Tag: ATP Festival

New Audio: Internationally Acclaimed Omar Souleyman Returns with a Swooning, Club Banger

Omar Souleyman is a Tell Tamer, Syria-born, Istanbul, Turkey-based Sunni Arab vocalist, whose music career started in earnest back in 1994 when he was a part-time wedding singer. His overall sound has largely been influenced by  the incredibly diverse milieu of Northeastern Syria — and as a result, Souleyman and a rotating cast of musicians and producers he has worked with since his early days have found a way to draw from and mesh the sounds and themes of the Kurdish, the Ashuris, the Turks, the Iraqis and the larger Arabic world in a way that’s familiar and novel. In fact, Souleyman is considered the region’s pioneer of dance music/wedding music. 

Amazingly Souleyman has managed to be wildly prolific, releasing well over 500 stdio and live albums with about 80% of those releases made at weddings. Those recordings are first presented to the newlywed couple and then copied and sold at local kiosks. Over the better part of the last decade, Souleyman has released four compilations 2006’s Highway to Hassake, 2009’s Dabke 2020, 2010’s Jazeera Nights, 2011’s Haflat Gharbia: The Western Concerts and 2011’s Leh Jani and three full-length albums to the West, 2013’s incredible Wenu Wenu, 2015’s Bahdeni Nami and 2017’s To Syria, with Love –and all of those efforts have brought the sounds and grooves of the Middle East to the West, while expanding the Tell Tamer-born, Istanbul-based vocalist’s profile internationally. Adding to a rapidly rising international profile, Souleyman has played sets at some of the world’s biggest festivals, including Paredes de Coura, a Caribou co-curated ATP Festival, ATP Nightmare Before Christmas, Bonnaroo, Roskilde Festival, Mostly Jazz, Funk and Soul Festival, Pukkelpop Festival, Electric Picnic,  Treefort Music Festival — and oddly enough, one of the strangest House of Vans bills I’ve ever seen, in which he opened for Future Islands. And before I forget, he’s also collaborated with Bjork, contributing vocals for three remixes, which appear on an Biophilia.

Dericing its title for the Arabic word “how” or more literally “which color,” Shlon, which is slated for a November 22, 2019 release through Mad Decent/Because Music is the first batch of new material from Souleyman in a couple of years. The forthcoming album features double keyboard work from Hasan Alo, a fellow native of the Hasaka region of Northeastern Syria, who has recently been active in Dubai’s vibrant nightlife scene, a well as saz work from Azad Salih, a fellow Syrian, who currently resides in Mardin, Turkey. The album also finds the Tell Tamer-born, Istanbul-based vocalist continuing his longtime collaboration with Syrian-born, Turkish-based lyricst Moussa Al Mardood, who the wrote most of the album’s lyrics spontaneously during the recording sessions. 

Unsurprisingly, his fourth album is vintage Omar Souleyman — 6 songs which mesh the dabke and baladi music of music beloved by the Lebanese, Jordanians, Syrians, the Kurdish and Iraqis with thumping, synth-led techno — but at its core, the material is comprised of swooning tales of devotion, adoration and love. “Layle,” Shlon’s propulsive, club banging first single is centered around Alo’s dexterous and arpeggiated synth work, layers of tweeter and woofer rocking polyrhythmic percussion and Souleyman’s imitable vocals. And while the track instantly reminds me of the sounds of my home borough — particularly Astoria and Jackson Heights — the song is centered around some gorgeous poetry,. describing a woman’s lips as sweet as the dates of Hillah, making the song a slick synthesis of the classic and the modern. 

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New Video: JOVM Mainstays Flamingods Release a Lysergic and Feverish Visual for “Olympia”

Over the better part of this year, I’ve written a bit about the acclaimed multi-continental-based psych rock act Flamingods, and as as you may recall, the band’s Bahraini-born founder and frontman, Kamal Rasool has traveled widely to collect rare and unique instruments from Tanzania, The Amazon and elsewhere. When Rasool relocated to London to study music, he recruited a few friends from Bahrain and London to start a band, including the members of the band’s current lineup — Karthik Poduval, Sam Rowe and Charles Prest. Their first live show together was a highly praised, attention-grabbing set during 2010’s ATP Festival, which quickly led to a national profile.

