Pitstop: Kelsey Lu

While collaborations with Blood Orange's Dev Hynes and Solange and a recommendation from Dave at Stadiums & Shrines probably should've been enough to set me forth on a path of ravenous discovery for the music of Brooklyn based singer/cellist Kelsey Lu, it wasn't until seeing her live opening for Hundred Waters' most recent tour behind their album that I really took note of the clearly gifted artist. Both in person and on her record, last year's Church EP, Kelsey Lu communicates in a solemn, almost spiritual sense of quiet.

Despite her frequent collaborations with hip hop artist and perhaps because of her background as a classical cellist, Kelsey Lu belongs to an increasingly group of artists of color who subvert the stereotypical notions of what their music should be/sound like. Like Mal Devisa or Moses Sumney, Kelsey Lu's music is rooted deep down to its core in a folk spirit. It's soulful yes, but it's quiet and introspective with delightful lyrical narratives too. Armed with her cello, a loop pedal, and her voice, Lu's music is patient in its beauty and devastating sincere and her live set is a testament to those qualities. Lu decked out in a bold, knitted outfit, carefully arranges sprays of flowers before she ever picks up her cello or utters for her first word. Then she starts to build her loops in a manner both meticulous and seemingly effortless as she feeds off the energy of the room. It's absolutely captivating before she even lets her mouth open and when she does, it was enough to hush a whole room.



Kelsey Lu's music displays a beguiling reverence for space and how her sound exists in it. A religious background finds her peppering her lyrics with light references but ultimately her songs are soul-achingly human. The ethereal "Dreams", spritely "Time", and intense "Morning After Coffee" are essentially diverse depictions of a quest for connection. Actually, the predominant theme of Lu's music and Church in particular is about the inherent need of connection and they all tackle it a bit differently. "Empathy" about the need for love in general not just romantic. "Visions of Old": a beautiful tribute to Lu's grandmother, and the stormy "Liar" is less of a cry for help but a blunt, honest confession of not being ok in so many connotations of that word.

Lu is talented, that much is a given but her greatest strength is her sincerity. Her music is honest both about herself and others and seeks to resonate with you deep down in the core of your soul based on the similarities of the human spirit.   

Listen: Armel Dupas - "A Night Walk"

photo by Fiona Grimmeison

When a chance meeting brought me in contact with French pianist/composer Armel Dupas, my reward was the introduction to his wonderful solo debut Upriver. While he's more or less been touring behind that record since its 2015 release, he most recently announced its follow up A Night Walk. The record finds him assembling his touring band mates, multi-instrumentalists Mathieu Penot and Kenny Ruby, into a trio for the inaugural release of Dupas' new label imprint Upriver Records.

Despite his training as a jazz pianist, the most curious thing about Dupas' music both on Upriver and on the "A Night Walk", the eponymous first single from the upcoming record, is the fluidity of genre. Dupas' touch remains as subtle as ever and he's found collaborators that manage to engage with that same gentle touch when it would be easy to blow it up for a bigger sound. Penot who plays drums on the record and Ruby who serves on bass, help Dupas' to illustrate his veritable nocturne. Whether through the percussion or the swirl of synths (which Penot and Ruby are both skilled players of), there's a pervasive sense of introspective quiet. It's a walk to clear one's head. On "A Night Walk" Dupas' continues to blur the lines between organic and electronic sounds with an ease that is commendable. The piece, luckily, does not stay at the same dynamic. Though never losing either the effortless ease or sense of calm, the trio to push towards a sensible climax that sees the band becoming more involved with each other. Dupas also makes impeccable use of a more or less sudden switch up as everything comes to a seemingly finite conclusion a little more than halfway through. A steady synth hum is the only indicator that the piece isn't complete and when the band return - they're operating at peak energy and in a blissful key change. It's a piece that could easily go on for ages like the New Age drone in a spa but that use of the key change in all of it's glorious, triumphant nature signals a complete and deeply felt ending. It's a hell of an introduction to the Dupas' trio and curiously enough the track that Dupas elected to end the album with so everything leading up to this point is very much up in the air. Lucky for us, there's not too long of a wait before the rest of A Night Walk is available.   



A Night Walk, the first record from Armel Dupas' Upriver Records featuring Mathieu Penot and Kenny Ruby is out October 20th.

Listen: Living - "Calyx"

While Living, the project of Norwegian producer Lucas de Almeida, has largely defined their sound as dream grooves, their latest offering "Calyx" is probably the grooviest of their songs thus far. That's not to say that they've haven't been living up to their self-descriptor in their past releases. Much of their self-titled EP leaned far more heavily into the dreamier aspect of their sound while the singles releases since then "Glory" and "Path" have certainly galvanized their sound in an astounding way. But "Calyx", the newest of their previously standalone singles that the foursome will compiled into their debut full length album, hits peak groove. Not quite electro-funk, the song is begins with noodling synths but when the guitar riff enters at around 2 minutes in, there's a shift unlike any other Living track. Lucas de Almeida also immerses the track in darker textures than fans of the band have come to expect. "Calyx" uses samples from a previously unfinished song of de Almeida's but given new context - a full band and new ideas for sounds and textures, de Almeida was able to breath new life into it and transform it into not only a strong outing for Living but one of de Almeida's favorites so far.

Living's debut EP was good but if the band continue to exceed their potential with better and better songs like "Path" and now "Calyx", their debut full length album Absolutely will be an absolutely amazing ride. I can't wait to hear what other tricks the band have up their sleeve. Until then listen to new single "Calyx":



Living's debut full length album Absolutely is set for a 2018 releases. Stay tuned for more details.

