Tag: Gorillaz

New Audio: Ghost Funk Orchestra Latest Single and Video Evokes the Awkwardness of Having a Crush

Founded and led by composer, arranger and producer Seth Applebaum, the New York-based psych rock act Ghost Funk Orchestra initially began as a lo-fi recording project in 2014. Since their formation, the project has grown into full-fledged, 11 member unit that has become an up-and-coming prescience in the city’s psych rock and soul scenes — and that shouldn’t be surprising, as their sound draws from an eclectic array of sources including salsa, surf rock, Afobeat, stoner rock and others. 

Slated for an August 23, 2019 release through Colemine Records, the up-and-coming soul acts forthcoming full-length debut, A Song For Paul was conceived as a tribute to Applebaum’s late grandfather Paul Anish, a figure, who played an immense role in the Ghost Funk Orchestra founder and bandleader’s life. While the songs reportedly don’t address Paul Anish directly, the creative process for the album and the decisions made during it were meant to convey what Anish’s presence felt like for Seth — a stern yet loving, native New Yorker. For Applebaum, accurately capturing his grandfather’s essence meant expanding the arrangements much further than what he has done in the past, including crafting more comprehensive horn arrangements, as well as working with a string section for the first time in his career. 

A Song For Paul’s latest single “Seven Eight” is an angular and awkwardly lurching song that’s centered around an unusual time signature (7/8 time), a looping Tropicalia-like guitar line, ethereal vocals, an explosive and expressive horn arrangement, which gives the song a quirky yet cinematic air. And while bearing an uncanny resemblance to Radiohead’s “15 Step” and to Gorillaz “5/4,” the song evokes the drunken swoon of having a crush. As the band’s Seth Applebaum explains “Seven Eight is a song about having a crush. When writing the song, we chose an awkward time signature because having a crush will make anyone feel a little awkward.” 

Starring Romi Hanoch, the recently released video for “Seven Eight” relies heavily on found footage from old medical films, liquid light projections from Drippy Eye Projections thrown into a visual that has a decidedly film noir-ish feel. “The music video relies heavily on found footage, specifically pulled from old medical films that depict the beauty and chaos of the human body and its internal functions,” Seth Applebaum explains. “In addition, we were fortunate enough to have our friends at Drippy Eye Projections provide us with some incredible liquid light visuals to further the narrative of chemistry.”

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New Video: Up-and-Coming British Singer-Songwriter Stealth Releases Behind-the-Scenes Video featuring The Dap Kings

Stealth is an up-and-coming Birmingham, UK-based singer/songwriter. Citing influences such as Howlin’ Wolf and Etta James, the up-and-coming British singer/songwriter specializes in an old school bluesy and soulful take on pop and soul.  His single “Judgement Day,” was a viral hit that has amassed over 10 million streams on Spotify and YouTube combined, landed on the charts in 12 different countries and appeared on an episode of USA Network’s Suits — and as a result, his EP The Intro, which featured the song landed at #2 on the iTunes UK singer/songwriter charts and #3 on the iTunes US charts. His sophomore EP, Verse, featured “Real Life,” a track that was featured on ABC’s The Catch and E’s The Royals — and the track was also featured in a Kia Stinger ad campaign throughout Europe. Adding to a growing profile, the Birmingham-based singer/songwriter has opened for the likes of Seinabo Say, Jamie Woon, Zella Day, Tiggs Da Author, Vaults, Kaleo and others. He also received frequent airplay across BBC Radio 1, BBC Radio 2, BBC Radio 6 and BBC Introducing — and was nominated for 3 Unsigned Music Awards before he signed to Ultra Music.

Since signing to Ultra Music as their first blues/soul/pop act, Stealth has continued to build upon a rapidly growing profile. His third EP, Chorus features “Gotta Stop Loving You,” a track with an accompanying Ryan Saradjola-directed video that has amassed over 1.5 million views on YouTube since its release; “Truth Is,” which was included on the official FIFA ’19 soundtrack alongside tracks from Barns Courtney, Billie Eilish, Broods, Childish Gambino, Death Cab For Cutie, Gorillaz, Logic and more.

Stealth’s latest single, the Stevie Wonder meets Fela Kuti and The Africa 70-like “Black Heart” finds the up-and-coming British singer/songwriter collaborating with the world famous funk and soul band The Dap Kings. Centered around a strutting bass line, a sultry horn line that only a few backing bands can provide, a twinkling organ line and Stealth’s soulful vocals, the track is full of bitter recriminations and accusations towards a deceitful lover — and by the end the song is a proud tell off to the same lover.

“‘Black Heart’ is all about noticing the little things a person does before they break up with you. They are saying one thing but their black heart says another,” Stealth says in press notes. “Had the pleasure recording this with the Dap Kings over in NYC and it was a dream come true. Obviously heard them on Back to Black and I’ve been a huge fan of Charles Bradley and Sharon Jones who they also recorded and played with. To have the opportunity to meet and record with these living legends was unbelievable.”

The recently released video features behind-the-scenes footage of the Birmingham-based singer/songwriter beginning with Stealth heading to Daptone Records’ House of Soul Studios in Bushwick, Brooklyn — and jamming and recording with the world famous Dap Kings. Now, as some of you know, I’ve actually been to House of Soul Studios and you can practically feel the spirts of Charles Bradley and Sharon Jones in and around the property. 

