Tag: Austin City Limits

Saskatoon, Saskatchewan, Canada-born, Seattle, WA-based Jordan Cook (vocals, guitar) can trace the origins of his music career to when he was 15, playing with a blues rock trio, which performed at Montreux Jazz Festival. After recording a full-length album under his own name, Seven Deadly Sins, Cook began recording in Memphis with Matt Chamberlain and Soundgarden‘s Ben Shepherd; but around 2012 Cook relocated to Seattle, where he adopted the moniker Reignwolf. When Cook played his first official show as Reignwolf, he was accompanied by Joseph Braley (drums) and S. J. Kardash (bass).
Since their formation, the band has developed a reputation for a raw sound paired with a high energy live show that has earned them a devoted following, as well as appearances at Coachella, Lollapalooza, Austin City Limits, Glastonbury and Download and opening slots for the likes of Black Sabbath and Pixies. Following on the heels of a 34 date Fall 2018 North American tour, the Seattle-based trio’s long-awaited and highly-anticipated full-length debut Hear Me Out is slated for a March 1, 2019 release.

Hear Me Out‘s first single is the swaggering “Black and Red.” Co-written by Jordan Cook and Aqualung’s Matt Hales, the song is centered around enormous, arena rock friendly blues power chords, thundering drums, an alternating quiet, loud, quiet song structure and rousingly anthemic hooks. The song reveals (and captures) a band that’s ready to kick ass, take names, wreck stages and destroy eardrums.

The band will be touring throughout March and the tour includes two New York area dates — March 9, 2019 at Mercury Lounge and March 10, 2019 at Baby’s All Right. Check out the rest of the tour dates below.

Tour Dates

FRIDAY, MARCH 1ST – SEATTLE, WA @ THE SUNSET

MONDAY, MARCH 4TH – LOS ANGELES @ MOROCCAN LOUNGE

THURSDAY, MARCH 7TH – CHICAGO, IL @ COBRA LOUNGE

SATURDAY, MARCH 9TH – NEW YORK, NY @ MERCURY LOUNGE

SUNDAY, MARCH 10TH – BROOKLYN, NY @ BABY’S ALL RIGHT

TUESDAY, MARCH 12TH – TORONTO, ON @ DRAKE UNDERGROUND

THURSDAY, MARCH 14TH – SATURDAY, MARCH 16TH – AUSTIN, TX @ SXSW

 

Black Pistol Fire is an Austin, TX-based rock act featuring Toronto, ON-born duo Kevin McKeown (guitar, vocals) and Eric Owen (drums). And since their formation, the duo whose sound and approach has been largely inspired by Led Zeppelin, Chuck Berry, Nirvana, Buddy Holly and Muddy Waters, has received a national profile for an untamed and blistering live set. Dubbed the “next big thing” by Huffington Post after their 2013 SXSW appearance, the act has built upon that reputation by playing some of the largest festivals including Lollapalooza, Austin City Limits, Bonnaroo, Sasquatch Music Festival, Shaky Knees and Governor’s Ball, as well as Mad Cool and Colours of Ostrava.

The Austin-based duo’s latest single is the swaggering and bluesy “Level,” a track centered around enormous power chords, thunderous drumming, arena rock friendly hooks and McKeown’s self-assured, rock god-like crooning. And while adding themselves to a growing list of power chord-based blues rock duos, they do so with an ass-kicking, name-taking self-assuredness of old pros.

The duo have lined up some tour dates during the first part of the year. Check out the tour dates below.

Tour Dates:

1/11 – Gothic Theater – Denver, CO
1/12 – Belly Up Aspen – Aspen, CO
3/2-3/3 – Innings Festival – Phoenix, AZ
5/3-5/5 – Welcome to Rockville – Jacksonville, FL
5/10-12 – Rockingham – Charlotte, NC
5/17-5/19 – Sonic Temple – Columbus, OH (fka Rock on the Range)

 

 

Now, throughout the course of this site’s eight year history, I’ve written quite a bit about the Brooklyn-based collective Red Baarat, and as you may recall, the act, which derives its name from baraat, a wild South Asian wedding procession that often features the groom riding a horse, an enormous group of extended friends and family, singing and dancing to music led by a brass band with drummers, and what the color red symbolizes in both Indian/South Asian and Western cultures — fiery, red-blooded passion. And with the band, they view it as the passion they have towards creating and playing music, as well as the passion they inspire and elicit from fans and others, who catch them live. Led by Rochester, NY-born, Brooklyn-based bandleader, dholi, drummer and composer Sunny Jain, and featuring John Altieri (sousaphone), Ernest Stuart (trombone), Jonathon Haffner (saxophone), Sonny Singh (trumpet), Chris Eddleton (drums), Rohin Khemani (drums), and their newest member Jonathan Goldberger (guitar), the collective originally formed in 2008 — although it wasn’t until the release of their critically applauded and commercially successful sophomore effort Shruggy Ji that the band received widespread attention for a seamless and genre defying sound that draws from Indian classical music, bhangra, hip-hop, rock, pop and New Orleans brass. And as a result of Shruggy Ji‘s critical and commercial success, the collective has made appearances at Bonnaroo, Austin City Limits, Hardly Strictly Bluegrass, New Orleans Jazz & Heritage Festival and Peter Gabriel’s WOMAD Festivals in Australia, New Zealand and the UK, have played sold out headlining shows at the Luxembourg Philharmonic, the Bowery Ballroom and have performed at the request of The White House, TED and the Olympic Games.

