’t necessarily songs or sound ideas, just like concepts where I think “I want a really jammy song” or “I want a song thats only four chords all the way through or just stuff like that. And I think just having little challenges for myself just keeps me connected to what i’m making at the time.
I can definitely here that on the EP, with “Some Days” being jazz and funk infused, then going into “Dreams” with the tender sweeping string section.
Yeah for the EP I just really liked the contrast of going from one thing to another thing, then back to another and another. I think “Some Days” and “What You Do To Me” have a similar vibe to them, but everything in the middle has something different so it just feels like a nice full package.
Going into the EP you were writing the first thing that came to your mind, is that an ethos you still keep today?
At that time music was just pouring out of me and I was constantly creative and it was so easy. Now my old mind is just working against me to some degree. I feel like it takes a little longer to get an idea fully formed, but as soon as I have one part the rest will come a lot easier. Music kind of happens away from instruments for me, like i’ll be going about my day and I’ll hear a melody in my head and then think “Okay now i just have to find that sound” and then I have to build around that sound and then I can see a song forming. I try to use that first idea and try it out and incorporate new ideas and then rework it if it doesn’t work with the new ideas.
What’s it like now having signed to Captured Tracks and releasing your music alongside a fantastic roster of artists?
It’s still very much surreal to me. Obviously a lot of the artists at the time of originally writing were the biggest influences for me and to put it out years later on the label feels just like a complete full circle moment, just like “Holy shit that’s so cool” haha. It’s been really really great, everyone at the label has been amazing and I just feel very much part of a team and i’m incredibly grateful to be a part of Captured Tracks and i’m just super excited now. Obviously with releasing old music, it’s old to me but it’s new to everyone else and my mindset when it was done was thinking “I wonder if people will even respond to it well” but getting the response from everyone at the label and people listening to it for the first time is just very affirming to be like “I need to get on my own way a bit”. It’s been really great to have everyone hype you up and be your biggest support and just think “nice this is a cool moment in time for sure”.
Do you think it’s helped having the first release on the label something older to give people a taste of your sound?
100%. I was really nervous at the prospect of putting out a first album as being a new artist, but putting out an EP of old music is like “Okay i’ve got my footing, got myself a win” and it’s a great introduction. It starts people at the very beginning of this project so now I can work my way up to be current with everything. And now i’m super excited for the next project to come after this one because that confidence boost was everything. It just gave me time to really tinker and tweak on some new ideas and really feel good about everything.
I looked back at your soundcoloud and saw some old Mac DeMarco covers on there, what does his music mean to you?
I think with Mac it was the fact that he’s Canadian and i’m Canadian because for music you don’t see a lot of Canadians doing the cool big things that Americans can do. Like playing festivals to people or just touring around the world. That was the biggest thing seeing a Canadian artist that’s well renowned both in Canada and America. It’s a do it yourself approach. He just seems like a very approachable human being doing music. The music was just something that I didn’t think I would normally like, it just kind of happened that I really enjoy this for some reason and that’s really special where on paper I shouldn’t like this music but I love it. And I thought that I had to really honour whatever this is doing for me. His approach to music just seemed really effortless, but he also seemed like he was really hard working so I thought if I applied myself then i could do something like that. I think his evolution over time has been really inspiring to see, just see him come to form where it’s like “I can do the fun stuff and I can still be myself” within that without having to be the crazy character that everyone thinks.
Do you have a favourite release of his?
Salad Days was the one that really did it for me. But I think Another One was a really special one as it came out in 2015, which was really when I thought I was gonna commit to JayWood. The timing of it as well, I was having a great time and it was on the other end of Some Days where things were getting better and it was just really refreshing. It felt like a release that felt comfortable for him. I think at that point he was touring for 2 years for Salad Days and he was just like “here’s some new music”. So I was just like “Oh perfect thank you”. So that ones sentimental to me, it has a very nice by the water feel.
The reason I ask is because there’s a guitar solo at the end of your song “What You Do To Me” that sounds very familiar.
Ode To Viceroy! Yeah that’s exactly what it was haha! It was definitely a nod and that was exactly where my headspace was at and I didn’t want to shy away from it either. That whole ending part was me just saying “I want to do my own version of Ode To Viceroy”. Doing and ode to Ode To Viceroy in a song, making it a very meta moment and I had a lot of fun with it and I hope I don’t get shit on by people haha. It’s meant be very meta.
It’s a really fun addition just hearing that littler easter egg within it!
It’s so cool you caught that!
On the cover of the EP aswell as your last album you’re with an owl character, does that represent anything?