Stealth is an up-and-coming Birmingham, UK-based singer/songwriter. Citing influences such as Howlin’ Wolf and Etta James, the up-and-coming British singer/songwriter specializes in an old school bluesy take on pop and soul.  His single “Judgement Day,” was a viral hit that has amassed over 10 million streams on Spotify and YouTube combined, landed on the charts in 12 different countries and appeared on an episode of USA Network’s Suits — and as a result, his EP The Intro, which featured the song landed at #2 on the iTunes UK singer/songwriter charts and #3 on the iTunes US charts. His sophomore EP, Verse, featured “Real Life,” a track that was featured on ABC’s The Catch and E’s The Royals — and the track was also featured in a Kia Stinger ad campaign throughout Europe. Adding to a growing profile, the Birmingham-based singer/songwriter has opened for the likes of Seinabo Say, Jamie Woon, Zella Day, Tiggs Da Author, Vaults, Kaleo and others. He also received frequent airplay across BBC Radio 1, BBC Radio 2, BBC Radio 6 and BBC Introducing — and was nominated for 3 Unsigned Music Awards before he signed to Ultra Music.

Since signing to Ultra Music as their first blues/soul/pop act, Stealth has continued to build upon a rapidly growing profile. His third EP, Chorus features “Gotta Stop Loving You,” a track with an accompanying Ryan Saradjola-directed video that has amassed over 1.5 million views on YouTube since its release; “Truth Is,” which was included on the official FIFA ’19 soundtrack alongside tracks from Barns Courtney, Billie Eilish, Broods, Childish Gambino, Death Cab For Cutie, Gorillaz, Logic and more.

Stealth’s latest single, the Stevie Wonder meets Fela Kuti and The Africa 70-like “Black Heart” finds the up-and-coming British singer/songwriter collaborating with the world famous funk and soul band The Dap Kings. Centered around a strutting bass line, a sultry horn line that only a few backing bands can provide, a twinkling organ line and Stealth’s soulful vocals, the track is full of bitter recriminations and accusations towards a deceitful lover — and by the end the song is a proud tell off to the same lover.

“‘Black Heart’ is all about noticing the little things a person does before they break up with you. They are saying one thing but their black heart says another,” Stealth says in press notes. “Had the pleasure recording this with the Dap Kings over in NYC and it was a dream come true. Obviously heard them on Back to Black and I’ve been a huge fan of Charles Bradley and Sharon Jones who they also recorded and played with. To have the opportunity to meet and record with these living legends was unbelievable.”

Raised in the Atlanta suburbs by Chinese immigrants, the Los Angeles-based electro pop producer, multi-instrumentalist and singer/songwriter Kenny Zhao studied classical piano and composition before he relocated to Southern California. Largely inspired by M83, Charlift, RHYE, Miguel, Washed Out, and Gorillaz, Zhao through his solo recording project, the aptly named Zhao had a breakthrough year last year, with tracks landing on Spotify‘s “Fresh Finds” and “Summer Heat” playlists, eventually reaching #9 on the Hype Machine charts. Adding to a growing profile, Zhao has contributed vocals on tracks by Eric Sharp, Armand Van Helden and Black Coffee — and he’s played at a number of venues across the Los Angeles area, including The Moroccan Lounge, The Satellite and at LA Chinatown’s Lunar New Year Festival.  And while his sound is evolving, he has generally taken a dance floor friendly path.

Building upon a growing profile, Zhao’s latest single is the summery “Feeling Today” will further cement his developing reputation for crafting breezy and funky synth pop, as the track is centered around a sinuous bass line, twinkling keys, shimmering and arpeggiated synths and Zhao’s sultry and soulful vocals. Sonically, the song is a slick amalgamation of 90s neo soul and 80s synth funk that manages to nod at some of Zhao’s influences; but thematically, the song touches upon treating every situation in life as valuable and necessary and putting aside fears of being taken advantage of and processing the idea that all people deserve love. That’s the message – that kindness will set you free. That resentment and fear put you in a cage, and the solution is to forgive yourself, forgive others and move on. There’s also an element of reassuring myself that whatever happens, the best thing I can do is operate within what I can control – honing my craft, and checking in with people I care about”, explains the Zhao.  “I’ve always viewed my songwriting process like a form of self-psychoanalysis…like finding out what I’ve really been thinking about.”

 

 

OctFest 2018 Preview

Last year, Pitchfork, one of the premier music websites; October, a beer culture-centric website that aims to capture the spirit, ambition, making and drinking of the precious and beloved stuff through essays, travelogues and events; and Bon Appetit, the award-winning food lifestyle brand teamed up for what may arguably be one of the most unique festivals I’ve come across in some time: OctFest, a beer, music and food festival.  2018’s edition of OctFest, which will take place on Governor’s Island on September 8, 2018 and September 9, 2018 will feature a food lineup curated by Bon Appetit , a music lineup curated by Pitchfork that will include Vince Staples, The Flaming Lips and dozens of other music acts, 90+ craft breweries from all around the world – and with arguably some of the most gorgeous views of Manhattan you’ll see in your life.

So let’s talk a bit about each aspect of the festival, huh?

Food

The food program is centered around a Food Village that will offer a number of New York-based quick-serve staples including the Mission Chinese Food, Roberta’s Pizza, Oddfellows Ice Cream Co, Sweet Chick, the STUF’D Truck, Cervo’s, Best Pizza, Oakland, CA-based KronnerBurger and many others preparing specialties to compliment the domestic and international craft beer being sampled.  (Check out the full lineup below.)

FOOD LINEUP

Curated by Bon Appétit

Best Pizza

Cervo’s

Hank’s Juicy Beef

Island Oyster

KronnerBurger

Los Viajeros Food Truck

Mission Chinese Food

Oddfellows Ice Cream Co.

Sweet Chick

STUF’D Truck

Roberta’s Pizza

 

Beer

 OctFest will be hosting 90 breweries from 20 different countries, pouring more than 250 varieties of award-winning craft beer. Several breweries will be making their New York City debut, including Wicked Weed Brewing, DC Brau, Wedge Brewing Co, Four Peaks Brewing Co, Wild Beer Co., and Karbach Brewing, Co. (Check out the full lineup below.)