Building upon a growing profile, the members of Flamingods quickly released two EPs, 2010’s Sun and 2011’s Away. 2013’s full-length debut Sun was a reimagining of the material off the EP of the same name that featured “Quesso,” a collaboration with Ponytail‘s Dustin Wong on lead guitar. Around the time of Sun’s release, the British government enacted new visa laws, which forced Rasool to return to Bahrain after finishing school. He then moved to Dubai, where he worked for an independent magazine and coffee shop. And although at that point, the members of the band were rising on different continents and unable to play together, they managed to find a way to continue working on new material, which would eventually become their critically applauded sophomore album, Hyperborea, an album that established a globe-spanning take on psychedelia that the band has dubbed “Exotic Psychedelia.”

During the release of Hyperborea, Prest relocated to Dubai to work closely with Rasool. Shortly after Prest’s relocation, the band began working on their third full-length album, 2016’s Majesty, an album that was largely inspired by the likes of Les Baxter, Tito Puente, Arthur Lyman and others. The album was released to generally mixed reviews, but it was championed by BBC Radio 6‘s Gilles Peterson and Lauren Laverne, who both invited the band to record live sessions. With Rasool and Prest able to return to the UK, the band was finally able to extensively across the UK and the European Union to support the album, including sets at Green Man Festival, End of the Road Festival, and Fusion Festival.

In February 2017, the band signed with Moshi Moshi Records,who released that year’s Kewali EP. The band toured to support the effort, which included their SXSW debut. The band also released a remix album of  Majesty that featured remixes of album material by Ibibio Sound Machine, Meridian Brothers and Oasis‘ Andy Bell. They also released a Dan Carey-produced live version of “Hyperborea.”

The band’s fourth album Levitation was released earlier this year, and the album was largely inspired by the disco, funk and psychedelic sounds out of the Middle East and South Asia in the ’70s — but filtered through mysticism, positivity and sun-drenched imagery. More importantly, the Levitation recording sessions found the band living and working together on the same continent for the first time in about four years. And as a result. the album’s material may arguably be the most unified effort they’ve written and released to date. 

The album’s first single “Marigold” was a trippy bit of psych rock centered around a motorik groove, shimmering and arpeggiated synths delivered with a Brit Pop-like swagger. Interestingly, the album’s second single, album opening track “Paradise Drive” continues in a fairly similar vein as its predecessor, complete with a motorik groove, shimmering and arpeggiated synths — but the song may arguably bear the most uncanny resemblance to Evil Heat-era Primal Scream of the entire album.  Interestingly, the album’s latest single is the breezy, Sgt. Pepper-like “Olympia.” Centered around fluttering synths, fuzzy and distorted guitars, a propulsive rhythm section and Rasool’s dreamy vocals the track is a seamless and brightly colored synthesis of 60s psychedelia and Brit Pop. 

Directed by Andrea Mae, the recently released video for “Olympia” is a lysergic fever dream, featuring the members of the band having wild visions while in a sauna. “For this video, I was inspired by the ghosts that haunt each of us human beings. I chose to have one of these as a central character of the narrative and to give it a place filled with light, positivity, or perhaps a touch of humour,” Mae explains. “The sauna was an addition to this concept because it is purifying place, a room where you are in company and in a state of peace. I wanted something that looked like a modern day psychedelic cartoon, but mixed with some vintage, experimental footage to try and create a hybrid that looks part 60’s and part now.”​

New Video: Acclaimed Multi-Continental Pysch Rock Act Flamingods Release a Lysergic Animated Visual for Motorik Groove-Driven Single “Paradise Drive”

Growing up in the Kingdom of Bahrain, Kamal Rasool, the founding member of acclaimed multi-continental-based psych rock act Flamingods has traveled widely to collect rate and unique instruments from Tanzania, the Amazon and elsewhere. When Rasool relocated to London to study music, he recruited a few friends from Bahrain and London to start a band, including the members of the band’s current lineup — Karthik Poduval, Sam Rowe and Charles Prest.  Interestingly, their first live show together was an attention-grabbing show at the 2010 ATP Festival, which quickly led to a national profile.

