Matthew Stubbs is a Boston, MA-based guitarist and songwriter/composer, who has been Charlie Musselwhite’s touring guitarist since 2007, and as a solo artist has released two solo instrumental record, drawing from the Memphis, TN soul/blues tradition, 2008’s Soulbender released through Vizztone Records and 2010’s Medford and Main released through Chicago, IL-based Blue Bella Records. In 2016, Stubbs, along with Just Lopes (organ), Chris Rivelli (drums) and Marc Hickox (bass) as an instrumental, psych rock-based project inspired by the desire of bringing back popular instrumental work along the lines Duane Eddy, Link Wray, Booker T and others, mixed with elements of garage rock, the blues, movie soundtracks and Afrobeat, — all while focusing on the vibe and energy of the live performance.
The band’s self-tiled full-length debut is slated for a January 26, 2018 release and from “Death Grip” and ” Unwinder,” two singles off the soon-to-be released album, the material on the band’s self-titled debut manage to have a decidedly retro vibe, sounding as though they could have been part of the soundtracks to late 60s and early 70s B movies but with a tight groove; in fact, as Stubbs says of “Death Grip,” “The song was inspired by the wild scenes in those cult, car racing movies of the ’70s. I wrote it with that cinematic, yet frenetic approach in my mind.” “Unwinder,” on the other hand finds Stubbs and company, drawing from 60s psych rock and surfer rock and blues, complete with that soaring organ sequence — and they do so in a way that nods at The Castaways’ “Liar Liar” but with a subtle nod at shoegaze and dub.
Comprised of Arjun Viswanathan and Kostas Papadopoulous, the up and-coming, Boston-based duo Modesta specialize in a retro-futuristic synth pop sound that will remind most listeners of John Carpenter soundtracks and 80s synth funk, as well as contemporaries like Umberto and others — although interestingly enough, the duo cites Roosevelt, The Shins and Unknown Mortal Orchestra as major influences while saying that their own own sound and aesthetic is rooted in diversity and experimentation.
Since their formation, the duo have accrued almost half a million streams on Spotify with over 15,000 monthly listeners, and along with that the duo have built a home recording studio from the ground up, while learning new ways to improve their craft and experiment with their sound and songwriting process. Their debut EP VHS is slated for a January 12, 2018 release and reportedly the EP will find the duo meshing contemporary, electronic production, analog synthesizers, and organic instrumentation while further cementing their reputation for crafting material that’s indebted to 80s synth pop; in fact, as you’ll hear on EP title track and first single “VHS,” Viswanathan and Papadopoulous as the duo pair shimmering layers of arpeggiated, analog synths, thumping beats, a sinuous bass line, ethereal vocals and a slick hook. But underneath the moody iciness of the song is a swooning devotion of love.
The recently released music video further emphasizes the retro-futuristc theme and vibe of the song as it features VHS player noises, grainy footage shot on VHS tape and incredibly 80s-like graphics and special effects.
Several months ago, I was invited to be a panelist on a Baby Robot Media hosted panel titled “Your First PR Campaign” at this year’s Mondo.NYC conference in Lower Manhattan, a conference created by some of the original organizers of the beloved and sadly defunct CMJ Marathon. In fact, after speaking at the panel, I along with several colleagues went to a nearby bar, where I watched my beloved Yankees lose a confounding and infuriating heartbreaking Game 2 of the American League Division series against the then-defending League Champion Cleveland Indians. At some point, I went from networking and mingling mode to yelling and cursing at the TV – and I couldn’t tell if these people, who I had worked with in some capacity for much of JOVM’s history were amused, knowing how much of a Yankee fan I am or if they were horrified. But the postseason when your team is in it is another thing altogether. I’ve frequently told a story about sitting in Clem’s with my dear friend and colleague Natalie Hamingson after watching the New York Rangers lose Game 7 of that year’s Conference Finals to the Tampa Bay Lightning at home, in which I went into a furious 45 minute, expletive laced tirade. About half way through, the bartender at the time said to Natalie, “I don’t think I’ve seen him that angry before.” In my mind, I thought “if I was at home, I would be throwing things at my TV,” but that’s another issue altogether.