BREWERY LINEUP

North America – West

10 Barrel Brewing Co. (Bend, OR)
Austin Eastciders (Austin, TX)
Breckenridge Brewery (Littleton, CO)
Elysian Brewing Company (Seattle, WA)
FiftyFifty Brewing Company (Truckee, CA)
Firestone Walker Brewing Company (Paso Robles, CA)
Founders Brewing Co. (Grand Rapids, MI)
Four Peaks Brewing Co. (Tempe, AZ)
Golden Road Brewing (Los Angeles, CA)
Goose Island Beer Co. (Chicago, IL)
Jolly Pumpkin Artisan Ales (Dexter, MI)
Karbach Brewing Co. (Houston, TX)
Kona Brewing Company (Kailua-Kona, HI)
Live Oak (Austin, TX)
Monkless Belgian Ales (Bend, OR)
On Tour Brewing Company (Chicago, IL)
Rogue Ales (Newport, OR)
The Shop Beer Co. (Tempe, AZ)
Virtue Cider (Fennville, MI)
North America – East

Blue Point Brewing Company (Patchogue, NY)
Brasserie Archibald (Canada)
Braven Brewing Company (Brooklyn, NY)
Brewery Ommegang (Cooperstown, NY)
Brickworks Cider (Canada)
Circa Brewing Co. (Brooklyn, NY)
Cisco Brewers (Nantucket, MA)
Collective Arts Brewing (Canada)
DC Brau (Washington, D.C.)
Devils Backbone Brewing Company (Roseland, VA)
Flying Dog Brewery (Frederick, MD)
Hanging Hills Brewing Company (Hartford, CT)
Jack’s Abby Craft Lagers (Framingham, MA)
Keegan Ales (Kingston, NY)
Lamplighter Brewing Co. (Cambridge, MA)
LIC Beer Project (Long Island City, NY)
Lord Hobo Brewing Company (Woburn, MA)
M.I.A. Beer Company (Doral, FL)
Microbrasserie Gainsbourg (Canada)
Mill Street Brewery (Canada)
Narragansett Brewing Company (Pawtucket, RI)
Sand City Brewing Co. (Northport, New York)

Springdale (Framingham, MA)
Stanley Park Brewing (Canada)

Sunday Beer Co. (Brooklyn, NY)
The Bronx Brewery (Bronx, NY)
Veza Sur Brewing Co. (Miami, FL)
Wicked Weed Brewing (Asheville, NC)
Zero Gravity Craft Brewery (Burlington, VT)
Europe
Aktien Brewery of Kaufbeuren (Germany)
Birra del Borgo (Italy)
Brasserie La Binchoise (Belgium)
Brouwerij Bosteels (Belgium)
Brouwerij DeKroon (Belgium)
Camden Town Brewery (UK)
Ginette (Belgium)
Hertog Jan (Netherlands)
Jopen (Netherlands)
La Virgen (Spain)
Laugar Brewery (Spain)
Radeberger (Germany)
Wild Beer Co (UK)
Latin America
Barfuss (Argentina)
Bocanegra (Mexico)
Bogota Beer Co (Colombia)
Cervecería Urbana (Mexico)
Cervecería Wendlandt (Mexico)
Cerveza Patagonia (Argentina)
Colorado (Brazil)
Cucapá (Mexico)
Lohn Bier (Brazil)
Melas Beer (Colombia)
Nicaragua Craft Beer Co. (Nicaragua)
Pratinha (Brazil)
Wals (Brazil)
Asia, Africa, Oceania
Bira 91 (India)
4 Pines Brewing Company (Australia)
Balter Brewing Co (Australia)
Boxing Cat Brewery (China)
Cape Brewing Co. (South Africa)
Good George (New Zealand)
Newlands Spring Brewing Company (South Africa)
Pirate Life Brewing (Australia)
Playground Brewery (South Korea)
Taihu Brewery (Taiwan)
The Hand & Malt Brewery (South Korea)

Music

 While I’ll definitely have interest in the food and beer, my primary interest is the music and I’m looking most forward to catching sets from the following:

Saturday, September 8

 Vince Staples: Staples is a 25 year-old, North Long Beach, CA-born and-based emcee and actor, who first rose to prominence as member of hip-hop collective Odd Future, which also featured Mike G, Earl Sweatshirt and Tyler The Creator – and the collaborative Mac Miller-produced Stolen Youth mixtape. October 2014 saw the release of his solo debut EP, Hell Can Wait, which included attention grabbing singles “Hands Up” and “Blue Suede.”

Building upon a growing profile, Staples’ full-length debut 2015’s Summertime ’06 was released to critical applause – with Staples being featured as part of XXL’s 2015 Freshman Class. Staples’ critically acclaimed sophomore album, 2017’s Big Fish Theory found the acclaimed, young emcee expanding upon his sound as the album’s production incorporated avant-garde, dance and electronic influences. Additionally, Staples’ made a guest appearance on Gorillaz’s latest effort Humanz.

Staples is headlining Saturday night and I’m looking forward to hearing material off both Summertime ’06 and Big Fish Theory live.

BADBADNOTGOOD: Currently comprised of founding members Matthew Tavares (keys), Chester Hansen (bass), and Alexander Sowinski (drums) with newest member Leland Whitty (saxophone), the Toronto, Ontario, Canada instrumental act BADBADNOTGOOD derive their name from an abandoned comedy TV project that Tavares was working on before the band formed – and whether as trio or a quartet, the band has developed a reputation for a sound and compositional approach that draws from hip-hop, electronica, jazz, prog rock; but they’re perhaps best known for their jazz-based interpretation of hip-hop tracks, which have allowed them to collaborate with Kendrick Lamar, Tyler The Creator, Earl Sweatshirt, Denzel Curry, Danny Brown, Mick Jenkins, Ghostface Killah and others. Interestingly, the band can trace its origins to when the band’s founding trio bonding over a mutual love of hip-hop – in particular MF Doom and Odd Future.

