Soul singer Tanika Charles debuted her latest single Friday.
Charles debuted her new single, ‘Frustrated‘ to kick off the weekend. The single is the latest from her forthcoming album, Papillon de Nuit: The Night Butterfly, which is scheduled for release April 8 through Record Kicks. Its premiere follows that of her then latest single, Complex, which she released March 3.
Charles debuted the single, ‘Rent Free‘ Feb. 1, but it is unknown if that single is featured in her new album.
The musical arrangement featured in ‘Frustrated’ takes audiences back to the soul sounds of the 1960s and 70s. That is evidenced through the subtle use of the guitars and keyboards and their balance. That together with Charles’ own vocal delivery style makes the song all the more engaging and entertaining.
Charles talked about the song’s lyrical theme in a prepared statement.
“Sustainable long distant connections are a pipe dream,” Charles said. “Trying to make it work with a partner who’s away from home for indefinite periods of time leads to a permanent state of uncertainty. Absence can make the heart grow fonder, but only to a point, and what are we sharing if we can’t share a physical space? Wishful thinking alone is an easy route to exhaustion when fulfilment is always just slightly out of reach. Irritations are revealed, arguments ensue. Are we growing or are we wilting? Frustrated is one of my favourite songs on the album, and it took a lot of iteration to get it just right.”
More information on Tanika Charles’ new single and album is available along with all of her latest news at:
Soul singer Tanika Charles is scheduled to release her new album this spring.
Papillon de Nuit: The Night Butterfly is scheduled for release April 8 through Record Kicks. In anticipation of the record’s release, Charles debuted the album’s second single, ‘Different Morning’ and its companion video March 3 through Complex. Charles debuted the album’s lead single, ‘Rent Free‘ Feb. 1.
The musical arrangement featured in ‘Different Morning’ is a light yet infectious composition featuring a guest appearance by MC DijahSB. The beats and the keyboard line form the foundation of that infectious sound and stylistic approach. Charles’ vocals pair with that musical component to make the overall arrangement an easy fit for any Top 40 radio programmer’s daily play list what with its retro hybrid disco/soul sound and stylistic approach.
Charles said in her interview with Complex, the lyrical theme featured in the song centers on the all too familiar topic of a broken relationship, but rather than wallowing in self pity, it encourages listeners to keep moving forward.
The video for Charles’ new single is a simple presentation. It features Charles, draped in lace, dancing on a soundstage that is dressed up to look like a garden.
More information on Tanika Charles’ new single, video, and album is available along with all of her latest news at:
Up-and-coming independent funk outfit The Grease Traps released its debut album, Solid Ground, this month. Released Nov. 5 through Record Kicks, the 11-song record is a presentation that is sure to appeal widely among fans of funk, soul, and R&B. That is due in large part to the record’s featured musical arrangements, which will be discussed shortly. The lyrical themes that accompany the record’s musical content make for more appeal and will be discussed a little later. The sequencing of that collective content adds its own share of appeal to the presentation and will also be discussed later. Each item noted is important in its own way to the whole of the album’s presentation. All things considered, they make the album a “solid” start for The Grease Traps.
More often than not when people think of grease traps, they think of big containers that hold the leftover, disposable junk used to cook fried foods. In the case of The Grease Traps though, people are getting anything but disposable content. Rather, this group’s debut record is a successful start for the group that has plenty of staying power. That is evidenced in part through the record’s featured musical arrangements. Hearing the album’s featured musical arrangements is like opening up a time capsule loaded with the best funk, soul, and R&B sounds of days gone by. Each composition lends itself to comparison to works from the likes of Stevie Wonder, James Brown, and Sly & The Family Stone, just to name a few similar acts. The thing is that even with such comparison, the songs still boast their own identities. That is due to the instrumentations and their production. That the group pays such clear homage to those who came before them while also creating such engaging and entertaining compositions of their own makes for so much applause. On an even deeper level, while each arrangement is clear in its throwback to those days gone by, the songs even bear a unique identity from one another, with subtle changes from one song to the next. Only those who listen closely to the record will catch those ever so slight variations, too. In other words, this is a record that audiences cannot and should not just passively play. Rather, full appreciation comes through actively listening through each song. On a side note, there is some foul language incorporated in some of the songs, including the record’s opener, ‘Roots.’ Sadly, there is not parental advisory on the record to note the language, which is disappointing. That aside, it does not doom the record, but it does mean that some listener discretion should be used. Some of the lyrical content is not entirely family friendly is all.