Thanks in part to built-in travel days within the postseason schedule, and the weather actually holding up in early October, I was able to squeeze in some live music coverage at this year’s Mondo.NYC. Because I had spoken at Baby Robot Media’s PR campaign panel and worked with them for a good 6-7 years or so, the company’s co-founders had personally invited me to come out to the showcases they were hosting at Piano’s during the weekend. Admittedly, I just wasn’t able to do any research prior to the actual live music, so I went into everything with no expectations and a clear mind as to what I might be seeing – and interestingly enough, I wound up being pleasantly surprised by the variety of the acts I caught throughout that particular weekend. However, in a weekend with several impressive acts – including British folk singer/songwriter Hannah Scott, New York-based Americana singer/songwriter Mieka Pauley, Austin, TX-based Americana act Fairbanks and the Lonesome Light and Kellindo Parker, best known as Janelle Monae’s sideman, there was one decidedly clear champion of the weekend, the classically trained, Sebastian, FL-born, Somerville, MA-based singer/songwriter Hayley Thompson-King.
Thompson-King’s solo debut album Psychotic Melancholia was released earlier this year through Hard to Kill Records, and the album is a “Sodom and Gomorrah concept album” that in some way is an amalgamation of several different sources and wildly disparate sources. The overall concept of the album is largely influenced by her childhood obsession with the stories of the so-called wicked women in the Bible. “I was the skeptical kid with her hand up in Sunday school,” Thompson-King recalls in press notes. “Also, I spent weekends performing with my church youth group called Clowns for Christ. I guess you could say I was obsessed with getting to the bottom of what exactly would send one to hell. I consider myself agnostic at this point, but I’m still inspired by the questions I had as a kid about disobedience, and about the characters I was taught to believe were evil, like Lot’s Wife and Judas and Lucifer. Upon revisiting these stories, I was inspired by their questioning. I thought they were strong and exciting, and I could put myself in their shoes.” Along with that, the album’s material draws from the Sebastian, FL-born, Somerville, MA-based singer/songwriter and guitarist’s small. Southern town upbringing, in which her father was a team-roper and trained cutting horses, and she grew up riding and showing American Quarter horses. “I spent a lot of time in the dually listening to country music,” Hayley Thompson-King recalls. “And then I went to opera school.” And lastly, the material which references Romantic period art also draws from her classical training at the New England Conservatory of Music, where she earned a Master’s in Operatic Performance.
And while having an operatic sweep with seemingly larger than life characters with oversized emotions, the album’s songs interestingly enough manage to possess a deeply personal and introspective nature. “I write about real things that have happened in my life,” Thompson-King says in press notes. “My relationships, like with my folks, the people I love, but using the landscape and stories of outside characters. They’re all about me, I guess, but it’s easier to write if I’m looking at a third party. So I look at myself as another character.” But perhaps more important, that voice, man; while there have been some comparisons to operatically trained vocalists like Pat Benatar and Heart‘s Ann Wilson, as well as Linda Ronstadt, which are all pretty damn reasonable, Thompson-King’s vocals throughout the album switch from feral howls and yelps, the sort of defiant, and self-contained resiliency and pride that only women possess, a world weary ache from a messy life, full of bad (if not completely fucked up) decisions, dysfunctional relationships with shitty, irresponsible lovers and good, decent ones – before ending with a gorgeous and sparse rendition of Schumann’s “Wehmut,” which translates in English to “Melancholy” and features Thompson-King singing in operatic German “Ich kann wohl manchmal singen / als ob ich fröhlich sei / Doch heimlich Tränen dringen / Da wird das Herz mir frei” (“Sometimes I may be singing as if I were full of joy, But secretly the tears are flowing and then my heart feels free”).
Simply put, it’s a powerful and incredibly self-assured debut but it’s arguably among my favorites released this year. Now, as you can imagine this year has been incredibly busy as I’ve had to manage the responsibilities of an involved day job with that of this blog, but several weeks ago I spoke to the incredibly thoughtful and charming Hayley Thompson-King via email about Psychotic Melancholy, her classical training and how it’s influenced her own creative work, how much the Sun Records sound has influenced her on this album and more in a rather revealing interview. Check it out below.
WRH: You grew up in the tiny town of Sebastian, Florida near Melbourne and Vero Beach, and as the impressively detailed press notes I was provided mentioned, you spent great deal of your youth riding and showing American Quarter horses and your father was a team roper, who trained cutting horses. It’s understandable that you would have grown up listening to a helluva lot of country music; but I understand that you’re a classically trained opera singer, who went to opera school, which defies the stereotype of the country singer/songwriter. How did you get into opera? Did you have any of your friends or others make fun of you for singing classical opera? How has your classical training influenced you and your work? When did you realize that you needed to write for yourself?
