Tag: George Clinton/Parliament Funkadelic


Comprised of Posdnuos, Dave and Maseo, De La Soul is arguably one of hip-hop’s most beloved and influential acts. thanks in part to their use of incredibly clever and quirky word play, innovative and soulful sampling and hilarious skits; in fact, perhaps unsurprisingly, Mos Def has openly cited them as a major influence on the early part of his career. And although their seminal debut 3 Feet High Rising may be their most commercially successful release – perhaps in part to the success of singles like “Me, Myself, and I,” which employed the use of a sample from Parliament’s “Not Just Knee Deep” and the Native Tongues anthem “Buddy” – they’ve managed to release a number of critically applauded albums including De La Soul Is Dead, Buhloone Mindstate and Stakes Is High among others.

I caught the legendary hip-hop trio at The Meadows Festival earlier this year, and they were among one of the festival’s most memorable and most fun  career spanning sets featuring songs off  3 Feet High Rising, De La Soul Is Dead, Buhloone Mindstate and Stakes Is High and their critically applauded  . . . And the Anonymous Nobody, which was released last year. Album single “Pain,” a collaboration with Snoop Dogg featured some of the most incredible bars in recent memory over a soulful, Roy Ayers-like production featuring twinkling keys paired with thumping, tweeter and woofer rocking beats.

Recently the JOVM mainstay artist Rhythm Scholar  remixed De La’s “Pain” with his imitable and effortless mashup/remix that retains the song’s woozy, soulful vibe but further emphasizes it with samples from Oliver  “Heart Attack,” feat the aforementioned De La Soul,The CommodoresI Like What You Do” and “Brick House” — with Keith Holden (bass), and Mr. Fender Rhodes (Fender Rhodes). And although the Rhythm Scholar remix turns the song into a 70s disco-inspired club banger, complete with explosive horns. Interestingly, the Rhythm Scholar doesn’t include Snoop’s verse — and the remix is so slick that you don’t notice it.

 

 

 

Akuba Records is a new label, whose mission is to bring listeners the very best deep, cosmic, soulful and funky disco music out of their Africa, and their debut release is a split release between He’s The Man and Atik-A. The A side single He’s The Man’s “Squeeze  Me Tight” is an old school club banger, reminiscent of Parliament Funkadelic, Heatwave and oddly enough 45:33-era LCD Soundsystem, as the track features propulsive drumming, a sinuous bass line, an enormous brass section, soulful Lou Rawls-like vocals, complete with a sultry backing section, arpeggiated keys and trippy analog effects — with the end result being something both tribal and cosmic.

 

If you’ve been frequenting this site over the past two years, you’ve likely become familiar with the  Liverpool-based shoegaze quintet The Vryll Society, and as you may recall the quintet, comprised of Michael Ellis, Ryan Ellis, Lewis McGuinness, Lloyd Shearer, and Benjamin Robinson have received attention both on this site and across the blogosphere for a contemporary take on shoegaze that draws from a diverse and eclectic array of influences — including FunkadelicAphrodite’s Child ,krautrock, and others.

Earlier this year, I wrote about “Sacred Flight,” a single that further cemented their growing national and international profile for crafting an enveloping, pedal effected guitar-based sound with soaring hooks and a propulsive, motorik groove; however, the single revealed that the band had been experimenting and expanding upon their sound as there was an increasing emphasis on synths. Personally speaking, the song managed to remind me of my own travels this year — in particular, being in The Netherlands, and how being “a man from far away” was both liberating and profoundly strange. The band’s second single of the year, and second single off their highly-anticipated full-leghth debut, “Shadow Of A Wave” continuee along a similar vein, complete with their signature rousing hooks but with decidedly krautrock/motorik-like groove. And interestingly enough, the song may be the most achingly lovelorn and earnest song they’ve released to date.

 

New Video: The 80s-Inspired Sounds and Visuals for Moon King’s “In & Out”

Initially formed as a solo recording project of its Toronto, ON-born creative mastermind, primary songwriter, multi-insrumentalist and producer Daniel Benjamin, Moon King may arguably be best known as a duo featuring Maddy Wilde (guitar, vocals) for the bulk of the project’s existence to date; but with Wilde’s departure from the project in 2016, the project has returned to its roots — as a solo project. And interestingly enough, around the same time, Benjamin relocated to Detroit, MI  — notably, the Detroit neighborhood of Hamtramck, which unsurprisingly inspired a new batch of material, Hamtramck 16, a mixtape that not only documents his arrival into a new and unfamiliar place but serves as a radical change in sonic direction for him, as the material on Hamtramck 16 captures Benjamin’s growing obsession with electronic dance music. 

