Joho – Space City Serenade

 Joho – Space City Serenade

Joho – Space City Serenade – Album Review

J…O…H…O!” – if you listen close, you’ll hear me chantin’ that out along with the crowd spellin’ out his name in the background of his first cut on Space City Serenade called “Joho’s Anthem.”  As to the reason why that is, it’s simple really – Joho is top tier audio entertainment without question; he’s literally supplied our speakers here with FIVE full-length records over the past year alone – all of them highly worth jammin’ loud’n’proud.  He’s rocked collaborations like he did in Echo Park…he’s been crushin’ it solo like we know the man to do…he’s even written what I’m still convinced is one of the best cuts I’ve heard on any record this year with the release of “The Bear Dog Of El Paso” on the Parliament Of Fools album by his alter-ego Dirk Turquoise & The Grimy Pastels.  While relatively speaking, I’ve only known about the dude & his music for less than 365 days in total still to this very day – it’s a fact that, if you’re listening to the amount of tunes I have from this guy, you end up knowing what an artist is all about pretty damn well.

And so I’ve pushed…right from the beginning.  Not out of any kind of malice, believe me, it’s quite the opposite; I’d readily tell anyone within earshot that Joho is one of the best out there in any corner of the scene ever since I started listening – but on each record, he’d reveal a moment or two where the writing itself tended to outshine a performance or two.  And don’t get me wrong, as I’ve said several times on these pages of ours I’m sure, when you’re a great songwriter, that’s bound to happen at least a couple times along the course of a career as a sound & style gets refined.  In the case of Joho, with him trying so many different directions & trying so many things due to whatever the heck they’re puttin’ in his water over there and the clear fact that he like, NEVER seems to stop making music – it was only natural that a few results would vary from here to there along the way.  I accepted it for what it was, and not that an artist like this would ever need my advice personally, I still pushed from my tiny corner of the internet for Joho to reach for the greatness within him…because there’s more potential in him than the vast majority of folks out there.  Sorry y’all…I know that can be a hard pill for some to swallow sometimes – but if you’re looking comparatively at your rate of production & quality ideas versus what Joho brings to the music-scene overall, I’m sensing you’re at a mad disadvantage, outmatched, and outgunned.  And let’s also be real here…if every one of you out there were just making the perfect record on that first time out, you’d all just retire and never come back…it’d be a challenge conquered & time to move on.

To me, it’s never about the results of a perfect record anyway; it’s truly about enjoying the journey to get there.

With so many highlights & memorable moments supplied already over the course of this past year, Joho is never far from my mind or my playlists for that matter.  Due to the tremendous selection of styles he takes on and the diverse nature of his material, sure, there’s stuff I like better than others – but that’s never been the point…it’s always been about listening for that moment where Joho kept the focus up to the full 100%, rounded out all the corners, and put in a full set of performances that would leave him with zero doubt that he brought the best he could to every hook & bar – that’s what I wanted to hear.  I have to write in some kind of cliffhanger or reason for you to keep reading here…so I’ll say for now that, I’m on track seven of another repeat spin through Space City Serenade…and if there’s a reason that he should be unhappy about the flawless results you’ll hear to that point of the record, I’m certainly not hearing it myself.  Will it stay that way?  Will Space City Serenade continue to the end as strong as it started?  Will it get even better?  So many questions right?  Read on – we’ll figure this all out together.

The confidence & style immediate comes pouring out of your speakers on “Joho’s Anthem” as the new record begins.  Like I was tellin’ from the get-go, I’ve always been in this man’s corner when it comes right down to it…maybe I’ve just been a bird chirpin’ that there’s a level beyond the greatness he’d already achieved, but I like to think it’s been beneficial somehow, even if I’ve been critical at times.  Execution-wise, you can hear Joho puttin’ the pedal to the floor from the drop as “Joho’s Anthem” gets rolling along; the flow is impeccable and as per his usual high-standards, the lyricism is designed with a steady stream of Pop-culture references, insightful wisdom, and lines that’ll have you grinnin’ with him.  I ain’t gonna lie to you…at this point in my career having done this music journalism thing for more than half my life & me being older than dirt & all, a track like “Joho’s Anthem” is well beyond me in just about every way…but I’m not so unplugged from what’s current to not know this is the sound of right NOW.  Joho comes out sounding menacing and extremely invested in making each line stand out as he’s rappin’ throughout the bars of “Joho’s Anthem” – it’s the monumental confidence that draws you right in here.