I never liked the idea of it just being myself on the cover, that’s just not me. I just don’t like being the biggest centre of attention. So creating a character that’s just an extension of myself just helps break the attention. Kind of like what Gorillaz is essentially where it’s a cartoon band and then music behind it. So it’s like i’m the music and this character is something within the project as well. As well as making stories and bridging parallels with this character has been really fun. I named them Walter to give them more life as well. It’s been really fun to figure out what to do with them, putting them into different mediums. My goal in the future is to have them appear in a cartoon or a comic strip and just extend on whatever this JayWood project becomes, it’s just having something alongside it to alleviate attention, just make it fun and keep it artsy in a way. So it’s a person but it’s also a very creative project and i’m excited to see what becomes more of Walter.
Do you think having Walter just gives you more freedom to say “Oh no hits them doing the music”.
Exactly! It distracts a bit and it moves me out of the full formed spotlight. Having them alongside me is just a cool juxtaposition I think, it’s strange but also something humanising.
What’s it like releasing this music at the moment without having live shows to back it up?
I think for this release in particular it’s been kinda nice as the whole label announcement, the music, the music video, all this stuff would have been very overwhelming for me if i’d have to go on tour as well. So to have a nice soft release where it’s just having some music and some video content, getting to know me. I’m settling into the label a lot more and by the time the next release happens and hopefully things are a lot more open and safe i’ll be really ready to go on the road.
After just performing nonstop it for a while just felt like I was losing the attachment and losing the excitement from it, so getting that back now and getting that confidence and excitement to perform again, especially with the support behind now is perfect. I want to build that up as much as possible so when it’s time to perform again then every shows gonna be better than the last and everyone’s equally excited as I am.
What will it be like having that first show back?
I don’t even know, it’s just hard to picture! Especially with capacity, you know every artist always hopes you get a full show, but a full show now is half of what it should be. That’s just such a weird thing to happen. I’m more than happy to wait for everything to be completely or at least 70/80 % safe so that shows can happen at a more familiar capacity. I would hate to see that divide in people, just having little pods of people. I’m happy to wait though as it gives me more time to do more video stuff which I’ve been having a lot of fun with lately. But at the same time I’m more than happy to perform when it’s totally okay. Even if that is just to the pods of people. I just want to be able to dance! I think that would be so disheartening if people wanted to moved but they’re not allowed to, maybe i’ll wait until people are allowed to dance and the footlose ban is up.
Amsterdam native Tim van Berkestijn aka Benny Sings returns with his 8th studio album, Music, which also marks his second release on contemporary indie, jazz and electronic label Stones Throw Records. Up to this point if you’ve graced Benny’s music before you have become familiar with his tried and true approach to clean, funky and melodically rich style of piano driven sounds. On this new project he continues once again in this movement, but that doesn’t mean the magic has worn off just yet.
From the moment the opening chords of “Nobody’s Fault” kick in you know that this album is about to take you on a gloriously vibrant journey. With its upbeat groove and silky smooth production it’s simply hard not to get up and dance along to the infatuating melodies and harmonies. But look deeper into the song and you soon realise the juxtaposition of the swinging melody to the defeatist lyrics that seek to give comfort to those that try to hide their pain. And this contrast is one that appears frequently on this album. Going straight into “Here It Comes” the melancholic piano melodies and slugging beat have all the elements of a heartbreak ballad, but lyrically Benny is his most optimistic. Reminiscing in childhood happiness, he looks back at a time when he believed he could be anything. “When we move up the hill, I promise I will, Start to life that we dreamt of, I know it, I feel it” he sings with a subtle allure.
This subtlety is a trait that Benny has been using in his works for a number of years now and it seems like he’s perfected it on this album. On “Sunny Afternoon” Benny’s vocals offer an alluring border almost on spoken word, with minimalist melodic inflections being added in on the chorus as the layers of sound build. Even the chords are sparse over the motioning beat, but this only makes the eventual build of strings at the climax of the track that much sweeter. And on “Run Right Back” there’s so much untapped cool lying within the breezy reggae infused melody that it feels as though you’re floating on a cloud high up in the summers sky, watching the people below. Then as Cautious Clay comes in with a killer sax solo you can just feel the smoothness of this track seeping out at every corner, all whilst staying humbly grounded.