Slated for release at the end of the month through Rhyme & Reason Records, Red Baraat’s Little Shalimar and Sunny Jain co-produced Sound The People reportedly continues the band’s exploration of South Asian culture and music but while placing in within a larger context of an increasingly globalized generation, reflected by the diverse background of its individual members. Adding to the global focus, the album features guest spots from Pakistani singer and writer Ali Sethi, Das Racist’s Heems, American poet and activist Suheir Hammad and American humorist John Hodgman. “With the migration that’s happened, there is all this varied and expressive music that has erupted from the South Asian Diaspora,” says Jain. “Sound The People is a shoutout to, and celebration of this community around the world.”

Jain began writing Sound The People‘s material a few short weeks after Trump’s election victory, and as she says in press notes, “the record is a call to action against the various inequalities and injustices that we’re seeing. We desperately need citizen engagement in response to those injustices.” Earlier this month, I wrote about album single “Kala Mukhra,” which featured Ali Sethi contributing his sonorous baritone — but as Jain explains, the song is ” . . . our take on a Punjabi folk song called ‘Ghora Mukhra.’ I first heard this song a couple of years ago when Ali Sethi shared a 1950s recording with me, featuring the acclaimed ghazal singer Iqbal Bano, with a brass band. I’ve heard very few Punjabi brass band recordings featuring a vocalist and so when Red Baraat was gearing up to work on a new album, it seemed fitting to try and see what we could do with this song. The meaning of Ghora Mukhra literally means “white face.” There’s a fetishization in South Asian culture about being fair-skinned or light-skinned, something that is pressed upon women. It’s ridiculous, but this kind of nonsense is witnessed throughout the world to varying degrees. So while we loved the melody and brass band flavor of this song, we needed a different narrative. I asked Ali if he could come up with some lyrics that are more aligned with our beliefs and also reflective of the times we are living in.” And while being a propulsive and densely arranged song, the song manages to be a boldly and proudly defiant and danceable track that will remind listeners that music holds a profound and true power.

Album title track “Sound the People” which finds the acclaimed collective collaborating with Heems is a swaggering, hip-hop inflected take on their sound; but it’s also the most overt politically charged song they’ve released to date, as the song touches upon race, the connectedness of the South Asian Diaspora despite the age-old differences in religion, culture, regional or nationalistic identities and so on. The song brings up a key fact that despite the fact that the listener may be Pakistani, Indian, Sri Lankan, Nepalese, Bangladeshi, Afghani, Bhutanese, Muslim, Christian, Hindu and so on and so on, that in the age of Trump and other right wing nationalist/nativist movements, that they’re brown — and that unity and empathy among other people of color and other marginalized communities is the only way that to ensure survival in our dire and frightening times.  But along with that it’s an urgent call to arms that says “time to unite and fight through music, dance, art, love, humor, empathy and everything else you can throw. All hands on deck!”

“Heems and I met several years ago when he was still doing Das Racist,” Red Baraat’s Sunny Jain recalls. “When Red Baraat started working on the new album, there were various ideas I had about [the] South Asian Diaspora, migration and Trump’s disconcerting victory, but it hadn’t all been tied together just yet. I shared all of this with Heems and also sent him a couple of songs I had composed specifically thinking about his flow. The band was tracking for a few days at Studio G in Brooklyn and I asked Heems to come in and lay down a rap. He turned up in the studio and did his thing and that’s when we all realized, ‘Holy crap! This is the title track!’ He pulled the whole album concept together with those words.”

The members of Red Baraat have a long-held reputation for being relentless road warriors and they’re about to embark on a lengthy world tour that will include a June 8, 2018 stop at Flushing Town Hall. Check out the tour dates below.

TOUR DATES:
6/8 – Flushing, NY – Flushing Town Hall
6/11 – Camden, NJ – Sunset Jazz Series at Wiggins Waterfront Park
6/22 – Los Angeles, CA – The Satellite

6/25 – Mill Valley, CA – Sweetwater Music Hall

6/26 – Oakland, CA – The New Parish
6/28 – Saskatoon, SK – SaskTel Saskatchewan Jazz Festival
6/29 – Saskatoon, SK – SaskTel Saskatchewan Jazz Festival
6/30 – Victoria, BC – TD Victoria International JazzFest | Centennial Square
7/1 – Vancouver, BC – TD Victoria International JazzFest | David Lam – Park Main Stage
7/25 – Reno, NV – Artown
7/27 – Denver, CO – Clyfford Still Museum Summer Series