As the story goes, the then-trio played a piece based on Odd Future’s music for a panel of their jazz performance instructors, who didn’t believe it had much musical value – but interestingly enough, after they released the track as “The Odd Future Sessions, Part 1,” the track caught the attention of Tyler The Creator, who helped the video go viral. The Canadian act followed that up with the 2011 release of their full-length debut BBNG, which featured interpretations of A Tribe Called Quest, Waka Flocka Flame and Odd Future. Building upon a growing profile, the members of BADBADNOTGOOD recorded a live jam session with Tyler The Creator in Sowinski’s basement, with videos from the session amassing more than a million views each.

2012’s sophomore effort BBNG2 was recorded over the course of a ten-hour studio session and featured Leland Whitty (saxophone) and Luan Phung (electric guitar) and featured their own original material, as well as renditions of sons by Kanye West, My Bloody Valentine, James Blake, Earl Sweatshirt and Feist. That year, the band was the official Coachella Festival house band, backing Frank Ocean and Odd Future over the course of its two weekends.

2013 saw the release of III, which featured “Hedron,” a track that was also featured on the compilation album Late Night Tales: Bonobo; “CS60” and “Can’t Leave the Night,” which was released with the B-side “Sustain,” and they were involved on the soundtrack for The Man with the Iron Fists, assisting with the production and composition.

2015 saw the release of the band’s fourth, full-length album Sour Soul, and the album found them collaborating with Ghostface Killah – and interestingly, the album is more of a hip-hop album that nods at jazz. They ended the year with covers of a handful of holiday standards, including “Christmas Time Is Here” with Choir! Choir! Choir!

Leland Whitty joined the band as a full-time member in early 2016, and followed that up with producing “Hoarse” off Earl Sweatshirt’s full-length debut Doris and “GUV’NOR,” a remix, which appeared on JJ DOOM’s Keys to the Kuffs (Butter Edition). By the middle of that year, BADBADNOTGOOD released their fifth full-length album IV, an album that featured guest spots from Future Islands’ Sam Herring, Colin Stetson, Kaytranada, Mick Jenkins and Charlotte Day Wilson, and was named BBC Radio 6’s #1 album of the year.

Live the act, which also includes keyboardist James Hill can easily shift between jazz, acid jazz, jazz fusion, hip-hop, prog rock, advant-garde jazz, funk and rock with an effortless and seamless fashion – and seemingly at will. I saw them earlier this summer at BRIC Celebrate Brooklyn! Festival at the Prospect Park Bandshell  and they are a must see.

Preoccupations: Now throughout the past handful of years of this site’s history, I’ve written quite a bit about Canadian post-punk act and JOVM mainstays Preoccupations, and as you may recall, the band which is comprised of Matt Flegel (bass, vocals), Mike Wallace (drums), Scott Munro (guitar) and Daniel Christiansen (guitar) initially formed under the highly controversial name Viet Cong – and as a result of their original name, the members of the band found themselves in the middle of a furious and frenzied debate around cultural appropriation and the usage of terms, names and symbols closely associated with historical groups and actions that evoke the horrors and brutality of despotism, fascism, war, genocide and so on. Ultimately, the band decided it was best to change their name before the release of their sophomore album, an effort that found each of the individual members of the band in unsteady and uncertain positions – at the time, each of the individual members of the band had relocated to different cities across North America, which forced the band to change their long-established creative process.

Unlike their previously recoded material, the band went into the writing sessions without having a central idea or theme to consider or help guide them along, essentially making the recording sessions a collective, blind leap of faith. Interestingly, the band’s sophomore, self-titled album wound up drawing from that mix of anxiety, despair and regret that creates sleepless nights. New Material, the band’s third full-length album was released earlier this year, and the album builds upon the Canadian post-punk act’s growing reputation for crafting dark and moody post-punk centered around themes of anxiety, uncertainty, futility, frustration, creation and destruction but as the band’s Matt Flegel says of the self-recorded album, the album is “an ode to depression. To depression and self-sabotage, and looking inward at yourself with extreme hatred.”  And while the material is dark, murky and deeply introspective, the members of Preoccupations have developed a reputation for having an intense and energetic live show, which reveals the material’s anthemic nature.

Sunday, September 9

 

The Flaming Lips: Currently comprised of founding members Wayne Coyne (guitar, vocals) and Michael Ivins (bass), with Steven Drozd, Derek Brown, Jake Ingalls, Matt Duckworth and Nicholas Ley, the Norman, OK-based psych rock/psych pop/indie rock act The Flaming Lips formed back in 1983 with Coyne (guitar), Coyne’s brother Mark (vocals), Ivins (bass) and Dave Kotska (drums). Interestingly, after Kotska joined the band, Richard English joined the band – and that year, they recorded the only full-length album with Mark Coyne, the band’s self-titled effort.

After Mark Coyne left the band, Wayne assumed vocal duties and the and released their 1986 full-length debut Hear It Is on Pink Dust Records, a psych rock imprint of Engima Records. With that initial lineup, the band released two more albums, 1987’s Oh My Gawd!!! and 1989’s Telepathic Surgery, which was originally planned to be a 30-minute sound collage. From that point on, the band has gone through a series of lineup changes – 1989’s Dave Fridmann-produced In a Priest Driven Ambulance featured Nathan Roberts (drums) and Mercury Rev’s Johnathan Donahue (guitar), and saw the band expanding upon their sound with further experimentation with tape loops and effects, as well as Coyne making a transition to vocal style inspired by Neil Young.