Building upon a growing profile, the members of Flamingods quickly released two EPs, 2010’s Sun and 2011’s Away. 2013’s full-length debut Sun was a reimagining of the material off the EP of the same name that featured “Quesso,” a collaboration with Ponytail‘s Dustin Wong on lead guitar. Around the time of the album’s release, the British government enacted new visa laws which forced Rasool to return to Bahrain after he finished school. Rasool then moved to Dubai, where he worked for an independent magazine and coffee shop. And although at that point, the members of the band were residing on different continents and unable to play together, they continued to work on new material that eventually wound up becoming their critically applauded Hyperborea, an album that established a globe-spanning take on psychedelia that the band has dubbed “Exotic Psychedelia.”

During the release of Hyperborea, Prest relocated to Dubai to work closely with Rasool. And shortly after that, the members of Flamingods began working on their third full-length album, 2016’s Majesty, an album that was largely inspired by the likes of Les BaxterTito PuenteArthur Lyman and others. Although the album received mixed reviews, it was championed by BBC Radio 6‘s Gilles Peterson and Lauren Laverne, who both invited the band to record live sessions. With Rasool and Prest able to return to the UK, the band was finally able to extensively across the UK and the European Union to support the album, including sets at Green Man Festival, End of the Road Festival, and Fusion Festival.

In February 2017, the band signed with Moshi Moshi Records,who released that year’s Kewali EP and the band toured to support the album, including their SXSW debut. The band also released a remix album of Majesty that featured remixes of album material by Ibibio Sound MachineMeridian Brothers and Oasis‘ Andy Bell. And the band released a Dan Carey-produced live version of “Hyperborea.

Flamingods’ fourth, full-length album Levitation is slated for a May 3, 2019 release through Moshi Moshi Records, and the album is largely inspired by the disco, funk and psychedelic sounds out of the Middle East and South Asia in the ’70s but while channeled through mysticism, positivity and sun-drenched imagery. But perhaps much more important, the Levitation recording sessions found the band living and working on the same continent for the first time in about four years, and as a result, the album’s material may arguably be the most unified effort they’ve written and released in years. The album’s first single “Marigold” was a trippy bit of psych rock centered around a motorik groove, shimmering and arpeggiated synths delivered with a Brit Pop-like swagger. Interestingly, the album’s second single, album opening track “Paradise Drive” continues in a fairly similar vein as its predecessor, complete with a motorik groove, shimmering and arpeggiated synths — but the song may arguably bear the most uncanny resemblance to Evil Heat-era Primal Scream of the entire album with the song sounding like a disco-like “Autobahn 66” meets LCD Soundsystem, thanks to the copious use of cowbell.

Animated by Mien’s John Mark, the recently released video uses the incredibly trippy album artwork created by Indonesian artist Ardneks. “I wanted something that looked like a modern day psychedelic cartoon, but mixed with some vintage, experimental footage to try and create a hybrid that looks part 60’s and part now,” Marks says of the video.

Growing up in the Kingdom of Bahrain, Kamal Rasool, the founding member of acclaimed multi-continental-based psych rock act Flamingods has traveled widely to collect rate and unique instruments from Tanzania, the Amazon and elsewhere. When Rasool relocated to London to study music, he recruited a few friends from Bahrain and London to start a band, including the members of the band’s current lineup — Karthik Poduval, Sam Rowe and Charles Prest.  Interestingly, their first live show together was an attention-grabbing show at the 2010 ATP Festival, which quickly led to a national profile.