Moving from the album’s musical content, its lyrical content plays its own important part to the whole of its presentation, too. The lyrical content featured in this record is important to examine because of its accessibility. By and large, the lyrical themes featured throughout the record are centered on romantic relationships between a man and woman, just in various fashions. At the same time, there is some more serious, social content featured in the record, such as ‘Color Blind.’ The song clearly takes on the issue of race relations. Considering everything going on in America right now, this song is fully relevant. The group sings right from the opening lines, “I’ve always heard white is right/Ya better believe/Black is alright, too/And so is blue and green and yellow/What difference should it make to you?” That is a pretty bold statement that rings so true today. Its message is clear. The mention of judging people by color and that we should all be colorblind adds even more impact to the song.
On another note, a song, such as the record’s lead single, ‘Bird of Paradise,’ this work is a celebration of how people get out on the dance floor and use their moves to attract another. More specifically, it is sung from the vantage point of a man trying to show his moves as he even invites said woman to come join him. This is such an accessible work in that sense. When its musical arrangement is added to the mix, it gets even more fun.
The album’s title track is yet another accessible work that audiences will enjoy in its own right through its lyrical theme. This song is a clear statement of self determination. That is evidenced in the mention that people should “just put your foot on solid ground.” That is made even clearer in the statement that “if you’ve got a burden/Then you push it to the side/I wanna fight for my people’s rights/As long as I can” in the song’s second verse. The sentiment is echoed in the song’s lead verse, which states, “If the world’s got you down/Thinkin’ that you ain’t got a chance/Just stand on solid ground/And change your circumstance/I’m telling you right now/Don’t fall into that hole/’Cause what you really need is some strength to satisfy your soul/Put your foot on the rock/Put your foot on solid ground.” This overall message of empowerment is fully accessible and one that audiences will welcome any time, what with its clear translation and equally upbeat musical counterpart. It is yet another of so many examples of the important role of Solid Ground’s lyrical content. When it and the other songs examined here are considered along with the rest of the album’s lyrical content, the whole makes the album’s lyrical content just as powerful and important as its musical arrangements. The sequencing of that collective content rounds out the album’s most important items.
The sequencing of Solid Ground is so important to note because it brings the record’s lyrical and musical content together and completes the presentation. It ensures that those who actively listen to the album will hear the aforementioned subtle changes in the songs’ arrangements through the instrumentations. It also ensures that the lyrical themes change ever so subtly from one to the next, too. That in itself goes a long way to keep listeners engaged and entertained. Considering the energy in each song’s arrangement, the sequencing keeps things moving just fluidly enough from one to the next, too. This ensures in its own right, that the record’s pacing remains solid from start to end. Keeping this in mind along with the sequencing in terms of the content, there is no doubt that the sequencing of Solid Ground is just as important to the album as its content. It takes the content into account and orders it so as to ensure the most notable impact possible and succeeds quite well along the way. When this is considered along with the importance and impact of the album’s content, the whole makes the record a “solid” first outing for The Grease Traps.
The Grease Traps’ debut album, Solid Ground, is an impressive first outing for the up-and-coming outfit, which specializes in funk, soul, and R&B. Its success comes in part through its musical arrangements, which are stylistically similar from one to the next. However, their sounds are so subtly different from one another. That is revealed through a close listen to the record. It in itself will engage and entertain audiences. The lyrical content that accompanies the album’s musical arrangements is just as entertaining thanks to its clear translation in each song, and the accessibility ensured therein. The sequencing of said content rounds out the album’s most important elements. That is because it takes the content into mind to offer audiences something different from one song to the next. Each item noted is important in its own way to the whole of the record’s presentation. All things considered, they make Solid Ground an auspicious start for the group’s career.
Solid Ground is available now. More information on SolidGround is available along with all of the band’s latest news at:
Up-and-coming funk outfit The Grease Traps will release its debut album this fall.
The band is scheduled to release its debut album, Solid GroundNov. 5 through Record Kicks. In anticipation of the record’s forthcoming release, the band premiered a teaser for the record’s lead single, ‘Bird of Paradise’ Sept. 16.
The teaser presents the song as a full-on funky composition, complete with horns, keyboards, catchy hooks and choruses. It immediately lends itself to comparisons to works from the likes of James Brown, Sly & The Family Stone, and Stevie Wonder.