Hayley Thompson-King: I’ve always had classical leanings…When I was about 12, I basically woke up one day and my voice had changed…like I hit puberty and all of a sudden I had a ton of vibrato and could speak Italian (just kidding about the second part 🙂 But, ya, it was very natural for me to sing classical music. No one made fun of me! (…to my face…At least not for that!) I feel grateful that I had the opportunity to attend college and then graduate school. I think besides being able to control my voice and all it’s little nuances, the training has helped me to be able to analyze music. To dig into what the composer and lyricist are trying to convey and then honoring that…which is great for country music because it’s tradition to sing other people’s songs. I take every note and every lyric very seriously and when I break from that, it’s intentional… As a songwriter, it’s sort of a blessing and a curse…it takes me a long time to compose the “right” song because every note and every word have to serve the plot…It’s challenging for me to rattle off something visceral like Louie Louie (one of the greatest songs of all time, in my opinion).
Realizing I wanted to go down this path- what feels like performance art; using my brain, my feelings, experiences, and my body to express something- came about 7 years ago. I became tired of waiting for someone else to tell me when or whether or not I could make art. So, I wrote, produced and released my first record (an entirely analog production) called Save The Rats; it was the first release on my label, Hard To Kill Records.
HTK: Please don’t judge me, but I am LOCKED on Traditional Holiday Favorites: Christmas Music of the 40’s, 50’s and 60’s on Sirius XM…I have no excuse.
WRH: How would you describe your sound to those unfamiliar with you and your work?
HTK: I like to say it’s Psychedelic Country or Alt-Classical. Some folks have said Garage Country or even Riot Girl.
WRH: Earlier this year, I stopped by both of Baby Robot Media’s Mondo.NYC Showcases at Piano’s without any expectations of anything and honestly without researching any of the artists or anything, and out of all of the very talented artists, you and your backing band blew me away. I’m a jaded New York-based music journalist, so I don’t say that often! One of the things that I noticed that you and your backing band seemed incredibly road tested. How did you meet your backing band and how long have you been playing together?
HTK: Oh, that is very kind of you to say! I have about 5 musicians who I work with regularly (2 guitarists, 1 drummer and 2 bass players). Everyone who plays with me has one instruction from me: serve the song. I don’t need them to be perfect or play it like the record, I just want to play together in the moment and serve the song.
That show, I had my original bass player (who played on the record) Chris Maclachlan. Chris is a classically trained singer and bassist for seminal Boston band from the 80’s called Human Sexual Response. He’s been with me the longest…we started as a duo and that was when we began incorporating classical repertoire. I had Rob Motes on drums and Nick Mercado on guitar. My other Bass player Ben Voskeritchian is in a band along with Rob and Nick called These Wild Plains from Boston. Their whole band approached me with the idea to go on the road opening me and then backing me up. They are fantastic musicians, they listen to everything I do and respond…I feel really lucky to have them in the band. And my other guitar player (who played on the record and also engineered and co-produced) is Pete Weiss.
WRH: I’ve listened the album a number of times and sonically it’s like you and your backing band manage to bridge honky tonk country with the Sun Records/early rock sound — I can’t help but think of Elvis Presley, Johnny Cash, Roy Orbison, Jerry Lee Lewis, and so on because the album’s material has this raw, feral quality to me. Was that intentional? And how much has that particular period influenced you?
HTK: It’s funny you bring that up…and I’m so glad you pulled that thread. I’m also a college professor on the side 🙂 And I’m preparing for a course right now in Rock and Roll History so listening to A LOT of Elvis. I think ‘feral’ is the perfect term. That music was highly intelligent the way Nature is… and I think results from a feeling of being bound. There is a release and it doesn’t feel contrived, but rather instinctive. AND, most exciting, the audience was effected that way! In my music, I’m working completely instinct-driven, so, yes, I’d say those artists have influenced me.
WRH: The album reportedly stems from your childhood obsessions with the Bible’s wicked women, doubters and questioners, questioning what exactly made them “evil,” and in some way viewing them in a very different, empathetic prism in which you put yourself in the shoes of Lot’s wife, Judas and Luficer among others while tying that together with your own personal experiences. When I read that in the very detailed press notes about you and the album, my immediate thought was “holy shit, that’s pretty heady — for anything these days.” When you began writing the material for the album, did you begin with that overarching theme, crafting material so that it would hew to it — or was it something that came about subconsciously and organically as you were writing?
