Tag: instrumental

New Video: Los Bitchos Play a Surreal Game Show in New Visual for Trippy “Good to Go”

Rising, London-based instrumental act Los Bichos — Australia-born, London-based Serra Petale (guitar); Uruguay-born, London-based Agustina Ruiz (keytar); Sweden-born, London-based Josefine Jonsson (bass) and London-born and-based Nic Crawshaw (drums) — features individual members with different upbringings, who have developed a unique, retro-futuristic sound that blends elements of Peruvian chicha, Argentine cumbia, Turkish psych and surf rock, as well the music each individual member grew up with: The Uruguayan-born Ruiz had a Latin-American music collection that the members of the band fell in love with. The Swedish-born Jonsson “brings a touch of out of control pop,” her bandmates often joke. And the London-born Crawshaw played in a number of local punk bands before joining Los Bitchos. “Coming from all these different places,” Serra Petale says, “it means we’re not stuck in one genre and we can rip up the rulebook a bit when it comes to our influences.”

The band can trace its own origins through its members meeting at all-night house parties or through various friends. The London-based outfit’s highly anticipated Alex Kapranos-produced full-length debut,  Let The Festivities Begin! is slated for a February 4, 2022 release through City Slang Records

Recorded at Gallery Studios, Let The Festivities Begin! further establishes Los Bitchos’ reputation for crafting maximalist and Technicolor, instrumental party jams with a cinematic quality. The celebratory title is something you might say while toasting dear friends, families and even strangers at the end of this horrible period to usher in a period of carefree debauchery. “It’s about being together and having a really good time,” Los Bitchos say in press notes.

Last month, I wrote about “Las Panteras” a funky, mind-bending jam featuring shimmering synths bongos, cowbell, cabasa and wiry post punk meets Nile Rodgers and surf rock-like guitars and a sinuous bass line. “Good to Go,” Let The Festivities Begin!‘s second and latest single is another mind-bending, genre-blurring composition: Starting with a decidedly Western-tinged intro with shimmering and twangy and reverb-drenched guitar, the composition quickly turns into a trippy yet chilled out Latin funk meets Turkish psych affair with glistening synths, handclaps and a blazing guitar solo.

Directed and edited by Tom Mitchell, the recently released video for “Good to Go” continues the story began with the visual for “Las Panteras” left off: Los Bitchos have been arrested in their battle against their arch nemesis Los Panteras. The video features album producer and Franz Ferdinand frontman Alex Kapranos as a game show host meets trial judge from hell. The members of the band are trapped in this surreal game show meets court show, where they literally spin a wheel of fortune for their very freedom.

Trapped in a surreal courtroom gameshow and spinning the wheel of fortune for our freedom. This song has always made us think of a ‘70s game show with its light, fun mood coupled with an intriguing western style intro,” the rising London-based act explain in press notes. “We got all our friends to be our jury and our producer Alex to host/judge the show. We had so much fun making this video.” 

New Video: French Duo Cuarto Mundo Takes Viewers on a Journey Through Time and Space

Cuarto Mundo, which translates into English as “Fourth World,” a term coined to describe the various groups of the world’s indigenous peoples is a French electronic music duo featuring Thomas Lavernhe, who has played in a number of solo projects and band, and Chilean-born Cosmo Gonik, a DJ, who has toured with Arcade Fire.

Lavernhe and Gonik’s work as Cuarto Mundo sees the pair drawing inspiration from traditional sounds across the world, to shape a journey to music’s mysterious — and perhaps mystical — roots.

The duo’s first single “Sabi Lulu” slick, electronic production centered around skittering beats and glistening synths with a traditional, percussive melody from West Java, Indonesia, written by Mang Koko. The end result is a song that’s accessible yet mischievously anachronistic: ancient sounds are paired with modern production — and in a way that’s trippy yet slaps hard.

Directed by Jade de Brito, the recently released video for “Sabi Lulu” follows the stunningly beautiful Devi Yohanita Qorina as she walks down a Paris street to an Indonesian store with traditional instruments, clothing and food. And for a moment, we see Qorina be suddenly taken back to the homeland. We then see her do traditional dance moves in the store and on the streets of Paris, followed by otherworldly and hallucinogenic sequences in which Qorina is wearing the traditional garb of the homeland in front of colorful backgrounds. This one is a bit of a journey through time and space, y’all.