What sets this project apart from other Benny Sings albums is the variety not only in sound mixtures, from the neo-soul ballad of “Miracles” to the trap-funk tinged “Kids” with KYLE, but the collaborations that Benny sows throughout. The highlight of these being “Rolled Up” with Mac DeMarco, which we named as one of last years best songs. There’s so much of Benny and DeMarco’s individual personalities shining through on this track that it makes you wish they’d made a whole album. The woozy piano and stripped back guitar has every part of DeMarco’s latest album Here Comes The Cowboy mixed in over the joyously catchy melody. Then as Benny croons in over the simplistic synth rise you feel instantly elated just at the sound of his laid back voice as he grapples with self doubt. “Is this my life? It’s not too bad, Still I’m rolled up, tossed out” he declares, going back to the juxtapostion of melancholy over uplifting chords.
This is definitely a sparkly clean album that shines with a natural delight in its often tender and funk filled movements. If you’re a longtime Benny Sings fan this album will be everything you want and more. And if you’re a casual listener then prepared to enjoy the chattering piano lines of one of indie jazz’s most prolific artists.
Juan Wauters has shared a new single “Real” with Mac DeMarco along with an accompanying music video directed by Matthew Volz. Wauters new album Real Life will be released on April 30th via Captured tracks, pre-order here. This comes after Wauters released his Más Canciones de La Onda EP last year which we named as one of the best of the year.
DeMarco last year featured on Benny Sings single “Rolled Up” and Yellow Days’s “The Curse“.
Tex Crick has announced that he is the first person to sign to Mac DeMarco’s record label ‘Mac’s Record Label’ which was launched back in 2019. He has also announced his debut album Live In… New York which is set to be released on March 26th, available to pre-order here.
On how he was first introduced to DeMarco, Crick says “We were in Greenpoint and Connan (Mockasin) and I had just bought these faux silk pajamas for a few dollars that looked like business suits. We were wearing them out for a walk when Mac and Kiera pulled up in a car and rolled down the window. Mac invited us to his birthday party the following night and ended up joining us on stage at our NYC show.”
And Mac spoke about the new album “I’ve always loved the music he’s sent me and released over those years, and now I’m able to lend a hand in sharing his newest joint. I helped mix this record, and have heard it probably one thousand times at this point, and still love it.”
Crick shared the first single from the new album “Sometimes I Forget” along with an accompanying music video. Watch below.
Benny Sings has shared new single “Nobody’s Fault” featuring Tom Misc and an accompanying music video directed by Eliot Chassagne. He has also announced a new album Music, set to be released on April 9th via Stones Throw.
Speaking on the new single he said “Therein lies an extra sadness for me: it’s more sad to see a person falling, and saying ‘I’m alright!’, than someone lying on the ground and crying. The guitar solo at the end is by Tom Misch. I’m a big fan of his music, so was very excited he wanted to join me on the song.”
Benny Sings has shared a new song “Rolled Up” featuring Mac DeMarco, released via Stones Throw Records and an accompanying music video.
“The song is about being in the dumps without a particular reason,” Benny said in a press release. He added: “Things can be pretty good, but still you feel like shit. Sometimes leaving it all can be a cure. We wrote this together last year in Mac’s studio. I think Mac went out to get some coffee, and he heard someone use the phrase “rolled up, tossed out,” talking about a cigarette. So that was the start of it. It felt pretty effortless, I think we both come from the same place songwriting-wise. Was a dream to work with him. A true artist.”
Earlier in the year Mac DeMarco featured on Yellow Days’ track “The Curse” from his album A Day In A Yellow Beat, read our review here.
George Van Den Broek aka Yellow Days has announced a new album ‘A Day In A Yellow Boat’ and shared new single ‘Love Is Everywhere’. The new 23 track album is the follow up to 2017’s ‘Is Everything Okay In Your World?’. The album is set to be released on August 7th and will feature artists like Mac DeMarco, Shirley Jones and Nick Walters. This will be the first feature from DeMarco since last years feature on The Garden’s track ‘Thy Mission’.
TRACKLIST 1: Intro 2: Be Free 3: Let You Know 4: (The Outsider) 5: Who’s There? (feat. Shirley Jones) 6: Getting Closer 7: Come Groove (Interlude) 8: Keep Yourself Alive 9: Open Your Eyes (feat. Shirley Jones & Nick Walters) 10: !(feat. Bishop Nehru) 11: (Pot Party) 12: Keeps Me Satisfied 13: You 14: (What Goes Up Must Come Down) 15: The Curse (feat. Mac DeMarco) 16: Let’s Be Good To Each Other 17: Whatever You Wanna Do 18: Something Special (Interlude) 19: So Lost 20: I Don’t Mind 21: (Mature Love) 22: Treat You Right 23: Love Is Everywhere