HTK: As far as the concept for the record, one day as Pete (Weiss) and I were working on pre-production, he said jokingly, “this sounds like a Sodom and Gommorah concept album”. So, that kind of stuck because it was a way to talk to people about what the hell is going on in this body of work. But, truly this was not something that I was in control of… I was guided and sensed it was divine intervention. My entire life, I’ve been haunted by these characters because, it seems to me, they were pawns in a game… Isn’t Judas the real martyr? I realize that this might come across as blaspheme, but I’m resigned to burning in whatever hell being a reasonable person gets you sent to.
WRH: You and your backing band spent the closing months of 2016 and the early months of this year writing and then obsessively revising and then recording the material that wound up comprising Psychotic Melancholia. How much revising and tweaking went into the writing sessions? And when did you know that you had finished, fully-fleshed out songs?
HTK: Pete (Weiss) and I got together in little pre-production sessions before we went into the studio and tweaked some of the songs… those sessions involved adding a chord here or there, some arrangement choices, and our plan of attack for mic-ing/live recording/vocals. Most of the songs were fully formed at that point. Then we went to the studio and a lot of what you hear is live with some minimal editing/overdubs. BUT, a couple of the more kinetic pieces (Lot’s Wife and No Room) needed to be played live in order for us to get the feel… so we booked a couple things and then went back and recorded those… they are mainly live, but what you are hearing is probably the 3rd version of both of those. I just get a feeling when something is right and the band trusts that… so that’s how we work.
“Dopesick,” and “Old Flames” are among my favorite songs on the album. What can I say, a sad song sometimes just works, you know? In any case, there’s a deep and visceral ache to them that comes from very real, lived-in experience, while drawing from some of the country songs I’d expect to hear while in some beer and whiskey soaked honky tonk. What is the story behind those two?
HTK: “Old Flames” is actually a cover song. It was written around 1978 by Hugh Moffatt and Pebe Sebert (Sebert is the mother of Ke$ha!). I only add a cover if I feel a deep connection to it and if I feel I can bring something new to the table…for that one, I had been trying to write about being in love with my partner…I found it VERY challenging to write about joy. I started playing that song and it said the things that I wanted to say about my love. (I’m still trying to write originals about this topic and getting much better at expressing this these days)
“Dopesick” is an old song. I probably wrote it about 5 years ago. It’s also about someone very close to me who was struggling…but, in hindsight, it’s also about me. It’s my favorite song.
WRH: I’ve mentioned this to a number of artists I’ve interviewed but I think that the one of the keys to an exceptional album is when the song order is so perfect that it creates a very specific mood, and if you were to rearrange the songs, it would be a different album with a wildly different mood — closing the album with a rendition of Schumann’s “Wehmut” is an eccentric yet gorgeous and fitting way to close out an album with a huge, operatic sensibility. Did you have any difficulties in arranging the material as it appears on the album or was it something that you always knew?
HTK: It took me about 3 days to do the song order…which, to me, felt long. I was taking into consideration the tempi, flow of the keys and lyrical arch…but really, this was the only way it could be. On the vinyl (which I’m planning to release this spring, but am hoping to get some label support for), each side will end with a Schumann piece….I think the whole thing works beautifully for a record where you listen to one side and then flip:
Large Hall, Slow Decay
No Room For Jesus
Mondnacht (music -Schumann / poem – Eichendorff)
Mondnacht (Moon Night):
It seemed as if the sky
Had silently kissed the earth,
That she in the shimmer of blossoms
Could only dream of him.
The breeze blew over the fields,
The grain stalks gently surged,
The forests rustled softly,
So starbright was the night.
And my soul unfolded
It’s pinions so wide,
Flew over the silent lands,
As if it were flying home
Sometimes I may be singing
As if I were full of joy,
But secretly tears are flowing,
And then my heart feels free.
The nightingales will sing,
When spring breezes play outside,
Their melody of yearning
Out of their prison’s tomb.
Then all the hearts are listening,
And everyone is glad,
But none can feel the sorrows,
The bitter grief in song.
WRH: What’s next for you?