Building upon a growing profile, the members of Flamingods quickly released two EPs, 2010’s Sun and 2011’s Away. 2013’s full-length debut Sun was a reimagining of the material off the EP of the same name that featured “Quesso,” a collaboration with Ponytail‘s Dustin Wong on lead guitar. Around the time of the album’s release, the British government enacted new visa laws which forced Rasool to return to Bahrain after he finished school. Rasool then moved to Dubai, where he worked for an independent magazine and coffee shop. And although at that point, the members of the band were residing on different continents and unable to play together, they continued to work on new material that eventually wound up becoming their critically applauded Hyperborea, an album that established a globe-spanning take on psychedelia that the band has dubbed “Exotic Psychedelia.”

During the release of Hyperborea, Prest relocated to Dubai to work closely with Rasool. And shortly after that, the members of Flamingods began working on their third full-length album, 2016’s Majesty, an album that was largely inspired by the likes of Les Baxter, Tito Puente, Arthur Lyman and others. Although the album received mixed reviews, it was championed by BBC Radio 6‘s Gilles Peterson and Lauren Laverne, who both invited the band to record live sessions. With Rasool and Prest able to return to the UK, the band was finally able to extensively across the UK and the European Union to support the album, including sets at Green Man Festival, End of the Road Festival, and Fusion Festival.

In February 2017, the band signed with Moshi Moshi Records, who released that year’s Kewali EP and the band toured to support the album, including their SXSW debut. The band also released a remix album of Majesty that featured remixes of album material by Ibibio Sound Machine, Meridian Brothers and OasisAndy Bell. And the band released a Dan Carey-produced live version of “Hyperborea.

Flamingods’ fourth, full-length album Levitation is slated for a May 3, 2019 release through Moshi Moshi Records, and the album is largely inspired by the disco, funk and psychedelic sounds out of the Middle East and South Asia in the ’70s but while channeled through mysticism, positivity and sun-drenched imagery. But perhaps much more important, the Levitation recording sessions found the band living and working on the same continent for the first time in about four years — and as a result, the album’s material may arguably be the most unified effort they’ve written and released in years. Now, as yo may recall, the album’s first single “Marigold” was a trippy bit of psych rock centered around a motorik groove, shimmering and arpeggiated synths delivered with a Brit Pop-like swagger. Interestingly, the album’s second single, album opening track “Paradise Drive” continues in a fairly similar vein as its predecessor, complete with a motorik groove, shimmering and arpeggiated synths — but the song may arguably bear the most uncanny resemblance to Evil Heat-era Primal Scream; in fact, “Paradise Drive” reminds me quite a bit of one of my favorite Primal Scream songs, “Autobahn 66” but with a subtle disco element to it,  complete with cowbell.

 

New Video: Flamingods Release Trippy Visuals for Their Motorik Groove-Driven New Single “Marigold”

Growing up in the Kingdom of Bahrain, Kamal Rasool, the founding member of acclaimed multi-continental-based psych rock act Flamingods traveled widely and collected rate and unique instruments from Tanzania, the Amazon and elsewhere. When Rasool relocated to London to study music, he recruited a few friends from Bahrain and London to start a band, including the members of the band’s current lineup — Karthik Poduval, Sam Rowe and Charles Prest.  Interestingly, their first live show together was an attention-grabbing show at the 2010 ATP Festival, which quickly led to a national profile. 

Building upon a growing profile, the members of Flamingods quickly released two EPs, 2010’s Sun and 2011’s Away and 2013’s full-length debut Sun, a reimagining of the material off the EP of the same name that featured “Quesso,” a collaboration with Ponytail’s Dustin Wong on lead guitar. Around the time of the album’s release, the British government enacted new visa laws which forced Rasool to return to Bahrain after he finished school.  

Rasool moved to Dubai, where he worked for an independent magazine and coffee shop. Although the members of the band were on different continents and unable to play together, they continued to work on new material that eventually wound up becoming their critically applauded Hyperborea, an album that established a globe-spanning take on psychedelia that the band has dubbed “Exotic Psychedelia.” 

