Tag: afrobeat

 

Currently comprised of founding duo and primary songwriters Alex Toth (trumpet, vocals, percussion), Kalmia Traver (lead vocals, tenor sax, baritone sax), Adam Dotson (trombone, vocals and percussion), David Cole (drums) and Ian Hersey (guitar), Brooklyn-based Afro-pop/dance pop act and JOVM mainstays  Rubblebucket can trace their origins to when Traver and Toth met while playing in a Burlington, VT-based Latin jazz act. Bonding over their horn playing, a preternatural connection and a love of Afrobeat and Afro pop, the duo in 2006 relocated to Boston, where they did fairly respectable things for money — Traver spent time as a nude model for art classes, while Toth spent time hustling $50 a performance marching band gigs. And while being broke as shit in Boston, the duo began Rubblebucket.

Relocating to Brooklyn some years later, the members of Afro pop/indie pop act emerged into the national scene with the release of their critically applauded 2011 album Omega La La and an established reputation for a rather relentless touring schedule full of ecstatic, energetic and mischievous live sets which at various times had included puppets, bandmembers jumping into the crowd and leading dance circles and dance trains with the audience. By early 2012, the band had made their first nationally televised appearance on Jimmy Kimmel Live

Over the years, the band has been pretty busy as they’ve released a handful of critically applauded EPs and their sophomore full-length Survival Sounds. And while their touring schedule had slowed down a bit, Toth and Traver also a brief period of time touring as backing guests for follow JOVM mainstay act  Superhuman Happiness, a collaboration that goes back to when Stuart Bogie, Eric Biondo and company opened for the Rubblebucket for a handful of shows up in Burlington, VT. Interestingly, during that time Rubblebucket’s  recorded output has revealed a band that has gradually crafted and then cemented a signature sound while also subtly expanding upon it; in fact, on their Save Charlie EP the band retained their genre-blurring sound that possessed elements of funk, pop, psychedelia and Afrobbeat with a populist sensibility but at points you’ll hear elements of boom-bap hip hop and electro pop. But also over the years, the band’s Traver has slowly but confidently emerged as a true frontperson.

If U C My Enemies, the band’s forthcoming EP is slated for a January 20, 2017 release through So Sensation Records, and from the album’s first single “Donna,” begins with twinkling keys and pairs Nile Rodgers-like funk guitar, a sinuous bass line, blasts of Traver and Toth’s enormous, swaggering horn lines, stuttering and glitchy four-on-the-floor like drumming, swirling electronics and distorted vocal samples with Traver’s ethereal and coquettish cooing, revealing a subtle emphasis on electronics and sampling to create a lush and layered sound while still being playful and danceable.

The band will be embarking on a late Fall/Winter tour to support the new effort throughout parts of the Midwest, New England and Northeast. If you’re around any of these cities, you should catch them — their sets are fun and you will spend the night dancing and signing along with them. Tour dates below.

 

 

TOUR DATES
Dec 01 – Cleveland, OH @ Grog Shop
Dec 02 – Chicago, IL @ Chop Shop 1st Ward
Dec 03 – Grand Rapids, MI @ Founders Brewing Co.
Dec 05 – Columbus, OH @ The Basement
Dec 06 – Cincinnati, OH @ The Woodward
Dec 07 – Detroit, MI @ The Shelter
Dec 08 – Buffalo, NY @ Studio at Waiting Room
Dec 09 – Syracuse, NY @ Westcott Theater
Dec 10 – Portland, ME @ Port City Music Hall
Dec 29 – Rochester, NY @ Anthology
Dec 30 – Holyoke, MA @ Gateway Arts
Dec 31 – Holyoke, MA @ Gateway Arts
Jan 19 – Providence, RI @ Fete
Jan 20 – Boston, MA @ Paradise Rock Club
Jan 21 – Fairfield, CT @ The Warehouse
Jan 26 – Albany, NY @ The Hollow
Jan 27 – Ithaca, NY @ The Haunt
Jan 28 – Philadelphia, PA @ Union Transfer

 

 

 

 

New Video: Afro-Haitian Experimental Orchestra Bridges the Sounds and Cultures of the African Diaspora with Funky Grooves

Album title track “Bade Zile” employs the use of propulsive and complex polyrhythms paired with call and response voodoo chants, a driving groove and swirling electronics to craft a sweaty and funky free-flowing jam that subtly nods to reggae and funk while directly and overtly nodding to Afrobeat and traditional Haitian music in dizzying and seamless fashion.

The recently released music video was primarily shot in Port-au-Prince during Fete La Musique and it captures the island nation’s stark poverty, its people’s beauty, dignity and pride, some gorgeous voodoo relics and the musicians of the Afro-Haitian Experimental Orchestra in the rehearsal room and on stage jamming, as well as the audience at the festival rocking out and enjoying the proceedings. And the entire time I watched the video I couldn’t help but be awed by such a proud, beautiful people, who have suffered so greatly.

Next year will mark the 20th anniversary of Afrobeat godfather and pioneer Fela Kuti‘s tragic and untimely death from AIDS, and in that time Kuti’s influence has managed to loom rather largely over contemporary music from Africa and elsewhere as countless bands have expanded upon the sound and aesthetic that the influential and controversial Nigerian created. And I suspect that if Kuti were alive today, the 78 year old would likely be amazed at the diverse nationalities and ethnicities, who have adopted his sound, aesthetic and message to their own particular situations, while picking up on the larger, global context that Kuti always managed to write about. But if there’s one thing I’m certain that Fela would never have imagined actually existing it would be this — Swedish Afrobeat.