7/28 – Basalt, CO – The Temporary
8/11 – Greensboro, NC – Lebauer Park
8/13 – Asheville, NC – The Grey Eagle
8/16 – Madison, WI – The Central Park Sessions
8/17 – Detroit, MI – The Cube at the Max M. & Marjorie S. Fisher Music Center

New Audio: Introducing the Laid-Back and Mischievous Sounds of Country Supergroup Traveller

Traveller is an indie rock/Americana supergroup comprised of some of contemporary Americana’s most accomplished and acclaimed, contemporary, solo artists: Jonny Fritz, a singer/songwriter who, has been considered a logical heir to country music legend Roger Miller; Cory Chisel, a Grammy-nominated, singer/songwriter who has collaborated with Rosanne Cash and Rodney Crowell and runs a recording studio in a former Wisconsin monastery that’s also an arts space; and Robert Ellis, a a critically applauded artist known for being a rather inventive singer/songwriter. Interestingly, the act can trace its origins to when longtime friends Ellis and Fritz had been collaborating together for some time got a ridiculous idea to head to India to write a country album.  The duo set off on their epic journey to India but after an ill-advised, exuberant jump into the Ganges, Ellis got ill and almost died. Fortunately though, Ellis was able to kick his illness and recover — and the idea of their collaboration didn’t die either.

Several months later, Ellis and Fritz recruited Chisel, and within a couple of weeks the new band had written an album’s worth of material, which they followed with their live debut at the Newport Folk Festival and sets at Stagecoach and Austin City Limits. Reportedly, the trio’s aesthetic and songwriting approach  draws from the likes of both The Highwaymen and The Traveling Wilburys, supergroups in which each individual member plays to their well-known and beloved strengths while taking turns showing off their chops as been-there-done-that, played-every-venue-including-that-shitty-one-that-stank-of-stale-beer-and-puke old pros — but they do so with a tongue-in-cheek sense of humor throughout.
 
Western Movies, the supergroup’s highly-anticipated, forthcoming full-length debut is slated for a May 4, 2018 release, and the album’s latest single “Hummingbird” is a jangling and twangy bit of old-timey rock/country that to my ears manages to nod to The Beatles and to George Harrison’s “Got My Mind Set On You” but with a mischievous sense of humor, complete with some winklingly ribald double entendres and pop cultural references that give the song a wild anachronistic feel.
 

New Video: In The Valley Below Releases the Surreal Yet Symbolic Visuals for Rousingly Anthemic, New Single “Bloodhands (Oh My Fever)”

With the release of their full-length debut The Belt, which spawned the viral hit single “Peaches,” In The Valley Below,  the husband and wife duo Angela Gail and Jeffrey Jacob first received international attention — including “Peaches” debut on BBC Radio 1, as well as commercial success in Germany and France, with the song topping the French Alternative Charts. A year or so after the release of The Belt, Gail and Jacob received national attention with “Peaches” becoming a staple of American alternative radio, which lead to appearances on The Late Show with David Letterman and Conan. Adding to a growing profile, the duo went on a relentless touring schedule across both the European Union and the US that included sets at Reading Festival, Leeds Festival, Austin City Limits, Rock En Seine and others, which has resulted in a growing international fan base that has been clamoring for new material from the duo. Considering that the duo effortlessly meshes elements of art rock, synth pop, the blues, arena rock and more in a way that’s reminiscent of JOVM mainstays Smoke Season, it shouldn’t be surprising that Gail and Jacob have seen such rapid critical and commercial success.

The husband and wife duo’s latest EP, Elephant was released last month, and the effort was recorded in the basement studio of the 93-year old home the couple purchased upon relocating from Los Angeles to Grand Rapids, MI. Interestingly enough, the EP reportedly consists of some of the duo’s most personal, ambitious and politically-charged material they’ve written do date; in fact, Elephant’s first single “Bloodhands (Oh My Fever)” was inspired by the Michael Brown shooting in Ferguson, MO and its immediate aftermath. “All the uprising happening in Ferguson was powerful,” the duo explain. “Sad, angry and feeling helpless, we sang about it. It’s our way of keeping the issue alive. Racism is real, we don’t know how to stop it, but we can make people think about it.” And while being a rousingly, anthemic and ambitious song — a song that feels and sounds both arena rock and radio friendly — its an earnest plea to the listener that there’s much work to be done to make our a world a fairer place, where all lives, whether Black, Asian, Latino, First Nation, Trans, Gay, Lesbian, Bisexual, Gender Nonconforming, etc. will actually matter. The song’s coda, which features a local gospel choir led by Debra L. Perry, adds to the song’s enormous sound, while adding a deeper emotional wallop to the proceedings. 

Directed by the band’s Angela Gail and Chris Johnson, the recently released visuals for “Bloodhands (Oh My Fever)” possess a nightmarish, fever dream-like quality that symbolically touches upon race, sexuality, religion while reminding the viewer that ultimately our fates and the fate of the world as we know it will lie solely in the hands of our children.