FEATURED EP: Oscar Jerome

London-based musician and singer-songwriter Oscar Jerome released his eponymous debut EP last week. After spending years grafting in the music scene and refining his talent, the young artist unveils a work consisting of four weighty tracks that are certainly a testament to that.

It’s hard to define Jerome’s sound as it’s a peculiar mixture. The influences of jazz, hip-hop and soul are clear, but it’s more aptly described as alternative. With contemplative and obscure lyrics, and arrangements that have carefully been thought out, he creates something original and mysterious that captures your attention from start to finish.

Casually, Jerome rap-sings on the up-beat opening track “Give Back What You Stole From Me,” featuring a cool, repetitive hook; whereas on the slower “2 Sides” words slip out, which, coupled with the moody tone, forges a hazy recount from what feels like a dark room in his head. When he shouts sometimes his voice becomes fiercely coarse, and throughout the EP Oscar’s delivery sits comfortably in amongst the instrumentation of electric guitar, drums, bass, saxophone, trumpet, keys – there’s even a string quartet on the last track “Evil Song”.

Produced by Jerome, Jay Sylvian, Thomas Heigl and Maxwell Owin, this EP feels like getting lost in a mystery novel. The ambient and abstract nature of his compositions is dream-like and well worth a listen. And if you’re slightly bewildered or dazed after the first listen, that’s a good thing – it means you should give it another spin.


FEATURED SONG: JoJo – “Mad Love.”

All is right in the world. Order has been restored. Finally, thankfully, gladly after 10 long years, it can be said with near absolute certainty that Joanna “JoJo” Levesque is releasing her third studio album.

There’s a lot that’s happened in the gap between The High Road (2006), which was JoJo’s last official LP, and the forthcoming Mad Love (out 14th October). In short, while dealing with legal troubles – without a doubt the main reason for her lengthy mainstream absence – she never let that stop her from creating and releasing music to her fans. She put out the mixtapes Can’t Take That Away from Me (2010) and Agápē (2012), followed by the EPs LoveJo (2014), III (2015) and LoveJo2 (2015).

Then in the late summer of 2016, (having signed to and settled in at new label Atlantic), JoJo dropped “F*** Apologies” featuring Wiz Khalifa, which was announced as the lead single from the long-awaited new album. The cavalier and unrelenting pop/R&B track garnered a positive response and an official video was uploaded to the singer’s YouTube account. Since then she released another three songs as promotional singles; “FAB” featuring Remy Ma, piano ballad “Music”, and one I thought I’d give some special attention to: the bold and impressive title track.

Have a listen…

First off, it’s nice to hear popular music written in a time signature other than 4/4; the song swings and bops along to the picking of the electric guitar, stomping kick drum and wailing backing vocals. There’s this old school love-song vibe going on, but it’s not tired or dated. Resounding horns, thudding bass notes, sprinkled with keys and ringing bells send you right back to the 60s and early 70s, before you return to the hook of churchy backing vocals enchantingly chanting “mad love.”

The song was co-written by Levesque along with Nikki Flores, and Josh Monroy who produced it. After the first two records of tracks mostly written for the singer, it’s great to hear JoJo’s literary voice again. The lyrics are filled with graphic images like, “you took a knife to my heart / cut out the rational parts” and, “twisting like wire in your arms / a dangerous place for my heart.” The statements are significant, metaphors sharp and honest as she fully and perfectly describes a love that is grand, insane, and at times a little torturous.

JoJo’s head voice is light and capable, breathing the notes in the first chorus with sweet ease. Then out of nowhere this big, powerful voice climbs, belting out declarations with no reservations, and then skids down the jazz-blues runs that she’s been performing in that very same vintage-soul manner since she was about five – and I do mean literally. You can hear her experience; the 25-year-old’s vocal expression seems that it should belong to someone of at least twice her age – and it has seemed that way since she first came on the scene when she was half her age…

“Mad Love” is already a signature song in her return to the mainstream. With a deep and magical sound, and a manner and presence all her own, you can see why she chose it for or wrote it to be the title track. It makes a bold statement, that JoJo – the artist who, for her knowledgeable and loyal fans, never actually went away – is indeed back. And here to slay.

The album Mad Love. comes out Friday 14th October.

LIVE REVIEW: Julia Turner “Fifteen Times the Moon” Album Launch

Last Friday I attended an important gig for a good musician friend of mine. Jazz, blues singer-songwriter Julia Turner, whose new album Fifteen Times the Moon is set for release this year, hosted a pre-release album launch at the Bristol Folk House.