Songs like “On The Map” give me a little hope that I’m not nearly as disconnected from the scene as I can tend to feel sometimes, no matter how hard I try to listen to everything that’s out there.  I listen to a cut like this and feel like it’s a track we’d all respond to, ain’t it?  Enlisting KD for the first of two appearances on Space City Serenade, these two sound large & in-charge as they hit the bars of “On The Map” and stomp their way through these words with verbal authority, skill, and swagger combined.  With sixteen cuts on this album and nearly a full hour’s worth of entertainment for y’all to enjoy, “On The Map” is actually one of the shortest tracks at under three-minutes in length – but also a song that’s an undeniable highlight early on due to the strength of the performance these two put into the m-i-c.  Another massively relevant sound for the right here & now, Joho & KD make mincemeat outta the words on this cut and let loose giant streams of syllables straight atcha without apologies; just as likely to make you chuckle for content as consider & appreciate what they’re spittin’ on a poetic level too.

So…alright…here’s the thing.  It’s something I’ve mentioned in probably every single review I’ve written about Joho at some point along the way, but facts are facts and credit is due where it’s deserved – and the depth of understanding that he’s got when it comes to what makes a hook connect is essentially second to none.  While I wouldn’t dream of taking points away from what he accomplishes on the first couple cuts on Space City Serenade, there’s also no denying that he basically blows open the doors of opportunity & accessibility as the third cut “Santa Monica” begins.  You feel me?  There might be people out there that hear Joho slayin’ the first two tracks and feel like this record was made for them right off the drop – and that’s more than cool if that’s what you got out of the beginning, I wouldn’t argue against it, there’s bound to be plenty that feel that way – all I’m saying is that the potential to reach an even broader & more widespread audience becomes radiantly apparent over these next tunes to follow.  “Santa Monica” plays a very significant role in expanding the direction & sound of the record early on in a lineup of sixteen cuts, which basically signals to each & every one of us listening that the potential for many more twists & turns to come is definitely in-play…and that’s the kind of smart switch made towards the beginning of a set-list that ensures we keep on listening, especially when it sounds this good!  With Sintia guiding the main hooks to success with her vocals, and the atmospheric vibes brightening up the demeanor of Space City Serenade with more emphasis on melody – Joho remains in the background for a solid portion of this track & readily surrenders the spotlight to suit the song.  When he joins on in, the combination of Sintia & Joho’s vocals together absolutely hits the mark; they sound great together and bring a refreshing energy that instantly livens-up this album in all the right ways.

I like “Summer” a lot.  I might not say it’s right up there all the way with my favorites on this album or from the past catalog of Joho’s tunes that are up there with his best for myself personally – BUT…I’d probably say the performance he gives is easily among the highest quality I’ve heard from him so far.  You know what I’m saying?  It’s no kind of disrespect whatsoever – I think there’s a massive amount of appealing sound at work on “Summer” and the personality emanating from both the music & the microphone is seriously impressive, especially considering how delicate the melody genuinely is.  Do I dig on the grip-it & rip-it energy of a past cut like “The Bear Dog Of El Paso” more myself?  Sure – but so what?  I hear a track like “Summer” and fully recognize that Joho couldn’t have been better for a single iota of what you’ll hear…and that counts for a ton.  Whereas say a song like “Summer” doesn’t quite have that true punch of any one given hook or aspect standing out any more than the others will, that’s also its core strength – it’s like the whole song is a hook from start to finish, and there’s value in that for sure.  It’s quite the charming mix of sound really…I dig the jazzy influence on the main melody & the vibrant bounce this track brings to your speakers.  So don’t get me wrong – it’s another solid & stylistic tune that adds more strength to the record…what it might not quite pack in any one single moment along the way that defines the memorability or repeat-worthy aspect of “Summer,” the whole song as a composition in-full more than compensates for that.  Tons of character in the sound, tons of passion in the performance…you factor in the upbeat atmosphere it creates…I figure it won’t get passed over at all – it might have to fight a bit harder for some of your attention, but that’s true of almost any Joho record when he’s flexin’ in multiple styles.  For some of you, “Summer” could be THE verifiable highlight track.

