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Amy Jo Doh + Friends, the fun is back!

Covid has sure changed the way we interact, and in my case my perception of time…as the Amy Jo Doh + Friends took place 2 weeks ago and I am now writing about it…Who’s to blame??? It might just be the neo liberal model in which Spain appears to be transitioning to, and the horrible effects it is having on the workforce in general. That last sentence could have easily been found in the Economist, and on that note…let’s get to business!!

Fiesta de San Isidro is arguably the most representative celebration taking place in Madrid. People take to the streets in classic Castizo ‘chulapo’ outfits to enjoy outdoors live music and gastronomy. It’s a party taking place throughout the whole city!! This year’s celebration had restrictions per obvious reasons, yet there was a place in town that captured the full spirit of San Isidro, and that was the Bodega del Aguila bar located in the iconic neighbourhood of Lavapies. And even more importantly, it housed the Glastonbury of San Isidro, A.K.A. Amy Jo Doh + Friends (Yvonne Power, Anxtón, and Emma Gowing).

The line-up of aforementioned stars easily delivered 17 songs broken into two sets, showcasing musical talent and incredible charisma. The initial 9 songs’ highlights included Meghan Trainor’s cover “All About That Bass” and the crowd favourite “English Girl in Madrid”.

Such was the positive vibe of the first half of the show that it exemplified the recent lift of the Covid related restrictions of the city, where Madrileños are enjoying a new found liberty.

In Amy Jo’s own words: “Cuando quieres , el mundo entero está contigo” / “When you want it, the whole world can be with you”

After a cigarette / drink break, the music went back in motion setting the “stage” of the Bodega del Aguila on fire. Highlights included: Wham’s “Wake me up before you go go” and Amy’s “Museo del Jamón”. Nevertheless, the crowd lost its mind with “No Pasa Nada”, and the classic “Dream a Little Dream of Me”.

2020 was crazy indeed, and 2021 is slowly getting better. With that said, the Amy Jo Doh + Friends show was a much needed break for all of us who love live music. It was a blast of fun that I’m sure it is a prelude of what Amy Jo has in store for us this year. Stay tuned for more!!!

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Shrezzers, will definitely get you hooked!

2020 is coming to an end…finally, yes indeed! I guess that’s what everybody is thinking about. In many ways, the whole COVID crisis has made 2020 kind of a guest at your place that is overstaying his stay for too long, yet you can’t throw him out because he is a family friend you’ve known forever and it would reflect bad on you…get it?? Anyway, after letting this out of my chest, I have the pleasure to share with you my latest find, “Phoenix” by *Russia’s own Shrezzers.

Double kick drum, double attack guitars, and the exchanges between the singer and a screamer are all central elements of the metalcore genre. Prod by Alexander Ivanov, “Phoenix”, embodies all of the above…with a twist. The song features programmed drums in the intro and in the middle section –ala Nine Inch Nails– and a sax. Yes, you’ve read it right, a sax! It’s been a while since I last heard a wind instrument in a song by a band with a “heavy” sound. This track must have been Summer Romance (Anti-Gravity Love Song) by Incubus, who at the time of that release (1998) had a Primus vibe. I actually saw them in Philadelphia during the tour they did with Primus and Buckethead in 1999…wow that far back. The reason why I bring up these acts is because “Phoenix” does have hints of Primus’ unapologetic tempo changes and breakdowns, Buckethead’s “I’m overplaying but I can do it because I am a sick guitarist”, and Incubus’ catchy melodies mixed with heavy distortion in the choruses. Singer Diego Silva Malaga’s voice does remind me of Brandon Boyd of Incubus during the “Make Yourself” era, and AFI’s Davey Havok during the seminal release “Sing the Sorrow”. Yet, he manages to have a style all of his own, easily playing with his falsetto to then have his vibrato blow through the speaker…did I say Jeff Buckley?

2020 has been a bummer -without question-, but tracks like “Phoenix” are precisely what signals that music (good music that is) can’t and won’t be stopped. In this instance, “Phoenix” is that kind of guest that surprises you in every conversation and you wish you’d see again soon. Can’t wait to listen to more stuff from these guys.