The show took place downstairs past the cafe in the medium-sized hall, which had a surprisingly really intimate feel. People sat in groups around tables or on a line of chairs off to the side of the stage. Lighting was dim (obviously, that would be pretty harsh to make people eat and drink in the dark now, wouldn’t it), which added to the cosiness – I felt as though I were in a living room. A big one, of course.

I got there just in time to catch the beginning of the opening special guest’s first poem. Vanessa Kisuule: award-winning poet from Bristol. I had read her book of poems Joyriding the Storm and so it was a special treat to hear the words brought to life by the lips of their author. Onstage she has a warm persona, very inviting and familiar. She performed “Strawberries”, a really funny, beautiful and nostalgic account of young love… or the appearance of it, and succeeded at vividly juxtaposing two living legends of opposing musical genres in the minds of the audience, recounting an argument she and her then boyfriend had once had over which one was the best. Kisuule’s delivery sounds like she’s reliving each detail, an HD video in the front of her mind. Very natural and unforced. She ended with “A Personal Malleable Manifesto” and, introducing it, told us the importance as a performer of not selling a perfect person, and, simple and pertinent, the messages of accepting responsibility for one’s own life and having the courage to share what one believes is right were aptly exemplified in the poem.

Shortly after, Isolde, Lauren Bradford and Julia, collectively known as The Eko Trio, made their way to the stage. Each of them artists in their own right, the a cappella group sang a number of covers and most of their songs were short and sweet. This was my first time hearing them live and I was impressed at how their voices blended so well. All three have great and clear vocal technique and it was equally clear in their demeanour and ease of interaction that they were an established outfit. It was great to see a group of women up there, owning the stage and performing such a polished set.

The audience was very attentive; it seemed like they all felt spoiled. All were genuinely happy to be there, laughed at all the right places and didn’t make the performers feel uncomfortable or awkward – nor myself for that matter, who sat on the backmost chair of the seating to the side and received a smile from almost every person who got up to retrieve a yummy snack or another cheeky cup of tea from the upstairs cafe during the interval.

And then came the main act: Julia Turner. If you ever have the pleasure of meeting Julia, you will instantly discover her genuineness and how friendly she is. That night she was exactly the same and especially self-effacing (as to be expected, really – was unlikely she’d had a lobotomy since the last time I saw her). Several times she thanked the audience for attending and for their support, a lot of whom had helped raise the funds for Turner and her band to record her follow-up album to 2012’s City Synchronicity.

Influenced by and having studied jazz and blues, her voice has one of the smoothest tones – it’s so warm and clear. I instantly noticed that, impressively, Turner’s voice remained strong despite her advanced pregnancy, a sign of proper vocal technique – a feat often not so easily accomplished by heavily pregnant vocalists. The stand-out song of the night for me was the title track, Turner’s own interpretation of the true account of two men who went out fishing and ended up missing for 15 months. It was true storytelling and masterful direction of live instrumentation (can’t wait to hear the studio version!). Violin and double bass both added texture and pace to the story she carved out with her acoustic guitar – proof that simpler chord progressions under weighty words and skilled production can still hit hard.

While I’ve mentioned them, I may as well introduce the band. Impressive multi-instrumentalist Annalise Lam alternated between violin and clarinet. Her solos, especially on violin, are very inspired, soulful and exciting – you really don’t know what she’s going to do next. Her style showcases her classical training as well as her love of gypsy jazz. On double bass was Pasquale Votino, and he’s a pretty laid-back performer but that’s not to say he isn’t into it. Each note is purposeful and proves its importance. The drummer, Roberto Nappi, is excellent. His timing is spot on – literally, he never misses a beat or lags. Like Votino, he’s also very relaxed – they make it look easy. Completing the line-up was Julia’s sweet-voiced Eko bandmate, Lauren, who appeared as guest backing vocalist.

The album’s subjects vary from the state of the earth and the consciousness of its inhabitants, to emotional baggage passed down from generation to generation. On a couple of songs Turner even wrapped her jazzy melodies around Indian tongues. She also revealed that while studying, it had once been communicated to her that “[her] playing was a joke” and that her “licks weren’t jazz”. This became the inspiration for the song “Fear of Music”, expressing how at times one can become so paralyzed by wanting to do justice to something held so dear.

Overall, it was a pleasure to be present at Julia Turner’s album launch, not only as a friend, but as another average spectator. The hard work and dedication over the years shows. After four years she has managed to complete the dreaded sophomore album. She and her band sound solid and neat, and they have a great chemistry. There was a truly blissful, cheerful and familial spirit, every person in the room silently communicating their support for the musician and her forthcoming album. Welcome, Fifteen Times the Moon, to the world — well, almost welcome. See you in perhaps a couple of months.

See juliaturner.co.uk for more details on the album’s release.

You can find Julia on:


Photo credit: Dorothy Smith