During the release of Hyperborea, Prest relocated to Dubai to work closely to Rasool. The band quickly began working on their third full-length album, 2016’s Majesty, an album that was largely inspired by the likes of Les Baxter, Tito Puente, Arthur Lyman and others. Although the album was received mixed reviews, it was championed by BBC Radio 6’s Gilles Peterson and Lauren Laverne, who both invited the band to record live sessions. With Rasool and Prest able to return to the UK, the band was able to extensively across the UK and the European Union to support the album, including sets at Green Man Festival, End of the Road Festival, and Fusion Festival. 

In February 2017, the band signed with Moshi Moshi Records, who released that year’s Kewali EP and the band toured to support the album, making their SXSW debut. The band also released a remix album of Majesty that featured remixes of album material by Ibibio Sound Machine, Meridian Brothers and Oasis’ Andy Bell. Additionally. the band released a Dan Carey-produced live version of “Hyperborea.” 

The acclaimed act’s fourth, full-length album Levitation is slated for a May 3, 2019 release through Moshi Moshi Records, and interestingly, the album is largely inspired by the disco, funk and psychedelic sounds out of the Middle East and South Asia in the ’70s but channeled through mysticism, positivity and sun-drenched imagery. Interestingly, the album’s recording sessions found the band living and working in the same continent for the first time in about four years — and as a result, the album’s material has a unified feel. Levitation’s first single “Marigold” is a trippy and sunny bit of psych rock centered around a motorik groove, shimmering and arpeggiated synths and while delivered with a self-assured swagger, the song sonically reminds me of Evil Heat-era Primal Scream. 

Directed by Barbu.TV, the recently released video was shot during a trip the band made to Oman — in particular, the remote city of Nizwa, known for a gang of vintage motorbike riding youths — and the trip involved hazardous border crossing, self-made ornate, denim jackets. Additionally the video features some innovative camerawork and some appropriately hypnotic animation. As the band’s Kamal Rasool says of the video, “We had heard about this gang of motorbike riding youths through our friend [photographer] Ali Al Sharji and knew immediately that we wanted to make a music video with them. They live in a remote city in Oman called Nizwa and have had these vintage bikes passed down from generation to generation. The police aren’t so fond of them but they are some of the nicest guys we’ve ever met.  We joined them riding through the city and had a proper road trip along the way with the Barbu. TV guys, exploring through deserts, mountains, skate parks, palm groves and old monuments. I think the motion of them riding the bikes melded with the motorik groove of the song perfectly and the sun-soaked environment was just what we needed to capture the song’s themes”

New Video: Omar Souleyman’s Club Banging and Swooning Love Letter to Istanbul

Omar Souleyman is a Tell Tamer, Syria-born, Istanbul, Turkey-based Sunni Arab vocalist, who can trace the origins of his music career back to 1994, when he was a part-time wedding singer, whose sound has been largely influenced from the incredibly diverse milieu of Northeastern Syria — and a result, Souleyman and a rotating cast of musicians and producers, he has worked with since his early days, draws from and meshes the Kurdish, the Ashuris, the Turks, the Iraqis and Arabic sounds and themes in a way that’s both familiar and absolutely novel; in fact, Souleyman is largely considered the region’s pioneer of dance music/wedding music as his sound is primarily based around, keys and enormous beats. 

Amazingly around 500 studio and live albums have been released under his name with about 80% of those releases being made at weddings,  presented to the newlywed couple, and then copied and sold at local kiosks. Within the last few years, Souleyman has received international attention, performing at some of the world’s biggest stages and festivals including Paredes de Coura, a Caribou co-curated ATP Festival, ATP Nightmare Before Christmas, Bonnaroo, Roskilde Festival, Mostly Jazz, Funk and Soul Festival, Pukkelpop Festival, Electric Picnic,  Treefort Music Festival — and oddly enough, one of the strangest House of Vans bills I’ve ever seen, in which he opened for Future Islands. Adding to a growing international profile, Souleyman has collaborated with Bjork, contributing vocals for three remixes, which appear on an Biophilia.