Well, we are home working on a couple videos and doing some writing and light recording in January…and teaching my R&R History course at the college of course. We’ll be doing about 3 weeks east of the Rockies in March. I turn in my grades for \ on May 14 and on May 15 we leave for a month long tour in Scandinavia which ends at the Stockholm Americana Festival. I’m pretty excited about spring. I’m hoping to get back to NYC a few times in the next couple months…we’ve had such exciting crowds there (including yourself 🙂 It feels like the audiences really get what we’re doing and like the artistic aspect of it. So, that’s the plan.
Paris-born, London-based singer/songwriter Sophie Baudry is the creative mastermind behind the up-and-coming soul project, Million Miles, and interestingly enough the project is the culmination of a life-long love affair with soul music. After studying at Boston’s renowned Berklee College and a stint working as a recording engineer and studio musician in New York, Baudry returned to London and felt an irresistible pull to create her own music inspired by likes of Ray Charles and Bill Withers.
On an inspired whim, Baudry wound up in Nashville, TN. The French-born, British-based singer/songwriter spent her first few days in Nashville wandering, exploring and reaching out to strangers as though she were saying, “I’m new here and I’m a songwriter and i’m looking for people to collaborate with.” Baudry had chance meetings with local songwriters and producers Robin Eaton and Paul Eberson, and within an hour or so, they began writing material together.
Now, if you’ve been frequenting this site over the past couple of months, you may recall that Baudry’s Million Miles debut, Berry Hill EP was recorded over the course of a year during multiple sessions at Robin Eaton’s Berry Hill home studio. And the effort reportedly focuses on the journeys taken and lessons learned in the singer/songwriter’s life; in fact, EP single “Can’t Get Around A Broken Heart” revealed that Baudry specialized in an easy-going, effortless singer/songwriter/balladeer-based soul reminiscent of Bill Withers and Sandra Rhodes’ sadly under-appreciated and seemingly forgotten debut Where’s Your Love Been. And much like Withers and Rhodes, Baudry revealed a rare ability to express joy and heartache within a turn of a phrase, just underneath the Sunday afternoon vibes.
The EP’s latest single “Love Like Yours” will further cement Baudry’s growing reputation for crafting easy-going yet deliberately crafted soul that while influenced by Bill Withers also manages to nod at early Erykah Badu and Jill Scott; however, whereas the previous single focused on crushing heartache, the EP’s latest single is the antithesis — or perhaps even the begging of the songwriter’s story, as the song’s narrator expresses joy and relief over finding — finally! — that profound love she’s been looking for. Of course, deep down, we all know the perverse irony in these sort of love songs — that love, like everything else isn’t forever, and that it can be as disappointing and frustrating. And yet, what would our lives be without that constant search, without those impermanent yet so important moments of joy?
As Baudry explains of the video treatment, “We shot this video at home on a rainy day. I filmed footage on a trip to LA and loved projecting it on the wall at home when I was writing or recording, it’s really quite inspiring. The song has always been a favourite of mine as lyrically its quite personal and really reminiscent of a specific time in my life, so I wanted to keep that feeling throughout the video, keeping everything really intimate and what’s more intimate than home.”
Currently comprised of Daniel McAuley (vocals, synths), Brendan William Jenkinson (guitar, piano), Rory O’Connor (bass) and Brendan Doherty (drums), along with a rotating cast of collaborators and friends, the Dublin, Ireland-based act Cloud Castle Lake derive their name from a Vladimir Nabokov short story about a voyager, who finds a place so beautiful that he wants to spend the rest of his life there, but is cruelly dragged back to reality. And with their 2014 self-released debut EP, Dandelion, the Irish act received attention for a sound that routinely juxtaposes dark and despairing lyrics with a euphoric catharsis that increasingly draws from the work of Alice Coltrane and Pharaoh Sanders while being equal parts pastoral folk and soaring post-rock crescendos. And adding to a growing profile, the band has opened for touring acts such as Glasser, Lisa Hanningan and Ultraisa.
Cloud Castle Lake had recently re-surfaced with the release of “Twins,” their first single in quite some time and building upon the buzz of that single, the Irish quartet released the stunning and breathtakingly gorgeous, Amnesiac-era Radiohead-like single “Bonfire,” which features twinkling, arpeggiated keys, and jazz-infected drumming and a tender yet soaring melody. As the band’s Daniel McAuley explained in press notes, “Bonfire is based around a pretty simple melody I came up with a few years ago. I kept being drawn back to it periodically and steadily adding and expanding it until it grew out into a full song. Writing it felt like a meditative task – what I’d imagine knitting a scarf is like. The choir parts were performed by our pals Tonnta, a contemporary choral group from Dublin. The giddiest day of recording for me was probably the first day they came in and sang through their parts. Getting to hear such talented musicians turn all that midi data and notation into music feels like magic. The lyrics have to do with doubt and denial and keeping secrets. They’re very loosely based on an old Irish/Welsh myth about rival tribes trying to find out the secret name of the other’s god in order to defeat them.”