* Diego is based out of Peru and his work also includes the great As We Survive. I’m sure this transcontinental partnership will spark more hits!

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Winds of change thanks to EP ‘La Justicia’ by Balarrasa

Extremadura native Chema Castaño A.K.A. Balarrasa is unafraid to open up his heart and share his deepest emotions with us. Just take a listen to his latest release ‘La Justicia’, a collection of 5 songs in Spanish where he walks us through a maze glazed with adrenaline where your five senses will react and tweak to his hypnotic voice, steady beats and dissonant guitars. Is it a coincidence that this EP has five songs that evoke the pursue of freedom, and that under numerology the number 5 represents curiosity, freedom and change? Trippy??? A bit, but that’s for you to decide.

First cut ‘Mapas’ is a mix of Air’s ‘Cherry Blossom Girl’ and Nine Inch Nails’ ‘Hurt’. A beautiful melody and a pugnacious harmony collide and feed off each other while trying to make it on top of a race. Chema’s layered vocals -have the same attention grabbing effect of a Gregorian chant- stand as a light at the end of a tunnel, impossible to reach yet providing hope and comfort.

As an ancient Greek word for opportune moment, ‘Kairós’ pays tribute to its title. This song commands venturing into the aforementioned maze without any reservations. What appears to be a melodica makes its way early into the song in the same way that rays of light cut through the rain, making it the perfect soundtrack for a rainy morning.

Other tracks ‘Bruna’ and ‘Encuentro Casual’ are equally as enchanting as the previous two, but it is in closing ‘Canción Mágica’ where Chema sums up the core message of his EP with the lyric “Quién podra dictar al mundo que nos perdimos los dos?”. This roughly translates into: “Who could have told the world that we both got lost?”. A line I’m fond of as Chema has managed to convince us –with a smirk- that we lost our sense of direction throughout the 5 songs.

‘La Justicia’ is eager to challenge you and play with your senses. Give it a chance, and have it walk you through its maze. You will find yourself wanting back in it, only to discover that every walk will make you more curious and of course, changed and ever-free.

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Confessional ‘Shoe On The Other Foot’ by Alpha Circle

TRK studios is located in Arganda in the outskirts of Madrid. A cozy studio with a vibe of its own that allows for intimate performances. I know this first hand as I had the pleasure to record one of my songs there, and felt that I was sealed away from the outside world and got a chance to paint an honest picture undisturbed and not judged. This studio sure has the mantra of “Art first!”, easily channelling this energy to all of its visitors, and thus being the ideal location to record Alpha Circle’s ‘Shoe On The Other Foot’.

Let’s start out by the opening guitar riff. Baroque and reminiscent of Turn up the Sun by Oasis with hints of flamenco, instantly catching the listener’s attention. When the vocals and drums enter at 0:25 the band has announced its profound admiration for the Jam, particularly their seminal song ‘Carnation’. I’m not saying that they are outright copying the all-conquering Paul Weller, but they very cleverly manage to execute ‘Shoe On The Other Foot’ with tones of Schadenfreude with the same ability as the latter. Don’t be surprised to shed a tear and smile at the same time. Lyrics such as: “And I’m humbled / And I’ve learned…I’ve repent my greed…And now the tables have turned” evoke tales of a difficult and honest confession. But this honesty which takes the form of an art piece and is what precisely sells the song.

In conversations with the band they have told me that this is a B-side, which I will actively work to change. B-side ‘Let’s all make believe’ was my (and a crowd) favorite song out of the sessions for Oasis’ ‘Standing in the Shoulder of Giants’, a mistake the mighty Noel Gallagher has admitted to regret. This calls for another conversation –perhaps an interview- with the band at TRK studios, to persuade them to turn ‘Shoe On The Other Foot’ into their next release.

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Mystical ‘Out of My Body’ by The Poetry

Confinement by decree seems to be norm across the globe. We find ourselves in an unlikely situation where now more than ever we resort to the digital space to search for the latest news and to come across new music to help us ease the mounting pressures of today’s uncertain times. It was precisely while conducting this online exercise that I had the pleasure to find ‘Out of My Body’ by Mexico’s Roberto Mauricio Martinez, A.K.A. The Poetry.