The song’s lyrical theme is relatively obvious even with only a portion of the song featured in the teaser. The theme is that of a man trying to impress a woman. That theme is especially translated through the song’s video, which features a male bird doing a mating dance for its potential mate as the song plays over the visualization.
Guitarist Kevin O’Dea talked about the group’s new single in a prepared statement.
“‘Bird of Paradise’ was the first original we recorded at Transistor Sound Studio with Kelly Finnigan and Ian McDonald of Monophonics,” he said. “It was conceived to be a split A and B side on a 45, with the main groove as Part 1 and the breakdown as Part II, similar to some of our favorite James Brown tracks. However, we opted to fade out a little early to make room for the slow-burning original we recorded right after that on the B side.”
Added O’Dea, “If you’ve ever seen a live Grease Traps show, you’ll recognize some of the Gata’s dance moves as bearing a striking resemblance to the bird of paradise’s dance of seduction. It is a dance, it is a state of mind, and now it’s a nasty groove”.
More information on The Grease Traps’ forthcoming album is available along with all of the band’s latest news at:
Music collective The Tibbs debuted its latest single and video this week.
The band debuted its new single, ‘Another Shot Fired‘ Wednesday, along with the single’s video. The song is the title track and second single from the group’s latest album, which was released in November through Record Kicks. The premiere of ‘Another Shot Fired’ and its video comes more than six months after the band debuted the video for the album’s lead single, ‘Damaged Heart.’
The video for ‘Another Shot Fired’ features front woman Roxanne Hartog performing the song in what is meant to reflect a live setting as the song plays over. The song in question features an infectious funk-infused stylistic sound, complete with horns and even some hip-hop style drumming.
The lyrical theme content that accompanies the song’s musical arrangement is clearly a song about two people flirting. In this case, the woman is the one really trying to seduce the man.
A statement from the band about the song confirms that interpretation.
“‘Another Shot Fired’ is a vibrant feel-good song about a woman, who with a wink explains how she’s going to beguile a man, leaving the target of her efforts unaware that he’s the hunted one – and not the hunter,” the statement reads. “The track kicks off with four ‘shots’ that re-echo in the prelude to the chorus, just where the words of the song title are belted out; A soulful, rocksteady-influenced and typical Tibbs’ tune.”
More information on The Tibbs’ new single, video, and album is available along with all of the group’s news at:
News from independent record label Record Kicks is renewing interest in a little known Italian movie.
The label announced Tuesday through a press release, it will release the soundtrack to the movie The Black Stone Affair April 9. The movie was written and directed by then up-and-coming writer/director Stefano Paradisi. Had the movie ever seen the light of day, it would have made Paradisi as popular and respected as his more well-known Italian counterparts, Federico Fellini and Michelangelo Antonioni, according to those who worked on the film.
Although the movie likely will never see light of day, the discovery of the master reels for the movie’s soundtrack, and their restoration has led to its forthcoming release. The soundtrack was crafted by the independent music collective known as Whatitdo Archive Group.
In anticipation of the soundtrack’s pending release, Record Kicks will release the soundtrack’s lead single, ‘The Return of Beaumont Jenkins ft. Alessandro Alessandroni Jr.’ March 5. Its release will come in a limited run of 45s. Alessandroni is the son of Alessandro Alessandroni Sr., who worked with the likes of Ennio Morricone on a variety of soundtracks, including those from movies helmed by Sergio Leone.
According to information provided about ‘The Return of Beaumont Jenkins’ by Record Kicks, the song was intended for the final scene of The Black Stone Affair. A statement which addresses the song and scene was featured in the news release about the soundtrack and song. It states, “every hero needs a victory theme and ours, Beaumont Jenkins, finally receives his. After a bitter bullet-fueled showdown against Blood Chief, maestro Alessandro Alessandroni Jr’s iconic whistle can be heard across the expansive desert backdrop. Led by driving tremolo guitars and a pizzicato string ensemble, the music dramatically explodes into a victorious piano solo that carries our wounded hero away into the sunset, the elusive black stone in hand”.
More information on this and other titles from Record Kicks is available online at:
Independent record label Record Kicks is closing out 2020 in an intriguing fashion. The label released a new compilation record Friday to finish out the year. Dubbed Breaks and Beats: Funk Breaks & Hot Instrumentals, the 12-song collection is composed of 48 minutes worth of instrumentals from some of the biggest hits of the acts signed to the label. The record’s makeup – in regards to its featured songs — is itself a key aspect to the compilation and will be discussed shortly. The sequencing of the record’s songs also plays into its interest. This aspect will be discussed a little later. The songs’ production rounds out the record’s most important elements. Alongside the noted aspects of the songs and their sequencing, the compilation in whole proves itself an interesting new presentation from Record Kicks that is worth the occasional play.