Next month, the members of the Irish quartet will be embarking on a 5 date North American tour with stops in Los Angeles, San Francisco, Chicago, Boston and a February 6, 2018 stop at Rockwood Music Hall. These tour dates will serve as a bold re-introduction to the band, as well as building up buzz for the band’s Rob Kirwan-produced debut, slated for a Spring 2018 release.
Now, if you’ve been frequenting this site throughout the course of the past five years or so, you’ve come across a handful of posts mentioning or featuring Statik Selektah, a Boston, MA-born, New York-based DJ, producer, radio producer and founder of ShowOff Records, who’s also one-half of hip-hop duo 1982 with frequent collaborator Termanology. And as you may recall, the Boston-born, New York-based producer, born Patrik Baril, much like anyone who’s involved in music, was introduced to music at a very young age; in fact, he can trace the origins of his own musical career to when he began experimenting with his parents’ eight-track tape deck, cassette recorders and turntables. By middle school, Baril had begun DJ’ing school functions, but as the story goes, Baril became truly inspired to be a producer and turntabilist after hearing DJ Premier and Funkmaster Flex on Hot 97.
As a high schooler, Baril, named himself DJ Statik — the Selektah came much later, after he had heard a local reggae artist say it — and began doing radio at Phillips Exeter Academy‘s radio station, WPEA, and where he also occasionally DJ’ed some of the Afro-Latino Society Parties. He began to DJ clubs and private clubs throughout New England; however, by 2000, Baril had returned to Boston, where he pursued an audio production degree at the New England Institute of Art. Around that time, Baril began releasing a mixtape series titled “Spell My Name Right,” which he then followed several years later by creating ShowOff Marketing, which eventually had Reebok, G-Unit Records, Virgin Records, Capitol Records and Puff Daddy‘s Vote or Die Campaign as clients, before spinning off into a label, which released Termanology’s Out the Gate and Baril’s 2007 debut Spell My Name Right.
Since the release of his 2007 debut, Statik Selektah has released 7 more albums including his 2010 breakthrough 100 Proof: The Hangover, an effort that eventually reached #37 on Billboard‘s Heatseekers Chart, and has produced and collaborated with an incredibly diverse list of artists including Freeway, Strong Arm Steady and others. Statik Selektah’s eighth, full-length album, the aptly titled 8 was released yesterday — December 8, 2017, which may be rather auspicious — through his own ShowOff Records, and the album has the renowned producer
Statik Selektah’s eighth full-length album, aptly titled 8 is slated for an auspicious December 8, 2017 release through his own ShowOff Records, and the album finds the renowned producer collaborating with a who’s who’s list of contemporary hip-hop including 2 Chainz, Wiz Khalifa, Action Bronson, Wale, G. Eazy Joey Bada$$, PnB Rock, the late Sean Price and others. Album singles like the Pete Rock-like“No. 8,” a collaboration with Conway, Westside Gunn and frequent collaborator, the aformentioned Termanology and the neo-soul-inspired “Ain’t A Damn Thing Changed,” a collaboration with a backing band consisting of Brady Watt (bass), a member of The Lesson and DJ Premier’s backing band, Cas Weinbren (keys) Utril Rhaburn (horns), Enisa (vocals), G. Eazy and Joey Bada$$ further cemented Baril as one of contemporary hip-hop’s best producers.
The album’s latest single “But You Don’t Hear Me Tho” is collaboration with The Lox and Mtune featuring golden era-inspired production consisting of a looped sample of twinkling keys, blasts of horn and tweeter and woofer rocking, boom bap beats, and the old school-like production is roomy enough for the members of The Lox (Styles P., Jadakiss and Sheek Louch) to trade bars reminiscing about what hip-hop has -meant to them as people and artists, while making pointed commentary on the fickleness of the industry. Along with that, each emcee seems thankful that they’ve managed to survive the trails and tribulations they’ve faced but underneath the surface is a rather profound question of where they’d be without their love affair with hip-hop.