This song narrates what appears to be an out of body experience. Roberto delivers his vocal in a Paul Banks style to let us know that: “Somebody is flying / maybe could be my soul…that is somebody / Out of My body”. These mystical lyrics are complemented by 3D synth textures finding their way to gain the listeners’ attention, almost as if they were yelling at the sorcerer to take part in a spell…spooky??? Nahhhhhh….on the contrary, I’d recommend to dim the lights and to dance carelessly as the Kraftwerk bass lines and subtle guitars make ‘Out of My Body’ even more enjoyable.

The Poetry has landed! What appears at first to be an ode to the 80s takes on a personality -and of course, a soul- of its own, allowing us to break away from what we hope to be temporary and to look forward to that festival where we’ll hear and dance to ‘Out of My Body’ live!

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Breakbot delivers another dancefloor classic with spiritual ‘Be Mine Tonight’

There was I time when I was a 24 hour rocker. I had long hair, listened religiously to New Jersey’s WSOU 89.5, and discarded any type of music that did not have a power chord in it. That all changed one summer when I became friends with DJ Luis Enrique Bocanegra A.K.A. Kid Chalupa. He is responsible for letting me know that other music genres can also ‘rock’. “The spirit of rock n’ roll also lives in house music”, he told me once at a party he was DJing at. It was true, for a self-confessed rocker like myself it was a discovery to see that house music did drive people into a frenzy, in a good way : )

Over the years, he introduced me to the likes of Masters at Work, Kid Cudi, Jill Scot, Chic, and of course Breakbot. 2010’s ‘Baby I’m Yours’ has been a staple of dancefloors over the past decade and I am certain that their latest release will too. ‘Be Mine Tonight’ instantly brings to mind the cadence of Earth Wind & Fire mixed with Chaka Kahn vocals, and a Giorgio Moroder wall of sound carefully constructed to include slap bass, Nord synth textures, and string stabs. “Can you feel my heartbeat?” asks singer Capucine Delaby A.K.A. Delafleur, at 116 bpm the answer is yes!

At 1:56 the strings take on a larger dimension, adding glamour and bringing an almost spiritual energy with them. I feel that ‘Be Mine Tonight’ could easily fit the scene in Saturday Night Fever where Tony Manero kisses Stephanie Mangano on the dancefloor. There is no dialogue but that scene is clearly about two souls destined to meet. When they lock eyes under the mirror ball, the vibe matches Delafleur’s lyrics perfectly: “Would you be mine? / You make my world go round”.

Years after my conversion into a house music fan I can say that this song rocks!

‘Be Mine Tonight’ was released on March 13^th on Ed Banger Records and Because Music.

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‘Please Don’t Tell Me’ by Julia Bardo

Julia Bardo’s latest single ‘Please Don’t Tell Me’ reminds me of a Wes Anderson film, where the sum of distinct scenes give the storyline its full meaning. DISCLAIMER: This is a blog about music…nevertheless, this song challenged me in such a way that I’ve had to tap onto another art form (film) to give it an honest reading.

Julia “directed” the alt-indie ‘Please Don’t Tell Me’ using John Lennon’s vocal echo effect for the visual design (see definition), and Sheryl Crowe’s croon –circa ‘the Globe Sessions’– for the cinematography (see definition). The lyrics/scenes certainly evoke dissimilar situations. Opener “Watching shows on TV at night”, sure clashes with pre chorus “Cause I can watch you cry”. It is chorus line “Please don’t tell me who I am / Please don’t tell me who you are” where Julia -channelling Wes- hints what her film turned song is about…at least for me.

I interpret ‘Please Don’t Tell Me’ to be about one of those sudden soul searching (tear-gas induced) moments where we see ourselves in the mirror, and realize that we are here only for a while and we should make the most it. The closing “I just wanna have some fun / Running wild and never stop” confirms my hypothesis. I love Julia’s approach to song writing and directing, and I am sure you will too.

Film making 101 class, dismiss!!

‘Please Don’t Tell Me’ is part of her debut EP ‘Phase’ released on 6 March on Wichita Recordings.