Record Kicks’ newly released compilation record Breaks and Beats: Funk Breaks & Hot Instrumentals is an interesting new offering from the independent record label. It is a presentation that audiences will find well worth taking in at least once if not more. That is proven in part through its featured songs. The songs themselves are works from a handful of the more than 30 artists and acts who are signed to the label. Some of the featured artists and acts have released new material in the past year or so, too. That might be why they were featured here. Among those featured are the likes of Calibro 35, Hannah Williams and the Affirmations, Marta Ren, and The Tibbs, each of whom has released new music this year. Between those noted acts and the others featured in the record, what audiences really get here is not only a sampling of new music from many of the featured acts, but also an introduction to those acts for those audiences who might be less familiar with the noted acts. To that end, having so many acts and so much music to introduce to so many listeners forms a strong foundation for the compilation. With any luck, the introduction to all of that music will encourage listeners to discover even more music from those acts. This is just one aspect of what makes Breaks and Beats: Funk Breaks & Hot Instrumentals such an interesting collection of songs. The sequencing of the record’s songs adds to that interest in its own right.
Thee sequencing of Breaks and Beats: Funk Breaks & Hot Instrumentals is important because of the clear attention paid to the record’s energy exhibited in this aspect. The album starts off on a mid-tempo fashion in its first half before gradually starting to pick up just before its midway point. From there, the energy gradually pulls back in ‘Soul Run.’ It starts out higher energy but then starts to gradually ease back as the song progresses. From there, the compilation’s energy picks back up again gradually to a steady, mid-tempo feel right to the record’s end. The short and simple is that the compilation’s energy is well-balanced throughout even with the stylistic approach and sounds staying relatively similar from one song to the next. The changes in the energy are so subtle throughout, but just noticeable enough in that subtlety. The result is that the record will ensure listeners’ engagement and entertainment through its overall feel as much as for its content. Keeping all of this in mind, it still is not the last of the compilation’s most important elements. The record’s production rounds out its most important elements.
Funk as a genre typically presents arrangements that typically are very busy. Between guitars, drums, horns, (and vocals), most funk songs feature a wide range of instruments and lines. The songs that are featured in this compilation are no exception to that rule. Whether it be the combination of keyboards, drums, guitars and horns in Calibro 35’s aptly titled ‘CLBR 35,’ the more laid back but still rich mix of instruments in The Devonns’ ‘Tell Me’ or even the mix of instruments in The Liberators’ ‘Episco,’ the fact of the matter is that each of the songs featured in this compilation was precisely produced. No one instrument outdid the others at any point in any song. The dynamics overall were perfection, bringing about so much great emotion from listeners. To that end, this aesthetic element of Breaks and Beats: Funk Breaks & Hot Instrumentals cements the engagement and enjoyment for the record. In turn, it will no doubt encourage plenty of listeners to discover even more music from the record’s featured acts. Considering that along with the compilation’s content and sequencing thereof, the whole of this compilation proves to be a positive presentation from Record Kicks that audiences will enjoy.
Record Kicks’ new compilation record Breaks and Beats: Funk Breaks & Hot Instrumentals is an interesting new offering from the label. Usually, compilation sets are thrown out during the summer as mid-year space fillers rather than at year’s end. That aside, the record is still a presentation that will entertain and engage listeners. That is proven in part through its featured songs, which give audiences a nice introduction to just some of the label’s many acts. The sequencing of the compilation’s featured songs adds its own element of enjoyment and engagement to the record. The production presented in each song puts the final touch to the record’s presentation, bringing everything full circle. Each item noted here is important in its own way to the whole of the compilation. All things considered, they make Breaks and Beats: Funk Breaks & Hot Instrumentals an enjoyable last offering from Record Kicks for 2020 and gives hope for what 2021 has to bring from the label. Breaks and Beats: Funk Breaks & Hot Instrumentals is available now digitally.