Finally having some time to himself after years of relentless touring, Benjamin began collaborating with local artists and musicians, until he formed a new band — with the intention of crafting a sound that currently draws from disco, classic, Detroit house, synth pop — and even pop. In fact, as you’ll hear on Hamtramck 16’s latest single “In & Out,” Benjamin pairs his dreamy falsetto with a dance floor-friendly production that channels Nile Rodgers-era Madonna (i.e.,  “Lucky Star” and “Holiday”), Tom Tom Club (i.e., “Genius of Love”) and Larry Levan-era house as a driving groove is paired with fluttering, shimmering and cascading layers of synths, a sinuous bass line, four-on-the-floor-like beats and a razor sharp hook. And much like the sound and period, Benjamin is drawing from, the song manages to be incredibly accessible; in fact, if it wasn’t for the subtly modern production, the listener may have been tricked into believing that the song may have been released in 1983. 

The recently released visuals for “In & Out” feature neon-bright animation from Jordan Minkoff that channels the visuals for the aforementioned “Genius of Love” and George Clinton’s “Atomic Dog.” 

Comprised of Ella Thompson and Graeme Pogson, GL is a Melbourne, Australia-based electronic music production and artist duo, who with the release of 2013’s Love Hexagon EP and their full-length debut Touch developed a reputation for specializing in a sound that’s very much a contemporary take on disco, funk, boogie, soul and house music, and as a result the Australian electronic music duo quickly earned international attention from The Guardiani-DThe FADERV Magazine, XLR8R and others, as well as played sets at New Zealand’s St. Jerome’s Laneway Festival and Splore Festival while nationally they’ve opened for Nick Murphy fka Chet Faker and played a successful headlining national tour to support their full-length debut.

Building upon a growing national and international profile, which resulted in a busy touring schedule, the duo locked themselves away in the studio to write and record the double A-sided single “Destiny”/”Reflect,” and as the duo explain “‘Reflect’ is an extended jam we made at TFS Studio in North Fitzroy, Melbourne. We wanted to try a long form exploration piece. Listen out for the delightful keyboard solo by Harvey Sutherland! Lyrically, it’s about searching inward, when the outside gets a bit much.” Interestingly enough, the song while being decidedly introspective manages to be joyous, suggesting that searching inward can be a profound solace in a cruel world or as George Clinton once wisely sung “The kingdom of heaven is within.” Of course, sonically, the song will further cement the duo’s reputation for crafting a sound that draws so much  from 80s and 90s house music and 80s synth soul that it brings to mind The WhispersIt’s A Love Thing,” “And The Beat Goes On,” and “Rock Steady,” Evelyn “Champagne” King’s “Love Come Down” and Cherelle‘s “Saturday Love” as Pogson pairs a production featuring layers of shimmering and cascading synths, a sinuous bass line, tribal drumming, bursts of shimmering keys and a soaring hook with Thompson’s self-assured vocals. Simply put, it’s arguably one of the most DJ-leaning, club rocking tracks I’ve written about in several months; in fact, if I were DJ’ing, I’d make sure to fit this one into a set.

 

 

 

 

 

New Video: The Genre-Blurring, Global Sound and Visuals of French Experimental Pop Act Aquaserge

Featuring members of Tame Impala, Stereolab, Acid Mothers Temple and Melody’s Echo Chamber, the French act Aquaserge formed back in 2005 as way for its members to explore and experiment with Kraut rock, prog rock, free jazz and French pop in a similar fashion to Serge Gainsbourg, Frank Zappa, The Beach Boys and others. And as you’ll hear on “Tour du Monde,” the latest single off the act’s recently released full-length debut, Laisse ça être, the act specializes in a mischievously weird, kaleidoscopic, genre-blurring sound that draws from jazz, Afropop, psych rock, free jazz, jazz fusion and pop — and they do so with a swaggering, strutting funkiness that would make Fela Kuti and George Clinton very proud.

Produced by filmmakers Amanda Robles and Matthieu Salabara, dear friends of the band, the video consists of the band’s personal collection of postcards being shot in a single take with the intention being a good luck message — or in other words, being a wishful hope that the song may get them to travel around the world to play their music. And interestingly enough, the song’s lyric manages to nod at a similar theme, as they roughly say “If you’re walking in your own footprints, you must’ve walked around the earth.”

Preview: SummerStage 2017

Back in 1986, the City Parks Foundation created SummerStage in the spirt of Central Park’s original purpose — to serve as a free, public resource to help culturally enrich the lives of New Yorkers through live concerts, dance performances, and other cultural events.  And the festival’s first few years revealed relatively humble beginnings as its first few years of live programming were at Central Park’s Naumberg Bandshell; however, with artists such as Sun Ra Arkestra and legendary South African vocal act Ladysmith Black Mambazo and an impressive list of others playing those first few years, Summerstage, SummerStage quickly developed a reputation for presenting one of the most diverse array of artists across a variety of cultures, genres and styles — and they’ve continued to do so throughout its 30 plus year history. Over the past handful of years, SummerStage’s organizers have expanded the festival beyond Manhattan with shows hosted in parks, bandshells and and makeshift stages across the city’s other five boroughs, and from covering the festival throughout most of the history of site, it’s a wonderful afternoon or evening with your friends and neighbors; plus, there’s nothing like catching acts that keep you in touch with your inner child.