Listen: Berlin Bar Hounds - "Heights"

It's been a bit since we've heard from former Jinja Safari member Jacob Borg's side project Berlin Bar Hounds but luckily for us the wait's come to an end. While most of Borg's output so far has made extensive use of his Matt Berninger-esque baritone, "Heights" offers up a new dimension in Borg's vocal capabilities. Though he rarely if ever sang as a member of Jinja Safari, with Berlin Bar Hounds its evident it wasn't due to lack of ability. "Heights" is Borg's strongest outing to date as he aims higher both in terms of his vocal register and the song's energy. It begins at a steady plod but gathers up steam that's sure to pull you in. Borg's project has largely been defined by a quiet, sparse calm but on "Heights" he goes full on indie rock subverting his characteristic tension/release with new bits and bobs like the use of samples and more dynamic builds. With the end of Jinja Safari firmly behind him, hopefully we'll be hearing a lot more from Berlin Bar Hounds as "Heights" is pretty indicative that Borg is widely capable of reaching his own great songwriting heights.

Listen to Berlin Bar Hounds' new single "Heights":

Listen: Golden Suits - "Bad Timing"

photo by Sammy Goldfien

Though he released his follow up record to his self titled debut late last year, Golden Suits is back already with a new jam. "Bad Timing" is a jam in every sense of the word: following in his newfound Springsteen-esque sense of grandeur displayed on Kubla Khan. Despite the big licks and the aim-for-the-cheap-seats matter of size, Nicolaus' lyricism remains its equally relatable and intimate brand of strangely upbeat heartbreak pop. As he ponders what constitutes a missed connection: whether simply bad timing or something more self-defeating, Nicolaus paints a captivating picture of self-doubt and self-reflection that doesn't quite arrive at tidy self-actualization. It's aware but awareness doesn't always get you the girl. Or that's at least what Nicolaus offers up as the track gathers up steam and sort of snowballs into a delightful full band affair featuring back up singers and the like. It's not uncharted territory for Nicolaus but it's a definite show of strength for a man normally known for balladry.

Listen to Golden Suits' new single "Bad Timing" now:

Listen: Twain - "Little Dog Mind"

photo by Nina Westervelt

Last month Brooklyn based singer/songwriter Twain released "Solar Pilgrim", the first single from his upcoming album Rare Feeling. If I hadn't had the privilege of seeing him perform several of the tracks live the strength of the single would've been enough to make me deeply invested in the album. With the album release getting closer Mat Davidson has released "Little Dog Mind", the studio version of a song Davidson did for La Blogotheque that I stumbled upon after I first saw him last year when he was still firming up album details.

On "Little Dog Mind", Davidson turns his focus inward. Instead of ruminating on love like much of Life Labors in the Choir or wondering what lies ahead of him in the future/the afterlife on "Solar Pilgrim", Davidson tries to wrangle his wandering thoughts. It's a pretty universal feeling: catching your mind drifting to other things when you want to/have to focus on the task at hand and one that Davidson is probably intimately familiar with when he's trying to write songs. So he hashes it out with the offending party much like you might try to reason with a child or the song's titular "little dog mind". Davidson, who's probably best characterized by/as the heart, almost playfully chides the mind. He's aware he's in control but his method of authority is winsome persuasion: "You're just like a little dog running away from me/little mind I'll catch you every time" Davidson sings and it's sure to put a smile on your face. Davidson manages a beautiful balance of emotion and charm with an invigorating display of songwriting prowess that both utilizes and subverts typical conventions.



Twain's sixth album Rare Feeling is out October 20th on Keeled Scales. You can pre-order the limited hand-printed vinyl from Keeled Scales now and other editions (digital, CD, cassette) will be available on the release date. Twain is also playing several dates with Langhorne Slim later this week so make sure you catch him if you can.

9/26 NYC - Bowery Ballroom
9/27 Washington, D.C. - Sixth & I
9/28 Philly - Union Transfer

Listen: Landlady - "Share a Tree"

After releasing one of my absolute favorite collections of songs earlier this year in third full length album The World Is A Loud Place, Brooklyn quartet Landlady have released a new set of songs: a cover of Al Green's "Love And Happiness" and an original song by the name of "Share a Tree". Unfortunately, the release comes on the heels of some pretty devastating news for the music industry in the passing of Those Darlins' Jessi Zazu Wariner. Though based in Nashville, Jessi Zazu fostered a sense of community that extended far beyond her city. Landlady have always stuck out to me as a band who go beyond the standard expectation of just releasing good songs and playing good shows but a band that really seeks to build a sense of community both among the musicians they come across and befriend and musicians they know already but also among showgoers new and old. A lot of that is in a similar spirit to Jessi Zazu and Schatz has shared "Share a Tree" in tribute to her. The song is for and about her and the somewhat tricky nature of collaboration in general and it has her personal seal of approval. 

Though it was written and recorded some time ago, it follows in line with Landlady's distinct of brand of dynamic soul pop. It's a song that is almost endlessly patient: padding along at a comfortable walking tempo. After nearly the length of a regular song, the band surges forward and the focus shifts from Schatz' narrative plodding to a sort of instrumental showcasing chasm where Schatz is freer to do emotive ad-libs and more actively engage with the rest of the band. It's a development section that's no doubt inspired by Landlady's time together and their actual ability to play together. It's probably much more evocative of the spontaneity of a Landlady live set than the band have leaned into before but really speaks to the subject matter as the band break out into an full on jam for nearly half the track. It's delightfully cathartic and hopefully as inspiring at it's intended to be towards motivating you to take stock in the simple joy of community. 

You can donate to the Jessi Zazu memorial fund with proceeds going towards helping her family with funeral costs and anything extra going to a charities that she supported. You can also grab "Share a Tree" as well as their "Love and Happiness" cover from Landlady's Bandcamp. And if you haven't already make sure you listen to Landlady's brilliant third album The World Is A Loud Place.