Back in 1990, the members of The Flaming Lips caught the attention of Warner Brothers Records and were promptly signed when an AR rep witnessed a show in which the band almost burned down the American Legion Hall in their hometown with the use of pyrotechnics. In 1991, the members of the band started recording their major label debut Hit to Death in the Future Head, which was delayed for nearly a year because of their use of a sample from Michael Kamen’s score from the major motion picture Brazil, which had a lengthy clearance process. After the recoding of the album, Donahue left the band to focus on his work with Mercury Rev and Roberts leaving the band, citing creative differences.

Ronald Jones and Steven Drozd joined the band and with that lineup they released Transmissions from the Satellite Heart, their only full-length album in which their longtime producer and collaborator Fridmann wasn’t involved; however, because of the success of album single “She Don’t Use Jelly,” the band was featured on Beverly Hills 90210, Late Show with David Letterman, Charmed and Beavis and Butthead. Building upon a growing profile, the band went on a lengthy stint of touring opening for Red Hot Chili Peppers and Candlebox.

1995’s Clouds Taste Metallic was released to critical fanfare in 1995 although it didn’t achieve the same commercial success of its predecessor. In 1996, the band went through another lineup chance with the depature of Ronald Jones. The three remaining members of the band felt a growing dissatisfaction with stand rock music, led to the extremely experimental Zaireeka, a four CD album intended to be heard by playing all four CDs in four separate CD players simultaneously. Sonically, the material incorporated traditional musical elements, found sounds often manipulated by contemporary recording studio techniques and electronics.

And while their experimental efforts received, the band received mainstream success with 1999’s The Soft Bulletin, which meshed catchy melodies with synthetic strings, hypnotic and carefully manipulated beats, booming cymbals and weird but deeply philosophical lyrics. Critically, the album has been compared to The Beach Boys’ Pet Soundsas it featured the entire studio as an instrument to be manipulated. The Soft Bulletin’s critically applauded follow-up, 2002’s Yoshimi Battles the Pink Robots featured guest musician Yoshimi P-We and found the band incorporating the increasing use of electronics and computer manipulation – and the album is generally considered their first critical and commercially successful album after 20 years as a band; in fact, “Approaching Pavonis Mons by Balloon (Utopia Planitia)” won a Grammy for Best Rock Instrumental Performance, and the album was certified Gold in 2006. Since then the band has been considered one of those must-see acts, thanks in part to a show that has largely been described as a pure spectacle.  

Nile Rodgers & Chic: Nile Rodgers is a New York-born and-based songwriter, guitarist, composer, arranger and producer, who is best known as a co-founding member of smash-hit disco act Chic and for his work as a producer and collaborator with the likes of Sister Sledge, Diana Ross, Philip Bailey, Thompson Twins, Sheena Easton, David Bowie, Bryan Ferry, Duran Duran, Madonna, INXS, Britney Spears, Spoons, Daft Punk, Pharrell Williams, Avicii, Disclosure, Sam Smith, Pitbull, Lady Gaga, Kylie Minogue, Max Pezzali, Nervo, Laura Mvula, Sigala, Keith Urban, Christina Aguilera and George Michael among a growing list of artists.

Rodgers is arguably one of the more influential and important figures of pop music and dance music of the past 40+ years, and he’s had a role on some of the most beloved albums and singles, and I gotta admit I’m looking forward to hearing all of those old Chic songs live.

 Yo La Tengo: Yo La Tengo is Spanish for “I have it” — referring to a female-gendered object or person, in which it would be “I’ve got her,” but the Hoboken, NJ-based indie rock band actually derive their name from an old baseball anecdote. During the New York Mets‘ inaugural season in 1962, centerfielder Richie Ashbury and Venezuelan-born shortstop Elio Chacon found themselves colliding in the outfield. As the story goes, whenever Ashbury went for a catch, he wold scream “I’ve got it! I’ve got it!” but Chacon spoke Spanish and had a limited understanding of English. During a game later that year, Ashbury yelled “Yo la tengo! Yo la tengo!” instead and saw Chacon backing off on the play, avoiding further collisions; however, left fielder Frank Thomas, who didn’t understand Spanish and missed the team meeting that proposed using “Yo la tengo!” to avoid outfield collisions, collided into Ashburn. After getting up from their collision Thomas reportedly asked Ashburn, “What the hell is a Yellow Tango?”

As far as the band, the New Jersey-based indie rock band, which is currently comprised of founding members Ira Kaplan (guitar, piano, vocals), and Georgia Hubley (drums, piano, vocals), along with James McNew (bass, vocals) can trace their origins back to 1984. When Kaplan and Hubley formed the band, they played an advertisement to recruit other musicians, who shared their mutual love of The Soft BoysMission of Burma and Arthur Lee and his band Love, and as a result, the band’s first lineup featured Kaplan, Hubley, Dave Schramm (lead guitar) and Dave Rick (bass) with whom they released their debut 7 inch “The River of Water,” which featured a cover of Arthur Lee’s “A House Is Not a Motel.” After the band recorded “Private Doberman” for the Coyote Records compilation Luxury Condos Coming to Your Neighborhood Soon, the band went through a number of lineup changes before settling on their current lineup in 1992 — although the band’s original guitarist Dave Schramm joined the band during the sessions for their 14th record, Stuff Like That There.

Despite achieving limited mainstream success, Yo La Tengo have developed a reputation for being a critically applauded act while maintaining a devoted cult following, thanks in part to their live shows, which reveal an almost encyclopedic repertoire of covers — their SummerStage set last year began with a cover of Ace Frehely‘s “Back in the New York Groove“– and for their annual Hanukkah residency at Maxwell’s that featured a shit ton of covers and special guests, including their parents. Live, they manage to walk a tightrope between power and lush beauty, irony and sincerity within the turn of a phrase.