More information on this and other titles from Record Kicks is available online at:
The musical universe spawned so much great music this year. From rock to rap to pop to country, jazz, and even family music, the musical universe gave audiences a lot to like about 2020. For all of the entertaining and engaging music that was released this year some proved to be the best of its given categories. Not all of that music could be the best of the best though. Only certain records could obtain that title, and they come this year from a wide range of genres. The Okee Dokee Brothers and their new album Songs For Singin’ are here among the best of the best in Phil’s Picks 2020 Top 10 New Albums of the Year. They are joined by new albums from the likes of Sons of Apollo, Ricky Byrd, and The Devonns among others. Topping this year’s list of the best of the best is Jessie Wagner’s new album Shoes Droppin’.
As with every other list from Phil’s Picks, the Year’s top new albums list features the year’s Top 10 new albums and give honorable mentions for a total of 15 titles. Without any further ado, here is Phil’s Picks 2020 Top 10 New Albums of the Year.
PHIL’S PICKS 2020 TOP 10 NEW ALBUMS OF THE YEAR
Jessie Wagner – Shoes Droppin’
Chris Stapleton — Starting Over
Sons of Apollo – MMXX
Yellowackets – Jackets XL
U.D.O. – We Are 1
Ricky Byrd – Sobering Times
Deep Purple – Whoosh!
The Devonns – The Devonns
Nine Inch Nails – Ghosts V
Nine Inch Nails – Ghosts VI
Joe Bonamassa – Royal Tea
The Okee Dokee Brothers – Songs For Singin’
The Tibbs – Another Shot Fired
Ala.ni – ACCA
Ben Harper – Winter is for Lovers
Now that all the music lists are done, it is on to the DVD and Blu-ray releases. Up first in that side of things is the year’s Top 10 New Documentaries. Stay tuned for that.
Music collective The Tibbs officially released its sophomore album Another Shot Fired Friday. The 13-song record is a presentation that will appeal to a wide range of listeners. From fans of vintage soul and R&B to The Tibbs’ own fan base, the 44-minute record proves itself to be an enjoyable record from start to end. One of the songs that makes the record so enjoyable is its lead single, ‘Damaged Heart.’ It will be discussed shortly. The album’s midpoint, ‘Mama Says’ does its own share to show what makes The Tibbs’ new album so enjoyable. It will be addressed a little later. ‘Circeo,’ which comes late in the record’s run, is yet another positive addition to Another Shot Fired. It will also be discussed later. When it is considered alongside the other two songs noted here and the rest of the album’s run, the album in whole finds itself leaving listeners anxious for The Tibbs’ next musical shot in the best way possible.
The Tibbs’ sophomore album Another Shot Fired is some strong musical firepower from the up-and-coming neo-soul/R&B outfit. That is proven in part early on through the album’s lead single, ‘ Damaged Heart.’ The musical arrangement featured in the song plays its own key part in supporting the noted statement. It is a throwback to the R&B sounds of the 1960s and 70s with its horns, funky guitar rhythms and drums. Roxanne Hartog’s vocal delivery here adds to that sense, too. Adding to the arrangement’s appeal is the way in which it was produced. There is something in the production that is so wonderful. From the raw sound of the snare drum to the smooth sound of Hartog’s vocal delivery and the richness in the horns makes the overall sound come across as if the whole had been bottled up in a time capsule since the end of the 1970s. It is such an infectious presentation in itself that will have listeners wanting to hit the dance floor Ironically, as upbeat as the song is in its musical arrangement, that positive nature is counter to the song’s lyrical theme.
According to a statement from The Tibbs, the song’s lyrical theme is actually very heavy yet accessible to audiences.
“‘Damaged Heart’ is about the uncertainty that one might bring from past experiences into a new relationship and the fear of not being able to give oneself completely,” the statement reads. “The bright spot being the openness with which this uncertainty is raised. Altogether, Damaged Heart could – despite the irreparable harm that is suggested is in the title – very well be interpreted as a love song …”
The statement is made clear as Hartog sings in the song’s lead verse, “My baby and I/We get by/But oh, sometimes/I can’t describe/This feeling creeps up on me/I wouldn’t say it’s a jealousy/But I can’t deny/I can’t deny/I can’t remember/When I last/Felt so deep longing/For someone in the past/This truth, it haunts me/In the night/Putting my heart…/I can’t deny/Couldn’t tell you why…” Some of this is a bit difficult to decipher without a lyrics sheet to reference, but what is clearly being mentioned here is someone who wants to have gone past a previous relationship, but can’t help but think of that past situation. This would seem to work in tandem with the statement about the song’s lyrical theme. From there, she mentions in the song’s second verse what sounds like she is saying, “My damaged heart/has to learn.” Again not having a lyrics sheet to reference makes deciphering precisely, the lyrics here difficult. That aside, the message is relatively clear. This is in fact someone who is trying to get over a past relationship, but is having some difficulty in doing so. Going back to the song’s musical arrangement, it is even more evident how stark the contrast is in the song’s musical arrangement and its lyrical content. It makes for quite the interesting presentation and just one example of what makes the album in whole so interesting. ‘Mama Says,’ which serves as the album’s midpoint, is another notable entry to this record.