Directed by Najee Evans, the video features the renowned producer with his adorable daughter, as he takes her to his favorite record store to crate dig but perhaps more important, the video is a revelatory flashback on his career, featuring cameos from Joey Bada$$, DJ Premier, Lord Finesse, Buckwild, Westside Gunn, Conway, as well as footage of The Lox.
Born Patrick Baril, Statik Selektah is a Boston, MA-born, New York-based DJ, producer, radio producer and founder of Showoff Records, as well as one-half of hip-hop duo 1982 with frequent collaborator Termanology. Much like anyone who’s involved in music in some way or another, Baril was introduced to music at a very young age, and he can trace the origins of his own career to when he began experimenting with his parents’ eight-track tape deck, cassette recorders and turntables. Unsurprisingly, Baril began DJ’ing school functions as a middle schooler; but as the story goes, a young Baril was truly inspired to be a producer and turntabilist after hearing the likes of DJ Premier and Funkmaster Flex on Hot 97.
As a high schooler, Baril, named himself DJ Statik — the Selektah came much later, after he had heard a local reggae artist say it — and began doing radio at Phillips Exeter Academy‘s radio station, WPEA, and where he also occasionally DJ’ed some of the Afro-Latino Society Parties. He began to DJ clubs and private clubs throughout New England; however, by 2000, Baril had returned to Boston, where he pursued an audio production degree at the New England Institute of Art. Around that time, Baril began releasing a mixtape series titled “Spell My Name Right,” which he then followed several years later by creating ShowOff Marketing, which eventually had Reebok, G-Unit Records, Virgin Records, Capitol Records and Puff Daddy‘s Vote or Die Campaign as clients, before spinning into a label, which released Termanology’s Out the Gate and his 2007 debut Spell My Name Right.
Since the release of his 2007 debut, Statik Selektah has released 6 more albums including his 2010 breakthrough 100 Proof: The Hangover, an effort that eventually reached #37 on Billboard‘s Heatseekers Chart, and has produced and collaborated with an incredibly diverse list of artists including Freeway, Strong Arm Steady and others.
Statik Selektah’s eighth full-length album, aptly titled 8 is slated for an auspicious December 8, 2017 release through his own ShowOff Records, and the album finds the renowned producer collaborating with a who’s who’s list of contemporary hip-hop including 2 Chainz, Wiz Khalifa, Action Bronson, Wale, G. Eazy Joey Bada$$, PnB Rock, the late Sean Price and others. Now, as you may recall, the album’s title track “No. 8” found the renowned producer pairing his golden era hip-hop inspired production featuring enormous, tweeter and woofer rocking 808s and a jazzy sample reminiscent of Pete Rock with Conway, Westside Gunn and frequent collaborator, the aformentioned Termanology contributing some fiery and swaggering bars.
“Ain’t A Damn Thing Changed” 8‘s latest single is a warm and neo-soul leaning production featuring a backing band consisting of Brady Watt (bass), a member of The Lesson and DJ Premier’s backing band, contributing a sinuous and strutting bass line, Cas Weinbren (keys) contributing twinkling, arpeggiated keys, Utril Rhaburn (horns), contributing some mournful horns fed through gentle washes of reverb, enormous, twitter and woofer rocking 808s and some incredible scratching from Statik Selektah and a soulfully sung hook from Enisa. And the production is roomy enough for G. Eazy and Joey Bada$$ to trade bars about achieving success beyond their wildest dreams and yet finding that many aspects of their lives have ironically remained the same; they may have a multi-million dollar home but find themselves struggling to pay for it, they’re still scheming for the next opportunity — and while we may still admire them and their incredible talents, what both emcees suggest is that if you didn’t know who they were, they lead fairly average albeit very odd lives. While further cementing Baril as one of contemporary hip-hop’s best producers, 8‘s latest single may arguably be one of his most straightforwardly soulful and contemplative tracks he’s ever released.
Born Patrick Baril, Statik Selektah is a Boston, MA-born, New York-based DJ, producer, radio producer and founder of Showoff Records, as well as one-half of hip-hop duo 1982 with frequent collaborator Termanology. Interestingly enough, much like anyone who’s involved in music in some way or another, Baril was introduced to music at a very young age, and he can trace the origins of his own career to when he began experimenting with his parents’ eight-track tape deck, cassette recorders and turntables. Unsurprisingly, Baril began DJ’ing school functions as a middle schooler; but as the story goes, a young Baril was truly inspired to be a producer and turntabilist after hearing the likes of DJ Premier and Funkmaster Flex on Hot 97.