The depth of the imagination & innovation in the stunning sound on display from the moment “Night Vibes” begins however, is pretty much exactly what I’m lookin’ for.  Between these first five tracks already, you can hear the professionalism applied to Space City Serenade – you’re not gonna find anything outta place or that sounds like it doesn’t belong so far, just tunes you like or love more than the others around your favorites in the set-list.  I like the approach Joho takes a lot when it comes to how he layers his vocals to give it all more dimension in sound – “Night Vibes” is a great example of how effective that can be in his music for sure.  I’m probably as inclined to praise the music on this track as I am anything I hear coming from the microphone, but that speaks volumes on behalf of the strength in both – Joho’s put in another extraordinary & gripping performance here, loaded with intense melody.  “Night Vibes” is a song that fully confirms how strong he thrives in multiple environments, styles, and sounds – this cut don’t feel like anything-daytime at all, you dig?  It’s one of the tracks that really has you appreciating his songwriting, his execution, and his understanding of how these elements connect; Joho makes superbly smart choices to suit the strengths of a song, what it needs, and this track is proof.

Fundamentally at his core, there’s no question Joho is more of a lover than a fighter based on the themes he tends to bring into his music, right up to & including the romantic vibes of “Shego” on display in the first-half of this new record.  He’s in love-mode within the confines of this flashy & Pop-inclined cut…and ultimately,”Shego” pumps out a solid wave of upbeat sound that’s addictive & inviting.  Right off the drop, I love the amount of character, personality, and precision you can hear in Joho’s performance, and once again, the extremely clever use of layering & additional vocals ends up adding a ton to what you’ll hear on “Shego.”  He’s made really smart choices on this song in how it shifts between such a huge range of different vocal sounds…each time he’ll make a switch between’em, the difference is so defined & noticeable, it’s almost like there are five emcees & singers on this one track alone, and at the end of the day, it’s all Joho, all day.  More than capable of delivering sung-out vocal hooks just as rock solid as rappin’ his bars – “Shego” gives you plenty of style & finesse from the mic, revealing just how unafraid Joho is to mix it up with his vocals, all the way to where you might not even recognize him!

Enlisting the talents of a homie that’s always in Joho’s corner – Kiev makes a stellar appearance on “Strawberry Daydreams” in what might just be their best collaboration to-date.  I’ll put it to y’all this way – I’ve clearly been enjoying myself to this point on Space City Serenade, as expected of course – it IS Joho after all – but “Strawberry Daydreams” was where he shifted this record into overdrive if you ask me, and went on to prove all the many great things I’ve had to say about him to be true once again.  It’s a master-class of songwriting & sincerity that connects – it starts almost like a track from P.M. Dawn would have back in the day, before bursting open into one of the most addictive hooks you’ll hear in any track you’ll find in 2020.  What on earth is NOT to love about this tune?  Joho and Kiev are locked right into the vibe and makin’ the magic happen on the mic as they split the verses, each competently holding their own and handling their business, displaying all the reasons these collaborations between them have continued to show up throughout the years.  Individually they’ve both put out exceptional cuts throughout the years, no doubt about that – but it’s cuts like “Strawberry Daydreams” that reveal why they keep on making music as a unit together…you just can’t beat the results in a collaboration like you’ll hear on this single-worthy track from Space City Serenade.  As inclined as I am to still argue on behalf of “Santa Monica” being a great candidate for the lead-single role, if I’m being real honest with ya, “Strawberry Daydreams” has got everything a single should have, and probably edges that earlier cut out by a fair degree – this track is ultimately that much more universally accessible in a way that everyone out there will feel it.  Innovative, creative, and tight as it gets from the music to the microphone – “Strawberry Daydreams” is as sweet to listen to as the title would imply to ya – and with its spectacularly radiant hooks, melody & harmonies swirling through the mix, it’s truly a huge highlight.

Headin’ between the sheets for some late-night lovin’ and…well…at least a lil’ bit of butt-stuff goin’ on – “You” is full of the playful mischief & low-light vibes that turn good nights into great ones, you feel me?  Joho isn’t quite goin’ full on Teddy Pendergrass on us here, but he ain’t far off either if you’re listening between the lines.  Danny Styles comes in to speed up the bars towards the end, which works well to give this short 3:03 cut a couple dimensions to it overall to keep us entertained.  I’d probably be lyin’ to ya if I didn’t say that Joho ultimately steals this particular show when it comes to “You” – the way he’s paced himself and put such emphasis on how the words come at us, everything’s got the right amount of punch to it to make an impact & really get us all paying full attention to each & every word.  Flawless execution here once again…you know, for those of you that have been following along from the very beginning of this review from way-back-when…I mentioned we were all good til track seven; here we are on track eight and the hot-streak of sound continues in-full – SURPRISE!  Not really…I just had to keep ya readin’ is all.  “You” is tight right to all its corners – Joho’s covered all the angles on this track once again and found a freakin’ fantastic flow to work with as he pumps the words into this song like he ain’t got no verbal jimmy-hat on.  Unfiltered, sensual, and fearlessly ready to explore everything the night has to offer, “You” is another strong cut on Space City Serenade that roams into Joho’s sexual side.