‘Mama Says’ stands out in part because of its musical arrangement. This song’s arrangement is a catchy, mid-tempo blues-infused work. It starts off simple with just Hartog’s vocals alongside a simple bluesy guitar line and some clapping. As the song progresses, drums and a tambourine join in, but only subtly at best. It is not until more than a minute and a half into the song that the arrangement picks up, including the addition of the horns to add some more flash. The arrangement in whole lends itself easily to a comparison to works from The Tibbs’ label mates Hannah Williams & The Affirmations. The energy in the song’s arrangement pairs well with the song’s lyrical theme, which is a tribute to one of the band members’ moms on one level. On another, it is a song that echoes the appreciation that we all have for our mothers.
Hartog sings in the tribute’s lead verse, “My mama is the strongest girl I know/My mama is the strongest girl I know/She taught how to fly/She taught me how to sing/She taught me how to cry/She taught me everything I know/She said, “Don’t give up on yourself/She’s the strongest/She’s the sweetest/She’s the toughest/She’s the softest/She’s a goddess…” As the song progresses, Hartog even sings, that the mother told her to “keep your head up high.” The rest of the song follows much in the same vein, lyrically speaking. The whole becomes a lyrical presentation that will put a smile on every listener’s face. That is even more certain when this positive lyrical message is paired with the song’s equally uplifting musical arrangement. All things considered here, the song shows even more why Another Shot Fired is another power packed musical round from The Tibbs. It still is not the last of the record’s most notable tracks, either. ‘Circeo,’ which comes late in the record’s run, is one more of the many enjoyable entries in this record.
‘Circeo’ is a full-on instrumental composition. There are no vocals here. It is just the band putting its talents on full display. This three-minute, 42-second composition is a solid mix of vintage soul and R&B what with its horns, bolstered by the baritone sax, the solid, simple time keeping on the drums and the equally simple but strong guitar line. The groove that the group establishes in this opus is so infectious. It takes only a matter of moments for audiences to become wholly engaged in the song and entertained. The way in which the arrangement was composed, it would be so easy to add any lyrics. That is evident as the chorus and verse sections are that clear throughout the song’s nearly four-minute run. Nevermind that the arrangement is not exactly progressive. It is just so fun and engaging that it is so easy to overlook its simple approach. Keeping that in mind, it proves itself to be just as welcome an addition to Another Shot Fired as the other songs noted here and the rest of the album’s entries. When all of the album’s songs are considered together, they make Another Shot Fired a presentation that audiences will hope is not the last musical round to be fired off by The Tibbs.
The Tibbs’ sophomore album Another Shot Fired is an impressive new offering that will appeal to a wide range of listeners. That is proven from the album’s open to its end through its musical and lyrical content. That is proven through all three of the songs examined here. When these songs are considered along with the rest of the album’s entries, the whole of the album becomes a presentation that is without question, one more of this year’s top new independent albums at the very least and a work that vintage soul and R&B purists will enjoy hearing just as much as The Tibbs’ established fan base. The record is available now.
More information on The Tibbs’ new album is available along with all of the group’s news at:
Independent soul/funk artist Marta Ren debuted the video for her latest single this week.
Ren debuted the video for her new single ‘22:22‘ Thursday. The video’s debut comes less than a week after Ren debuted the single by itself on digital platforms for streaming and download.
The single’s new companion video features Ren and her band mates performing the song in what looks like a live setting. One can assume the performance was recent, as members of the audience were all wearing face coverings in response to COVID-19 restrictions.
The song’s musical arrangement is an up-tempo composition whose funky, soulful stylistic approach and sound will appeal to fans of works from Ren’s Record Kicks label mates Hannah Williams & The Affirmations, and The Tibbs.
According to information provided about the single, its lyrical theme is meant as a commentary about dealing with one’s inner struggles and balancing that with pleasing others.
The debut of Ren’s new single comes four years after the release of her debut album Stop Look Listen.