 

No Age: Comprised of Randy Randall (guitar) and Dean Allen Spunt (vocals, drums), the Los Angeles, CA-based noise rock duo No Age can trace their origins to the breakup of their previous band Wives, in which Spunt played bass and sang while Randall played guitar. The duo’s first official release was an extremely limited release collection of 5 vinyl singles  and Eps that they released on 5 different labels on or around the same day – March 26, 2007. Designed by Brian Roettinger and the members of No Age, the back of each record’s sleeve was a different color and had a different letter that when put together spelled out the band’s name. Half of the songs on the singles and EPs wound up comprising their full-length debut Weirdo Rippers.

Since the release of Weirdo Rippers, Randall and Spunt have developed a reptaution for relentless touring, frequently playing shows at unusual locations – they once played a show at the Los Angeles River and they famously accompanied video artist Doug Aitken and Chloe Sevigny to Athens, Greece and Hydra Island, Greece to perform a multimedia piece “Black Mirror.” The performances took place on an old Greek barge at the Port of Piraeus, off the Island of Hydra and a final performance with the barge driven to the middle of the ocean. Additionally, they’ve found new and interesting ways to pair art around the release of their music – 2009’s Losing Feeling EP was released with a limited edition “Losing Feeling” companion zine; 2012’s “Collage Culture” 12 inch was a soundtrack to readings of excerpts of Aaron Rose, Mandy Kahn and Brian Roettinger’s Collage Culture, split in two channels – one side with readings from the book, the other side with No Age music written specifically for the release.

The acclaimed noise rock act is currently touring to support their latest effort Snares Like a Haircut, which was released earlier this year through Drag City Records.

 

Check out the full musical lineup below.

MUSICAL LINEUP

Saturday, September 8

Vince Staples

BADBADNOTGOOD

NAO

Saba

Preoccupations

Vagabon

Standing on the Corner

Hatchie

Flasher

Madison McFerrin

 

Sunday, September 9

The Flaming Lips

Nile Rodgers & CHIC

Yo La Tengo

Girlpool

Hop Along

No Age

Kamaiyah

Shopping

Julie Byrne

The Courtneys

Tickets are still available, please check out OctFest.co for information.

You can check out information and updates on the festival at Oct.co, and on Twitter by following @Pitchfork and @ReadOctober.

 

I’ll be covering the festival through my various social accounts, so feel free to check me out through the following:

Twitter: @yankee32879

Twitter: @williamhelms3rd

Instagram: @william_ruben_helms

 

With the release of her attention grabbing debut single “Lemons & Limes,” which focuses on the relationship between the police and young people, the London-born and-based singer/songwriter and businesswoman Mina Rose has quickly developed a reputation for socially conscious songwriting and a sound that draws from and meshes trip-hop, dub, hip-hop and soul (in particular, the work of Gorillaz, Massive Attack, Gil Scott-Heron, Outkast and Lily Allen), as well as her own background — her mother’s side of the family claims Roman ancestry, including the famous “Queen of Kent Gypsies,” Urania Boswell Lee. Adding to a growing profile, Rose has collaborated with the likes of Tricky and Conducta, has played a set at The Great Escape Festival, and has received airplay from the likes of BBC Radio 1, BBC Radio 1Xtra, as well as nods from the likes of Spotify and Apple Music.

Reportedly, the up-and-coming British artist’s forthcoming EP London Burning finds her translating her own experiences of a changing community into material that’s rooted into present day paradoxes, as well as the consciousness of history and hierarchy in British society.  The EP’s latest single is the incredibly cinematic and moody track “Paradise,” which is centered around a Massive Attack and Tricky-like production consisting of soaring strings, stuttering beats and Rose’s ethereal yet sultry vocals — and while seemingly effortless, the song may arguably be among the most ambitious track of her young career. As the British singer/songwriter explains in press notes, “When I visualise the idea of someone getting lost in their own thoughts, I imagine them sitting in a room with red walls,” says Mina Rose. “Paradise’ focuses on our want to make this life as perfect as we can by finding escape, and the fact that a lot of the time it might appear that the easiest way to do that is to shut the world out: whether that’s from taking something heavy or cat fishing online to whatever vices you explore within the four walls of your own space, so as to tackle your demons. ‘Paradise’ is about the idea that if heaven and hell exist on earth, then finding your own heaven here in hell would be the greatest heaven of all.”

New Video: The Vivid and Surreal Visuals for Del the Funky Homosapien’s and Amp Live’s Swaggering and Mind-bending Collaboration

Born Teren Delvon Jones, Del the Funky Homosapien is an acclaimed Bay Area-born and -based emcee and producer, who can trace the origins of his music career to when he wrote lyrics for his cousin Ice Cube‘s group Da Lench Mob, which initially included the legendary West Coast emcee, filmmaker, screenwriter and movie star before they broke off into a distinct group of its own.

With the assistance of his cousin Ice Cube, Del released his 1991 solo debut album I Wish My Brother George Was Here, an album that was a commercial successful largely due to the popularity of album single “Mistadobalina.” Del wasn’t pleased with the limited musical range of the album and severed his production-artist relationship with Ice Cube for his sophomore album No Need for Alarm, an album that introduced the Oakland hip-hop collective Hieroglyphics, which featured Souls of Mischief, Casual, Pep Love, Del and producer Domino while bringing the Oakland sound to a larger audience. Interestingly, the album is also considered instrumental for expanding what would become the freestyle-based golden era of hip-hop.

