Led by founding member Alex Chavez and featuring Pete Vale, Daniel Villarreal-Carrillo, Jaime Garza and Nathan Karagianis, the members of Chicago, IL-based Latin music quintet Dos Santos Anti-Beat Orquesta have storied careers in a diversity […]
Brownout, a relentlessly touring, Latin funk and rock act side project of Grupo Fantasma has become something of an independent act of its own since the 2014 release of Brownout Presents Brown Sabbath, which featured Latin funk interpretations of beloved Black Sabbath songs such as “Iron Man,” “Planet Caravan,” “N.I.B” and others.
October 28, 2016 will mark the release of Brownout Presents Brown Sabbath’s highly-anticipated follow up, Brownout Presents Brown Sabbath, Vol II through Ubiquity Records. And the second collection will feature the band putting their unique spin on deeper Sabbath catalog cuts including “Fairies Wear Boots,” “Snowblind,” “Supernaught,” and “Sabbath Bloody Sabbath,” featuring Ghostland Observatory’s Aaron Behrens. Just in time for the announcement of their forthcoming sophomore effort, the band (through their publicist) put folks on to this 2014 live segment they did for KEXP, which features the band’s impressive and funky takes on “Iron Man,” “Planet Caravan,” “The Wizard,” and “N.I.B” and members of the band talking about touring life, the response they’ve received from Latin funk fans and Sabbath fans alike and more.
If you’ve been frequenting over the past few days or follow me through Twitter or Instagram, the annual CMJ Festival, which presents new and emerging artists to music industry folks — namely, college radio programmers, bloggers, journalists, A&R and others, and the general public at a rather insane number of showcases and concerts across Lower Manhattan and Brooklyn. For a music fan and journalist, it manages to simultaneously be the best thing in the entire world and a daunting and exhausting experience.
Last night, I walked out of my apartment at 12:40 to pick up credentials for the festival, saw seven — yes, that’s right, seven — different sets of music across three or four different genres and wound up walking into my door at 5:45 this morning. And I’m about to repeat some of that complete madness today. Fun times.
As you can imagine, as a result I just haven’t had a chance to post as much as I would have preferred over the past couple of days. But I’ll be back to more regular posting as we begin a new week. And yes, you can expect some CMJ-related coverage here shortly; however, in the meantime, let’s get to some necessary business . . .
If you’ve been frequenting JOVM for a bit, you may be intimately familiar with the Austin, TX-based collective Grupo Fantasma. Since their formation 15 years ago, the collective has developed a reputation as being one of the US’s preeminent, independent Latin bands as the collective has been nominated for multiple Grammies and won a Grammy for their 2011 effort, El Existential, as well as praise from the likes The Wall Street Journal, Billboard and USA Today, who once called the band “Latin funk masters.” Adding to an extensive national profile, the collective has had music placements in a wide array of film and TV shows including AMC‘s Breaking Bad, ABC’s Ugly Betty, NBC‘s Law and Order, Showtime‘s Weeds and the John Sayles‘ film Casa de los Babys. And the collective has also had a long-held reputation for being one of the best live funk bands in the country, and as a result they’ve backed Prince for The ALMA Awards, The Golden Globes and CBS‘ Super Bowl Bash, Fania All-Stars‘ pianist Larry Harlow, Sheila E., The GZA, Gina Chavez, and renowned indie rock band (and fellow Austinites) Spoon.
It’s been a while since we’ve heard from Groupo Fantasma. Perhaps because of the finances behind being a large band, the current lineup — now comprised of nine full-time members — has frequently split off into a variety of side projects and other musical concerns, including a Turkish pop-inspired project and the funk and heavy metal project Brownout, which has spent the better part of the past two years touring with a unique concept — Latin funk-based interpretations and reworking of Black Sabbath that the band dubbed Brown Sabbath. (Imagine some of your favorite Black Sabbath tunes with horns, congas and the like. Yeah, seriously. And it’s honestly pretty fucking awesome, as it adds an unexpected nuance and a different interpretation on songs that have long been familiar – without ruining the song’s intent and spirit.)
Grupo Fantasma’s soon-to-released fifth full-length effort Problemas is slated for an October 30 release through Blue Corn Music and the album marks the first time that the band worked with an outside producer — in this case, Steve Berlin, who’s also a renowned horn player and keyboardist. As bassist Greg González explained in press notes, “We thought a new process would help us find a unique voice and create a story. It would’ve been easier and cheaper to record everything ourselves and reuse the same techniques which successfully garnered us a Grammy and two nominations for successive albums (Sonidos Gold and El Existential) but the desire was to push ourselves in new directions.”
During the writing and recording process, Berlin influenced the members of the band to streamline their music as much as possible so that the band’s songwriting and unique approach would come out to the forefront of their recorded sound — and to give voice to their experiences and influences without falling into being pigeonholed as merely a Latin, Texas or “World Music” album or be dismissed as a calculated attempt at crafting a crossover album. In fact, the album also reportedly draws from a variety of influences including heavy metal, indie rock, funk, hip-hop, jazz, African music, Eastern European music, gypsy music, South American. Cuban, Tex-Mex and others. Now you might have come across the album’s first single “Solo Un Sueno” revealed a stripped down songwriting approach, which naturally forces the listener’s attention to the song’s lyrics. Sonically, the song clearly draws from Latin music, funk and Eastern European music, as it possesses a twisting and turning song structure that’s spacious enough to allow for each section to do their thing.
The album’s latest single “Roto El Corazon” is a bit more of a straightforward-leaning percussive salsa song with elements of atmospheric psych rock towards the song’s coda, that sounds (for the most part) as though it could have been released during the Fania Records days. Obviously in this composition, the incredible horn and percussion sections are the heroes, pulling the heavy weight of the song’s muscle and melody throughout while being roomy enough for the vocalist and his lyrics to effortlessly flow through the mix. But interestingly enough the song manages to have a lot going on — while feeling unfussy and stripped down to nine guys sounding like they were jamming at a club.
Since their formation 15 years ago, the Austin, TX-based collective Grupo Fantasma has developed a reputation as being one of the US’s preeminent, independent Latin bands as the collective has been nominated for multiple Grammies […]
Brown Sabbath: Brownout’s Latin Funk Interpretations of Black Sabbath Brooklyn Bowl September 5, 2014 As I’ve mentioned countless times, often having two completely different jobs often creates competing and sometimes contradictory demands for my time […]
Daptone Records have firmly established themselves as a renowned home of all things funk and soul, including The Budos Band, a collective that specializes in what the band has dubbed Afro-Soul, a sound that is […]
Over the past few years, Grupo Fantasma has developed a reputation as being among a small group of outstanding, independent Latin bands – and perhaps even rarer, among a group of truly unheralded funk bands, despite […]
Brownout has gone from being the side project and alter ego of Grammy award winning, Austin, TX-based act Grupo Fantasma to being more or less a full-time act with the release of the band’s third […]