Let the record show the monumental effort that’s been put into this album, because it truly has been, and still is impressive.  I made it to about ninety-seconds into track NINE before I felt like I found a moment I’d even remotely question…and while it’s a small part of the song, to go as long as Joho has as flawlessly as he has to that point, is no small achievement whatsoever.  What’s even tougher, is that it’s literally really damn hard to argue against what’s basically perfection – we’re talking about a fragment of “Waste My Time” where Joho is left almost bare-assed in the mix alone, and the tone is arguably just a hair out of place or slightly wide of the ideal mark to get the most out of it…for mere seconds of a verse.  And don’t get me wrong – many of us have been there…it’s the kind of incredible performance overall that, you’d have to have some serious cojones to get back in the booth and somehow think you could do better, you dig?  So sometimes we have to accept the tiniest of quirks in the mix or flaws from the mic in the inflection of a tone falling short or whatever to retain the magic of the rest…and it’s likely always a trade that’s worth making when it comes right down to it.  I mean, if you’ve got the skills to get all microscopic with it and re-record a single part or piece and still have it completely fit, right on…but I have a feeling Joho’s much more of an ‘in the moment’ and ‘start to finish’ type artist in the booth.  Anyhow – what I’ll tell ya without hesitation is that “Waste My Time” is exactly the opposite of its titular implications – this is no waste of anyone’s time at all – it’s actually one of the most bulletproof ideas on the entire album, armed with some of the most memorable hooks of any cut in the sixteen-deep lineup.  With 98% of this track right in line and where you’d expect it to be, and the strength of the chorus – you won’t find yourself complaining…believe me when I say, nothing I found was so savage that it stopped me from turning “Waste My Time” straight up to the rafters where hooks like this deserve to be played.

That being said…sometimes the tiniest reveal of a crack in the armor can be a sign of more to come – and there’s no question that Joho gets poked with a few noticeable holes on “Speechless.”  Look…I’m not gonna beat around the bush with it, but I’m not gonna dwell on any of this either – because I have massive respect for creativity like Joho’s experimenting with on “Speechless” – he’s off a couple degrees as he sings this one, but when you consider the warped nature of the music he’s chosen to work with and the challenge that would present, you have to understand conquering this mountain of ambition was a massive task right from the ground on up.  It’s kind of one of those songs that has you appreciating how each individual component of it has something tangible worth working with – but it’s in the combination of everything combined that perhaps “Speechless” stretches the intentions & ambitions too far for his own good here.  The thing becomes, in a sixteen song set…I mean…c’mon y’all – go ahead and list me all the 100% flawless sixteen-song records you can think of, I’ll wait.  Even IF/when you do – if you get past a full hand’s worth of counting you’re being far too generous – it’s beyond rare to go that length on a record and not show a moment or two that makes us question why a song or two have been included along the way.  “Speechless” would be one of those moments where I’d look at Joho and say that, he knows full-well how this is gonna go down and be received by the people out there – it’s complex, confusing, and complicated well-beyond the capacity of the average everyday set of ears.  While that’s undoubtedly the case when it comes to “Speechless” – it’s the fact that Joho’s willing to TRY and do things we haven’t heard before like this combination of melted sounds & melody that always brings a smile to my face and keeps me solidly in his corner.  I don’t care that not every single song works out on any given record I listen to – I just highlighted how freakin’ RARE it is to find those to begin with – what I care about, is that the effort is there…that the artists & bands I listen to & support are always finding new ways to challenge themselves artistically & creatively, whether it works out or not.  Lyrically, “Speechless” still shines with enough sweetness to bring a few folks into the heart of this song most likely…but with such a polarizing vibe overall, I don’t think I would have been too on the fence personally about whether to include this cut in the official lineup of Space City Serenade at the end of the day.  You see what I mean?  Self-editing is extremely hard.  What’s the argument for 16 versus 15?