Although Del didn’t produce another solo album for about five years, he collaborated on the Hieroglyphics crew’s 1998 debut 3rd Eye Vision; however, by the time he was about to release his third solo album Future Development, his label Elektra Recordsterminated his contract. Initially, the album was only available as a cassette through the Hieroglyphics website before being re-releassd through the Hieroglyphics Imperium label in 2002; but before that, he collaborated with Dan the Automator and Kid Koalain hip-hop supergroup Deltron 3030 and their critically applauded, 2000 self-titled debut and along with his Deltron 3030 collaborators on two singles on Gorillaz‘s eponymous, smash hit 2001 self-titled debut — “Clint Eastwood” and “Rock the House.” He followed that up with his fourth solo album Both Sides of the Brain, and Hieroglyphics 2003 sophomore effort Full Circle. 

Since then Del has managed to be incredibly prolific releasing albums both through tradition labels, as free downloads and with pay-as-you-wish efforts with specific incentives for those who pay certain prices for the album, including a chance to collaborate with Del in the studio and so on.

Amp Live is a Texas-born, California-based producer and DJ, who is known as one of half to the hip-hop duo Zion I, and for critically applauded remixes of material by Radiohead, Tokyo Police Club and Jamie Lidell. And as a solo artist, he’s released two albums and an EP — 2010’s Murder at the Discotech, 2014’s Headphone Concerto and 2017’s Atmosphere EP and 2011’s Therapy at 3, a collaborative effort with Eligh.

Interestingly, Del and Amp Live will be teaming up on the forthcoming album Gate 13, an album that sonically draws from and mixes hip-hop, funk and electronica while finding two of hip-hop’s most inventive artists collaborating with Goapele, Eligh, Simi, Zyme, Adult Karate, Mr. Micro and James Melo, essentially creating a “portal into something progressive, futuristic, and fun,” as the duo says in press notes. Interestingly, the album finds the renowned emcee evolving his imitable style, as he studied both comedy and battle rap, with Del making a concerted effort towards conciseness. “I told Amp about it, and he kind of showed me what his interpretation of what that would be,” Del says in press notes. “When I heard it, I thought it was tight. I didn’t even know he was going to do it.” Amp Live adds “Del has been talking about doing more straightforward, aggressive writing. Everything that I was messing with kind of had the same theme,” the producer says of the album’s tracks. “Even when I flipped them after, I tried to stay true to the original feeling.”
“Wheel of Fortune,” Gate 13‘s first single begins with a thumping, boom-bap beats and arpeggiated synths and Del’s imitable flow, complete with some of the most ridiculous word play, complex rhyme schemes and insanely funny punch lines you’ll hear in some time, as he throws massive haymakers at any and all who dare to battle him. About halfway through the track Amp Live drops a dub reggae break, which he follows with a manic tempo — and throughout Del effortlessly and dexterously handles it in a free flowing, almost mischievous fashion. Dope emcees being challenged by dope producers is what all hip-hop should aspire to, no matter what the era.

Shot and edited by Spencer Groshong at Ineffable Music Group, the video employs neon bright visuals and the sort of special effects reminiscent of a wildly psychedelic Sesame Street and 3,2,1 Contact.

 

Born Teren Delvon Jones, Del the Funky Homosapien is an acclaimed Bay Area-born and -based emcee and producer, who can trace the origins of his music career to when he wrote lyrics for his cousin Ice Cube‘s group Da Lench Mob, which initially included the legendary West Coast emcee, filmmaker, screenwriter and movie star before they broke off into a distinct group of its own.

With the assistance of his cousin Ice Cube, Del released his 1991 solo debut album I Wish My Brother George Was Here, an album that was a commercial successful largely due to the popularity of album single “Mistadobalina.” Del wasn’t pleased with the limited musical range of the album and severed his production-artist relationship with Ice Cube for his sophomore album No Need for Alarm, an album that introduced the Oakland hip-hop collective Hieroglyphics, which featured Souls of Mischief, Casual, Pep Love, Del and producer Domino while bringing the Oakland sound to a larger audience. Interestingly, the album is also considered instrumental for expanding what would become the freestyle-based golden era of hip-hop.

Although Del didn’t produce another solo album for about five years, he collaborated on the Hieroglyphics crew’s 1998 debut 3rd Eye Vision; however, by the time he was about to release his third solo album Future Development, his label Elektra Records terminated his contract. Initially, the album was only available as a cassette through the Hieroglyphics website before being re-releassd through the Hieroglyphics Imperium label in 2002; but before that, he collaborated with Dan the Automator and Kid Koala in hip-hop supergroup Deltron 3030 and their critically applauded, 2000 self-titled debut and along with his Deltron 3030 collaborators on two singles on Gorillaz‘s eponymous, smash hit 2001 self-titled debut — “Clint Eastwood” and “Rock the House.” He followed that up with his fourth solo album Both Sides of the Brain, and Hieroglyphics 2003 sophomore effort Full Circle. 

Since then Del has managed to be incredibly prolific releasing albums both through tradition labels, as free downloads and with pay-as-you-wish efforts with specific incentives for those who pay certain prices for the album, including a chance to collaborate with Del in the studio and so on.

Amp Live is a Texas-born, California-based producer and DJ, who is known as one of half to the hip-hop duo Zion I, and for critically applauded remixes of material by Radiohead, Tokyo Police Club and Jamie Lidell. And as a solo artist, he’s released two albums and an EP — 2010’s Murder at the Discotech, 2014’s Headphone Concerto and 2017’s Atmosphere EP and 2011’s Therapy at 3, a collaborative effort with Eligh.