Catch Julia during on the remaining dates of her UK tour with The Orielles this month:

Mar 13 – Liverpool, UK @ Studio 2
Mar 14 – York, UK @ Fulford Arms
Mar 19 – London, UK @ Pin Ups
Mar 21 – Sheffield, UK @ Delicious Clam
Mar 28 – Halifax, UK @ Orange Box

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‘Tournament’ by Nation of Language

Photo courtesy of facebook.com/nationoflanguage/

I recently stumbled upon “Tournament” by Brooklyn’s Nation of Language (NoL), a 4 minute description of a man’s journey through the streets of New York in search for his own identity…poetic?, it’s about to get better.

NoL isn’t afraid to draw from the 80s. Singer Ian Devaney elegant baritone blends well with a Yazoo 808 beat, a Peter Hook baseline, and Depeche Mode textures. Musical alchemy meant to swiftly cast a spell on the listeners, inviting them to sing along to the words -“I can build a world around me underneath the light”-, and dance while having introspective thoughts about what place they occupy in the universe.

‘Tournament‘ is part of the string of singles to be released by NoL from their album ‘Presence’ out in April this year. Next time you go out, you’ll find yourself dancing to this track!

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‘Smile & Dance’ by AmyJo Doh & The Spangles

And the story goes…I first met AmyJo in October 2019 through a common friend –the great Lee Chamberlain from Alpha Circle– who invited me to check out her show at a venue in Latina, Madrid. “It’s an acoustic performance”, he said. I happen to be a fan of the guitar + vocals format, as it allows the listener to get the ‘naked’ version of the songs and makes for an intimate performance. Therefore, I walked into the venue with that concept in mind. Indeed, the performance was intimate but far removed from a performer just strumming a guitar over vocals. AmyJo came on stage with a ‘Karen O’ circa 2004 outfit and handed and array of toy instruments to those in attendance, to then crack a few jokes and start her set with the energy of a hurricane. It hit me right in the face…and I loved it!!! She encouraged the audience to clap and sing along, making us feel like were on stage with her while being at the greatest party ever.

The track that gives the name to the EP ‘Smile & Dance’ starts out with Bloc Party (banquet) drums and a Debbie Harry like vocal doing ‘Maria’, accompanied by an enticing bassline and minimalistic guitar work. Elements that work perfectly together, strutting on route to CBGB’s with the swagger of a very well-rehearsed gang of rockers settled on nothing but getting signed by Seymour Stein. Less than a minute into the song we hear Amy Jo confidently sing (I also got the mental image of her commanding the troupe with a tambourine): “Smile like you have never smiled before / and dance like it’s your first time on the dancefloor”. From that moment on the band lets it all out, making the song an instant crowd favourite while becoming spiritual label mates of the Talking Heads and the Pretenders. I would like to highlight the bridge where the band gets to showcase their skills, constructing an atmospheric landscape, with syncopated beats and synth textures, mixed with spoken word…genius! “Smile and dance / cuz you’re here anyway,” that’s AmyJo singing in the coda as Seymour nods to his head of A&R, who in turn instructs the intern to blast the volume for all of midtown Manhattan to listen to this 24 kt gold. plated gem. I’m hooked and I want others to taste the potion!!!

‘Now it’s gone’ channels Madness at their purest. Ska guitars complemented by a horn section and an equally sexy vocal delivery courtesy of AmyJo, both seducing the airwaves and building up the track to let the guitar wail away with a thunderous solo. AmyJo sings: “Don’t wanna think that someone took It away from me”…trust me, nobody could have gotten a hold of that guitar solo as it was ripping out of the speaker. Rock fans out there, beware.

Other tracks include the Johnny Marr guitar sounding ‘Arise’, and the more Elastica-belligerent ‘Rats’ and ‘New Year’s Revolution’. All three ready-made for this summer’s festivals, denoting this band’s talent and their ability to craft a set of songs that supersede the bounds of 432Hz, making me feel –just as I when I saw AmyJo’s acoustic set- like I was at the greatest party ever. This is a long awaited cocktail of nu wave and dance rock that will make streaming platforms collapse : )

Those of us lucky to be based in Madrid will have a chance to catch the band launch their brand new EP next Friday the 13^th at ‘la Cocina’ (Get tickets here). Will you join us??? You have to!!!

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