Comprised of Frida Eleonore Winlöf (trumpet),  Christopher Ali Thorén (tenor sax), Jonas ‘Finland’ Rönnqvist (alto sax), Fredrik Brändström (keys), Jesper Lundquist (guitar), Tobias Alpadie (guitar), Vilhelm Bromander (bass), Wille Alin (drums), Celso Paco (congas and vocals), Jon Olofsson (percussion), and Mattias Hidemo (claves, fiddle), the twelve-member Stockholm, Sweden-based collective Music is the Weapon may arguably be Sweden’s best (and seemingly only) Afrobeat outfit. Although Sweden isn’t particularly known for a funk scene, as the band’s co-founder Christopher Ali Thorén explains in press notes “We’re not fighting the same fight in Sweden as Fela did in Nigeria, of course, but I feel that in some way it’s political to play this kind of music in clubs here. We give people the experience of big live band playing raw funk. For me it’s an act of resistance all its own.” Of course, as Thorén and   the rest of the band have also discovered, their fellow countrymen are starving for Kuti’s particular brand of funk.

The Stockholm-based collective’s latest full-length effort Sweet Choral Motion was released through Fashionpolice Records and from the album’s opening track “Black Hole,” the Swedish collective reveals an inventive take on Fela’s signature sound as the composition employs the use of complex polyrhythm that sounds as though it owes a debt to the Caribbean, enormous horns and an equally complex song structure that would make the legendary Nigerian godfather of the genre proud while gently expanding what contemporary Afrobeat can sound like, as the Swedish act’s sound also seems to employ elements of hip-hop and cosmic funk to the mix.

 

 

 

Comprised of Massama Dogo (lead vocals, guitar), Clayton Englar (sax), Megan Nortrup (sax), Scott Aronson (bass), Franck Martins (lead guitar). and Aaron Gibian (percussion and drums), the Washington, DC-based sextet Elikeh has developed a reputation for material that sonically has been classified as Afropop, as it draws influence from Western Africa — frequently meshing traditional Togolese rhythms with rock, funk, jazz with lyrics that deal with global themes and personal journeys.

Dogo, the band’s leader was born in Togo and while in the African nation, he played and sang in several local bands, including a local band also named Elikeh, with whom he released one album, Nyade in 2007. Several years later, Dogo relocated to Washington, DC met the current lineup and then wrote, recorded and released their 2010 Stateside debut, Adje! Adje! The sextet’s 2012 release Between 2 Worlds featured renowned Malian guitarist Vieux Farka Toure and Further and Dark Star Orchestra‘s John Kadlecik received international attention in World Music circles.

As the story goes, the band was considering calling it quits, finishing out the songs they had booked and moving on to other creative endeavors. During a band meeting in which the members of the band were going to discuss their future and splitting up, the band’s guitarist Frank Martins kept playing the entire time. He came up with a musical idea, someone else would join in, another band member would join in and then everyone began jamming — until they developed a song. One of the sax players had recorded the jam session and while listening to that session, the members of the band realized that their break up talk was premature. “We’re all excited about the band now,” Dogo mentioned in press notes. “It’s lucky the guitarist didn’t want to put down his instrument. The EP saved us.”

 That jam session inspired “The Conversation,” which appears on the Washington, DC-based sextet’s recently released Kondona, an EP that gets it title from ” a ceremony they hold every five years in the northern part of my country,” Dogo explains. “It’s an initiation, a way to welcome the young men into the adult part of the community. It seemed right for what had happened to us, although we still have a long way to go.”
The EP’s first single the aforementioned “The Conversation” manages to possess clear elements of Afrobeat and sounds partially influenced by Fela Kuti (in particular Afrodesiac/Open and Close and Expensive Shit/He Miss Road-era Fela) and contemporary American Afrobeat bands, including fellow DC area band The Funk Ark, NYC’s Ikebe Shakedown and others,

as the song begins with an introductory section with soaring organ chords throughout  before establishing the tight, percussive groove that holds the entire song together, and allows for each section and each instrumentalist to show off their immense chops — and conversing with each other throughout the length of the song. Of course, each region of the world specializes in subtle variations of the genre so that Togolese Afrobeat won’t be exactly the same as American Afrobeat or Nigerian Afrobeat — and in the case of Elikeh, the band’s sound possesses subtle elements of highlife, the genre that influenced Fela, thanks to its upbeat feel. But interestingly enough there’s subtle elements of pop and other African traditional sounds, which helps to set them apart from a very crowded DC Afrobeat scene. And yet somehow, from listening to this single it’s surprising to me that they’re not much larger than what they currently are; hopefully, the blogosphere can get it right.

I’ve mentioned this before and in a previous post but as a blogger, the proliferation of independent record labels of all sizes across the world. And as I’ve mentioned this proliferation has meant that there […]

Thursday night marks the beginning of the music portion of this year’s Northside Music Festival, and as I mentioned in my Northside Festival Preview, the music portion of the festival features 400 bands and artists […]

Electric Cowbell Records APAP Showcase at Drom 1/10/15: Chop and Quench

Electric Cowbell Records APAP Showcase feat. Chop and Quench Drom January 10, 2015 The Association of Performing Arts Presenters (APAP) hosts an annual conference, networking forum and market place for performing arts professionals – mainly […]