So can we get a little assistance in the house and get this show back on course where it was?  You bet.  KD comes on back to make a second appearance on Space City Serenade, and just at the right time too.  Make no mistake – “Bikini Bottom” is all about fuckin’ from beginning to end – and these two players aren’t pulling punches when it comes to describin’ all the places they’re lookin’ to stick their Ds into.  Well…that might not be completely fair to be truthful…perhaps the messages & implications in the imagery & words might go over a few heads out there…maybe…but for the most part, I’m pretty damn certain no one out there is gonna have any trouble at all figuring out what it is KD and Joho are on about here.  Proudly embracin’ the freak inside themselves, they open the door to the ladies out there lookin’ for love…at least for the night…I don’t think I’d be makin’ any breakfast plans exactly, but for the night, it sure sounds like Joho and KD are willin’ to supply you fine ladies with a memorable time or two.  Dig it though, there’s a ton of rumble & shake in the mix for ya here to go with the sentiment & ambitions of this rump-shaker, and a lot of uniqueness through what sounds like a ukulele led melody drivin’ it along.  Bonus points to KD for the fluid flow through his bars, excellent hooks from Joho in the chorus…lots of personality, character, charisma, and skill that keeps these two surging with momentum on this cut.

Production-wise, there have been a whole bunch of reasons to love the depth & dimension in the sound of the songs on this record, and Joho will serve you up another set of’em all throughout “Kombucha” and the massive low-end beats it’s rockin’ with such crystal clarity.  I’ve got nothin’ but love for the two collaborations with Kiev on Space City Serenade – I know I know both these two artists from reviewing them in the past, but y’all know I just call it like I hear it too without bias – they’re crushin’ it in the cuts they take on together on this record.  Two distinctly different vibes too – “Strawberry Daydreams” served up some of the most single-worthy sound on the album, and arguably, “Kombucha” delivers some of the most successfully stylistic.  One of those tracks that’s not just relevant for right now, but also still feels ahead of the rest as well – “Kombucha” is flawlessly executed, written with deep hooks, delivered with a tangible combination of passion & swagger…you won’t catch me complaining about what these two are capable of, not when they’re nailin’ it like this.  It’s like any great team scenario you can think of…when you know you’ve got someone on the court you can pass the rock to, that knows exactly what to do with their moment when they’re called upon, you get results that shine like these two do on “Kombucha” and “Strawberry Daydreams.”  The advantage of having a homie on the frontlines that you know you can count on, adds confidence to everyone’s performance all-around – and on “Kombucha” it felt like you can really hear that unity between two artists that know they can rely on each other to deliver the goods.  Kiev slaps the mic with stylistic bars that trip off the end of his lip like he’s fadin’ in & out hypnotically with the vibe, and Joho delivers another huge hook in the chorus here.

The title cut is a tougher one as well.  That being said, I’m positive it’s the second time at least that I’ve heard H-town shouted out on this record and this track specifically goes even further into the history of the Rockets on this cut for a moment…it’s an ode to Space City after all y’all, and clearly Joho’s got the right taste in basketball teams – even a Canadian like myself can pick up on that.  Mind you, I’m a bit different from the rest of my nation – no Raptors in this place of mine, this is a strictly James Harden household – #TheBeardIsTheBest!  Anyone that knows anything about me knows I obsess over the Rockets all season long and get myself set to cry properly in the post-season…but one of these days, that team will rise up to the stellar standards it once held, like outlined in this tribute to H-town.  I’m digressing a bit…it’s definitely not just a song about Basketball, it’s about the city at-large, and I got love for that.  As to whether or not this title track quite stands out enough to make an impact in comparison to the rest of this lineup…honestly, that’s really tough to call.  My gut tells me no.  I think there’s a lot of grounded street vibes that work extremely well in contrast with the Space City themes…but it’s a real hard cut to find any one defining major moment that would stand out and keep you coming back to it.  Sometimes that’s no issue…kinda like how I was talking about “Summer” earlier on…it can be a strength when the whole cut pops out in the right ways.  I’m not entirely sure “Space City Serenade” quite has enough of whatever you’d wanna call that…it’s almost so dialed-back & chilled out that it becomes harder to stay 100% fully locked into it.