As a high schooler, Baril, named himself DJ Statik — the Selektah came much later, after he had heard a local reggae artist say it — and began doing radio at Phillips Exeter Academy’s radio station, WPEA, and where he also occasionally DJ’ed some of the Afro-Latino Society Parties. He began to DJ clubs and private clubs throughout New England; however, by 2000, Baril had returned to Boston, where he pursued an audio production degree at the New England Institute of Art. Around that time, Baril began releasing a mixtape series titled “Spell My Name Right,” which he then followed several years later by creating ShowOff Marketing, which eventually had Reebok, G-Unit Records, Virgin Records, Capitol Records and Puff Daddy’s Vote or Die Campaign as clients, before spinning into a label, which released Termanology’s Out the Gate and his 2007 debut Spell My Name Right.
Since the release of his 2007 debut, Statik Selektah has released 6 more albums including his 2010 breakthrough 100 Proof: The Hangover, an effort that eventually reached #37 on Billboard’s Heatseekers Chart, and has produced and collaborated with an incredibly diverse list of artists including Freeway, Strong Arm Steady and others.
Statik Selektah’s eighth full-length album, aptly titled 8 is slated for an auspicious December 8, 2017 release through his own ShowOff Records, and the album finds the renowned producer collaborating with a who’s who’s list of contemporary hip-hop including 2 Chainz, Wiz Khalifa, Action Bronson, Wale, G-Eazy, Joey Bada$$, PnB Rock, the late Sean Price and others. The album’s latest single, album title track “8” finds the producer pairing his golden era production featuring enormous 808s and a bluesy and jazzy sample reminiscent of Pete Rock with Conway, Westside Gunn and frequent collaborator Termanology contributing some fiery and swaggering bars. While Hot 97 may be playing Future and god knows what else, thankfully, there’s real hip-hop like I remember still being made and released.
The recently released video begins with footage of an actual shooting in Buffalo that took place while recording the scene introducing Conway. The video then introduces Westside outside of a cheesesteak place and Termanology on a stoop serving as a reminder that hip-hop is always about the streets.
Currently comprised of founding member Brazilian-born, Los Angeles, CA-based singer/songwriter Samira Winter (vocals) along with Justine Brown, Chelsea Brown, and Summer Twins’ Anders LaSource, the indie rock quartet Winter can trace their origins to when the band’s founding member and primary songwriter along with co-founder Nolan Ely started the band while in Boston. And after the release of the band’s debut EP Daydreaming, the band’s frrontwoman relocated to Los Angeles and recruited an entirely different lineup to flesh out the project’s sound. With the band’s second lineup, Winter and company went into the studio to write and record the material, which wound up comprising their 2015 full-length debut Supreme Blue Dream — an album that featured material written and sung in both English and Brazilian Portuguese, while thematically meant to connect the listener back to their inner child. Sonically speaking, the album found the band establishing themselves for a sound that drew influence from 4AD Records’ heyday.
Now, if you were following this site last year, you may recall that last year, the band was working on what would be their sophomore effort Ethereality. And although album single “Dreaming” was originally written in 2013, the single further cemented the Los Angeles-based indie rock quartet’s growing reputation for crafting ethereal and shimmering, guitar-based dream pop.
Recently, the members of Winter finished a tour opening for Los Angeles-based indie rock and blogosphere darlings Cherry Glazerr, a standalone show with Colleen Green and a set at the Desert Daze Festival earlier this month — but adding to a rather busy period, Winter collaborated with Los Angeles-based surf rock band Trabants, featuring founding member, guitarist and primary songwriter Eric Penna and a rotating cast of musicians and collaborators, including the members of Man Man, Mean Creek, Creaturos, The Shills, World Inferno Friendship Society, Beware the Dangers of a Ghost Scorpion, Young Hunting, So Many Wizards, Breakestra!, The Dazies, Bury Me Standing, Jaggery, Cracktorch, Riptides and tomemitsu for a standalone single “Just Stay,” is a gorgeous and wistful track that manages to sound inspired by The Smiths, Que Sera and others.
Speaking of wistful nostalgia, the recently released Lorena Alvarado-produced video features Super 8-based home videos of a family on vacation in a lush and gorgeously verdant summer paradise, capturing a time and way of life that can’t possibly happen ever again.