Along with that, Souleyman has released four compilations 2006’s Highway to Hassake, 2009’S Dabke 2020, 2010’s Jazeera Nights, 2011’s Haflat Gharbia: The Western Concerts and 2011’s Leh Jani and three full-length albums to the West, 2013’s incredible Wenu Wenu, 2015’s Bahdeni Nami and this year’s To Syria, with Love, all of which have brought the sounds and grooves of his region to the Western World. Interestingly, To Syria, with Love reportedly finds Souleyman and his collaborators adopting elements of Western techno and electronic production to his sound, as well as much more intricate keyboard work. 

“Es-Samra,” To Syria, with Love’s latest single is a swooning love letter to his new hometown of Istanbul that features Souleyman’s coolly delivered vocals over a slick and swaggering production consisting of enormous, tweeter and woofer rocking beats, dense layers of arpeggiated keyboard chords, razor sharp and infectious hooks and handclaps to create one of most effortlessly straightforward club bangers I’ve heard in several months. 

While furthering his reputation for paring his sounds with DIY-like visuals, the recently released video for “Es-Samra” captures and evokes daily life in and around his adopted hometown’s waterways but with a trippy, mind melting visual effect. And as New Yorker, there’s something warmly familiar in seeing fisherman near a pier, of commuters rushing back and forth by ferry, car, bus and truck; but more important, it shows Istanbul as one of the world’s most glorious sights. 

New Audio: Fuck Buttons’ Andrew Hung Releases a Primal New Single

Worcester, UK-born, Bristol UK-based electronic music artist, multi-instrumentalist and producer Andrew Hung is arguably best known for being one half of renowned electronic music duo Fuck Buttons with Benjamin John Power, an act that can trace its origins to when Hung and Power began collaborating together to create a soundtrack to a film that Hung had made but immediately after forming Hung and Power had started playing live whenever possible and soon began gathering a cult following for a sound that employed the use of a variety of instruments including Casiotone keyboards and children’s toys such as a Fisher-Price karaoke machine — and the result was a live sound that Time Out Magazine once described as an “adrenaline pumping, ear purging slab of towering, pristine noise.”

Their limited edition 7″ single “Bright Tomorrow” was released to critical praise from the likes of Drowned in Sound, Pitchfork, Mojo and Stereogum, and building upon growing buzz, Hung and Power played critically applauded live sets at 2007’s Supersonic Festival, Truck Festival and Portishead’s curated ATP Festival; in fact, after those sets, a number of media outlets named them as a Hot New artist for 2008 with outlets like The Observer calling their sound “a joyous racket of swirling atmospherics and percussive gunfire,” in an article highlighting them in a new, contemporary wave of intelligent, literate British pop music.  Since then the duo released three critically applauded full-length albums — 2008’s Street Horsing, 2009’s Tarot Sport and 2013’s Slow Tarot; however, over the past few years the duo have focused on various side projects and production work: Hung started a band Dawn Hunger with Clarie Inglis (vocals) and musician Matthew de Pulford. But he’s released a solo EP, Rave Cave and has co-produced Beth Orton’s Kidsticks. Power has released three critically applauded albums with his solo recording project Blanck Mass — 2011’s self titled debut, 2015’s Dumb Flesh and 2017’s World Eater.

Hung’s solo full-length debut Realisationship is slated for an October 6, 2017 release through Lex Records and the album’s latest single “Animal” is a tense and forceful track that finds Hung exploring a more organic, lo-fi-leaning sound featuring a gorgeous string arrangement, buzzing power chords, slashing synths, forceful electronic beats and drumming and Hung’s primal, punk rock-like howling. As Hung explains in press notes “Animal is a warning that oppression brings about consequences; we have bred fear and now we are reaping its effects. We cannot address the external without first addressing the internal.”