2017’s SummerStage season will begin in earnest on June 3rd with the legendary and imitable Mavis Staples, a national fucking treasure if you ask me, with contemporary blues artist Toshi Reagon and BIGLovely Good Music to round out a night of soul, gospel and blues at Central Park’s Rumsey Playfield. And the rest of the lineup for his year continues an incredible run of must-see acts. Some other highlights will include:

And of course, there are a handful of benefit shows presented by The Bowery Presents at Central Park’s Rumsey Playfield to help support City Parks Foundation’s continuing efforts to present free arts programming to New Yorkers and that lineup is equally impressive.

SummerStage will also be expanding its family-friendly pre-show workshop offerings this year to include dance classes, beatboxing lessons and introductions to DJing and Latin percussion. These interactive workshops will take place prior to elect SummerStage shows throughout the summer and all ages are encouraged to come out to your local park to participate. This year, the pre-show workshops will being with a DJ lesson from Scratch DJ Academy and a beatboxing tutorial with beatboxer Exacto before Digable Planets’ Coffey Park show — and other workshops will include salsa dance lessons in St. Mary’s Park and a poetry class in Marcus Garvey Park.

For more information and schedules check out SummerStage here: http://www.cityparksfoundation.org/summerstage/

The Detroit, MI-based proto-punk/punk rock band Death can trace their origins back to when The Hackney Brothers — Bobby (bass, vocals), David (guitar) and Dannis (drums) formed the band back in 1971. Initially, they started out as a R&B and funk-based band — that is until The Hackneys caught The Who and Alice Cooper live. After those concerts, David, the youngest of the siblings pushed his two older brothers towards a much more hard rock-leaning sound, which interestingly enough presaged punk and post-punk and a name change — Death. And as Bobby Hackney explained in 2010, David’s concept was spinning death from the negative to the positive. “It was a hard sell.”

In 1975, the Hackney Brothers with engineer Jim Vitti recorded a handful of songs written by David and Bobby at Detroit’s United Sound Studios. And according to the Hackney family, Clive Davis funded the recording sessions but while doing so, had repeatedly implored that the band change their name to something more commercially palatable. When the Hackney’s refused, Davis pulled out, leaving the band with seven recorded songs instead of the planned for 12. By 1976, the band self released in an extremely limited run of just 500 copies, the “Politicians In My Eyes”/”Keep Obn Knocking” single, recorded from those sessions, followed by their full-length debut with very little fanfare.

By 1977, the Hackneys ended the band, and then relocated to Burlington, VT where they released two alums of gospel rock as The 4 Movement in the late 70s and early 80s. However, by 1982 David had returned to Detroit while Bobby and Dannis remained and eventually formed the reggae band Lambsbread. In 2000, David Hackney tragically died of lung cancer but reportedly before he had died David Hackney told his older siblings that although they were misunderstood and forgotten in their day, history would prove them and their work as Death as being truly revolutionary — even if it was after his own death. In a wild spin of serendipitous fortune that seems written by a screenwriter, several years after David’s death, Bobby’s sons had stumbled upon the original Death masters hidden away in their parents’ attic. And Bobby’s sons were so impressed by what they heard, that they began covering Death’s material during their own sets as a loving homage that began to receive attention both to them and their father’s and uncles’ work together.

Drag City Records, re-released Death’s original recordings in 2009, 35 years after its initial recording and release, and from those recordings the material managed to not just up hold up, but to reveal an important historical place both for American music history and for Black music history, as their sound, which effortlessly meshed reggae, proto-punk, metal and punk rock managed to presage the punk movement by 3 years while serving as a convincing bridge between Parliament Funkadelic and Bob Marley and Bad Brains, Fishbone, Living Colour, Lenny Kravitz, TV on the Radio, Prince and a growing list of contemporary acts that include Unlocking the Truth.

Since the re-release of their demos and full-length debut, the current lineup of Death featuring surviving brothers Bobby (bass, vocals) and Dannis Hackney (drums) with Bobbie Duncan (guitar) have had a documentary about their story, released some new material and spent a lot of time touring and playing some of the country’s largest festivals, including Afropunk Festival, introducing their sound and aesthetic to new audiences.

Death’s latest single “Cease Fire” will continue to cement the band’s growing reputations for pioneering sound that meshes punk, metal, funk and soul while being politically charged and urgent as the song features buzzing and crunching guitar chords and some impressive soloing, soaring synths and propulsive drumming and a sinuous bass line while being politically charged — and in particular, their sound and thematic concerns clearly presages the likes of Living Colour and Fishbone, some 10-15 years before they began playing. As the members of the band explain, their newest single “is a continuation of the social conscious voice that Rock ‘N’ Roll music states to all people. If John Lennon were alive in this world today, we are sure he would echo the same sentiments, because we first have to put the guns down and stop the senseless shooting so we can ‘Give Peace A Chance.'”