Listen.  Two things can be true.  When it comes to a track like “Perfect Ending,” Joho is more than capable of puttin’ in the solid performance he does & keep it flowing smoothly on his end, while still creating a melody that’s generally more complex than most ears are likely prepared for.  On the one hand, the uniqueness of a song like “Perfect Ending” has an interesting allure to it right away, because it IS that different when it comes to how the beat is structured with the melody – and on the other hand, it is definitely the kind of cut that takes at least a couple spins to fully get your head around.  Which to me, is actually quite interesting…there’s so much of this tune that sounds like it should slide right into the ears of the people without issue, but also a whole other dimension to it that’s got massively progressive ideas in the composition that’ll make it more challenging to take in than you might assume at first.  It’s hard to say exactly how a song like this will be received by the masses out there, but from my perspective, it’s cuts like “Perfect Ending” that again speak loudly on behalf of the innovative ways of Joho and his authentic quest to create unique experiences that don’t simply lean on what he’s done so well in the past already.  Don’t get me wrong, part of me wants to encourage that too…like, as in, a greatest hits record from Joho would pretty much be the greatest record that’ll ever come out – but pass or fail, I admire the intentions and the artistic courage it takes to go after as many styles, sounds, ideas, and different methods he employs.  Personally I think “Perfect Ending” works…I think it’s much more involved than it would appear to most, and that the more you listen to it the more you’ll get out of it; it might not be the immediate stand-out in the lineup overall, but it’s a well-executed & unique track.  Lyrically, Joho’s diving deep into the aftermath of life & love…but as to whether or not it’s a “Perfect Ending” or the start of an all-new beginning in the cycle of relationships…that’s really anyone’s guess – maybe even his own.  He’s up high in his vocal register – it’s a demanding tune to sing, but he pulls it off.

Here’s another thing that’s totally true – and that’s that, when ya know, ya know – full-stop.  When you put on a song like “Favorite” featuring McKenna Parr, you instantly feel that inspired spark come to life immediately all over again – and you know right from the drop that, whatever is about to come atcha, is likely gonna be something truly special.  Largely, I think that’s completely true in the final results.  Do I think there is stronger material & collaborations to be found on Space City Serenade overall?  Yep, I do – but don’t mistake that for any kind of complaint whatsoever.  When it comes to the vocals, I think this is one of the best performances you’ll find from Joho on this record, and McKenna sounds absolutely fantastic as well…so clearly, they’ve brought out the best of each other in that respect, the singing is golden on this cut & perfectly sweetened from both artists on the mic.  “Favorite” becomes a truly chill cut in its own impressive & very natural way…almost like we’re all witnessing this moment intimately right in front of us – there’s a genuinely organic melody at the core of this song that’s gonna connect to a whole bunch of hearts & minds out there, no doubt about it.  Super strong & memorable hooks for a song with a demeanor as delicate & seemingly fragile sound as this track has – you’ll be surprised by how much “Favorite” will grow on you…the mix is just so warm & inviting it’s extremely hard to resist.

It’s the simple things…” – Joho ain’t wrong when he sings that on the final cut “Sweet Dreams” – and that mantra can apply to several aspects of life, in addition to being what I’d argue makes this last song work so well as a finale.  Simple things, as in, “Sweet Dreams” doesn’t really stretch too far in any complex directions, and just keeps the ingredients focused on creating a memorable final moment to take us out of Space City Serenade on a strong cut with extraordinary balance.  For the most part in fact, I’d argue that it’s Joho’s vocals that do the majority of the heavy lifting on this last track, putting him pretty much right in the center of the spotlight to sing out the last song for us.  There IS music of course – and if you’re listening, there’s actually quite a ton of personality, character, charisma, and sound-selection working in favor of the music…but it truly plays a secondary role in what keeps us listening to “Sweet Dreams.”  For what that is folks, you need to give real credit to the main star of the show – it’s Joho on the mic that keeps you locked into this last track, as he brings it home with a series of melodic & inventive ideas that are as equally theatrical as they are expressive & filled with naturally jazzy vocal hooks.  Plenty to love here in “Sweet Dreams” from its inherently old-school atmosphere set in the very opening moments, to the near a cappella performance he’ll put in for a minute, to the crisp beat that comes kickin’ in to support him with a plethora of neon synth sounds in behind him – Joho makes sure to give you plenty to appreciate on this last track, but really, it’s the man himself you can’t take your ears off of no matter how fantastic or appealing any one sound you’ll find in the music is on this cut.  It’s a solid note to go out on and a great reminder that all Joho really needs are the ideas in his head & the vocals he’s got to keep ya entertained…I don’t think he’s capable of being anything less than impressive.  It might not be the elusive perfect sixteen-track record, but you gotta admit, this dude gets way damn closer than most ever would; for the savage majority of what Joho creates with his music, be it this record or any of his others, the man can’t remotely hide the genuine star he truly is.

Check out the new album Space City Serenade, and find more music by Joho at his official page at Spotify:

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