 

Interestingly, Del and Amp Live will be teaming up on the forthcoming album Gate 13, an album that sonically draws from and mixes hip-hop, funk and electronica while finding two of hip-hop’s most inventive artists collaborating with Goapele, Eligh, Simi, Zyme, Adult Karate, Mr. Micro and James Melo, essentially creating a “portal into something progressive, futuristic, and fun,” as the duo says in press notes. Interestingly, the album finds the renowned emcee evolving his imitable style, as he studied both comedy and battle rap, with Del making a concerted effort towards conciseness. “I told Amp about it, and he kind of showed me what his interpretation of what that would be,” Del says in press notes. “When I heard it, I thought it was tight. I didn’t even know he was going to do it.” Amp Live adds “Del has been talking about doing more straightforward, aggressive writing. Everything that I was messing with kind of had the same theme,” the producer says of the album’s tracks. “Even when I flipped them after, I tried to stay true to the original feeling.”

“Wheel of Fortune,” Gate 13‘s first single begins with a thumping, boom-bap beats and arpeggiated synths and Del’s imitable flow, complete with some of the most ridiculous word play, complex rhyme schemes and insanely funny punch lines you’ll hear in some time, as he throws massive haymakers at any and all who dare to battle him. About halfway through the track Amp Live drops a dub reggae break, which he follows with a manic tempo — and throughout Del effortlessly and dexterously handles it in a free flowing, almost mischievous fashion. Dope emcees being challenged by dope producers is what all hip-hop should aspire to, no matter what the era.

 

 

 

 

 

Now, if you’ve been frequenting this site over the past three years or even over the past couple of weeks, you’ve likely seen a handful of posts featuring the Utrecht, The Netherlands-based indie trio Stillwave. Currently comprised of founding members Michael van Putten and Marcel Jongejan, along with their friend and long-time roadie Joris Keizer, the Dutch indie rock trio have developed a reputation for uncompromisingly refusing to do what their fellow countrymen have done, instead making the trip to the UK to play some of their first shows in dingy, beer soaked clubs and music venues that their influences  — namely, Radiohead, David Bowie and Slowdive — have played in before they made it. As a result of their dedication, hustle and moxie, the Dutch trio began to receive attention and praise from media outlets across the UK and the States, including Q Magazine, Speak Into My Good Eye and others.

The band had started to achieve some level of success and attention when member van Putten and Jongejan were rocked by the departure of original, founding member Adriaan Hogervost. As the band explained to me through email earlier this month, “When Adriaan quit, it felt as if we had lost a brother. We were risking our last savings for another tour in a cramped ’94 Civic, but we knew we had to continue. Stillwave had become more than just music, it became the bond that held us together. We asked our long-time roadie and childhood friend Joris [Keizer] to join us.” They go on to explain that the band’s newest member, had a deep understanding of their dedication and passion for music, knowing that the band was each individual member’s labor of love, “an almost physical place, which we can create, enter and share with those who listen to it.”

The band’s long-awaited full-length debut Sell Another Soul is slated for a November 3, 2017 release, and as the band says about the recording sessions, “When we decided to start recording our album, we had ceased to care about compromise, polish and overanalysed bullshit, which supposedly celebrates the idea of being young and carefree. We do care. For 3 sleep deprived weeks we toiled in a dilapidated structure that would soon after be swallowed by the attempt of gentrification around it. We did away with vocal comping and held onto the tracks where we fucked up. Every second was a battle, every minute a victory.”  As you may recall, I wrote about “94 Civic” earlier this month, a single that derives it name from the 94 Civic that the band drove around in for tours across Europe, and the song was a slow-burning and dreamy ballad that featured a gorgeous but minimalist arrangement of strummed guitar and gently swirling electronics paired with yearning and contemplative vocals that reminded me quite a bit of  Damon Albarn’s solo work and his work with Gorillaz.

Sell Another Soul‘s latest single “Adelaide” find the band returning a bit to the sound that first caught the attention of this site and the rest of the blogosphere — angular, David Bowie Berlin triology-influenced post-punk with similar, moody atmospherics and a rousing, larger-than-life hook and industrial clang and clatter.

The recently released video continues the band’s ongoing collaboration with former member Adriaan Hogervost. And interestingly enough, the video stars Jop Gorris, as a man, who runs around a race track with a metal ladder strapped around him. And although, the ladder is clearly a hinderance to his movement, and he grows increasingly frustrated with the ladder — until he uses it to climb up an abandoned house.

New Audio: JOVM Mainstays NVDES Returns with a Breezy and Hook-Driven New Single

Now, if you’ve been frequenting this site over the past year or so, you’ve likely been made familiar with the Los Angeles-based collective and JOVM mainstays NVDES, and as you may recall the collective, fronted by founding member and primary songwriter Josh Ocean with the release of 2016’s Life’s  With Lobsters received over 10 million streams across all digital platforms, landed on Spotify’s Global Viral Chart, and as a result of rapidly growing buzz, the project’s debut saw praise from The Fader, Nylon and others for glitchy, breezy and anthemic pop.

Building upon the buzz of their full-length debut, the act released the  La NVDITÉ EP earlier this year and from the EP’s first three singles, the breakneck Sound of Silver-era LCD Soundsystem-like “Turning Heads,” the breezy, yet anthemic “Dancer From New York, and the glitchy and angular “Sugar,” Ocean and company have continued to further cement their reputation for crafting off-kitller, genre-defying pop that will remind some listeners of Damon Albarn and Gorillaz.   

“May and June”  La NVDITÉ EP’s fourth and latest single continues in the same vein of its predecessors with the single revealing a carefully crafted, slickly produced and hook-driven song that finds the act drawing from thumping, contemporary pop, funk, Tropicalia and 60s French pop in a mischievously seamless fashion — but underneath the seemingly post-modern irony and scuzzy pop vibes is a swooning and earnest Romanticism.