Live Footage: Bulgarian Composer and Multi-instrumentalist Maria Karakusheva Performs “Lagrange Points”

Maria Karakusheva is a Bulgarian-born, classically trained pianist, multi-instrumentalist and composer, who completed her musical education at the Bulgarian National Academy — with a full scholarship. Karakusheva has won first prize at several international piano competitions including UFAM International, Bellaria Festival, Montigny le Bretonnuex and Claude Cannes.

Karakusheva has composed and recorded four albums of her own original compositions, which she has supported with six, self-produced live shows for them. And she has played over 100 solo concerts, including shows at Bulgaria Hall and Paris’ Gaveau Hall.

In her native Bulgaria, Karakusheva has composed the scores for several films, including 2018’s A butterfly landed on a shoulder, 2021’s Beaujolais and Speculators, which is slated for a release next fall. And adding to a growing profile, the Bulgarian pianist and composer has been profiled by a handful of publications nationally and elsewhere — and has made a number of appearances on Bulgarian national television.

Admittedly, I’m not as versed in classical music as I feel I should be — but when I came across Karakusheva’s latest composition off her first contemporary classical solo album Hearteclipse,the expansive “Lagrange Points,” I was immediately transfixed. Centered around Karakusheva’s delicate and dexterous playing and soaring strings, “Lagrange Points” manages to possess a lush, cinematic quality while nodding at Tales of Us era Goldfrapp and The North Borders era Bonobo.

“We all have our points of balance and it’s our own mission in life to get to know them and use them as we should. Only then we become ourselves. Lagrange points is a composition based on who I am, what I can and should be,” the rising Bulgarian-born composer and multi-instrumentalist says. “Music, family, love, the stage – these are the things that shape me.”

The rising Bulgarian-born composer released some gorgeous shot footage of “Lagrange Points” in which she’s accompanied by a full string section.

Moscow-based instrumental funk outfit The Diasonics — Anton Moskvin (drums), Maxim Brusov (bass guitar), Anton Katyrin (percussions), Daniil Lutsenko (guitar) and Kamil Gzizov (keys) — formed back in 2019 and in a relatively short period of time, the Russian quintet quickly amassed a cult following, honing what they’ve dubbed “hussar funk,” a blend of hip-hop rhythms, 60s and 70s psychedelia, Eastern European flavor within cinematic arrangements.

Since their formation, The Diasonics have released ten highly celebrated singles and various in-demand 45 vinyl records through funk labels like Funk Night Records and Mocambo Records. The Russian funk outfit’s highly-anticipated full-length debut, Origins of Forms is slated for a January 28, 2022 release through Italian funk and soul purveyors Record Kicks. Recorded on an Otari MX-5050 MK III at Moscow’s Magnetone Studio and mixed by The Cactus Channel‘s and Karate Boogaloo‘s Henry Jenkins in Melbourne, the album’s overall aesthetic is firmly rooted in the early 60s and 70s.

“Gurami,” Origins of Forms‘ first single is a slow-burning and soulful strut, centered around shimmering wah wah pedaled guitar that sounds inspired by Turkish psychedelia, boom bap breakbeats, soaring keys, and at trippy groove rooted in a sinuous bass line. While we all know the composition was written and recorded by a contemporary act, “Gurami” sounds as though it could have been part of the soundtrack of a Sergio Leone Spaghetti Western or an deep instrumental soul obscurity sampled by the RZA and then later played by El Michels Affair.


 

New Video: Rising London Instrumental Act Los Bitchos Solve Crimes, Dance and Kick Ass in New Visual for Expansive “Las Panteras”

Rising, London-based instrumental act Los Bichos — Australia-born, London-based Serra Petale (guitar); Uruguay-born, London-based Agustina Ruiz (keytar); Sweden-born, London-based Josefine Jonsson (bass) and London-born and-based Nic Crawshaw (drums) — features individual members with different upbringings, who have developed a unique, retro-futuristic sound that blends elements of Peruvian chicha, Argentine cumbia, Turkish psych and surf rock, as well the music each individual member grew up with: The Uruguayan-born Ruiz had a Latin-American music collection that the members of the band fell in love with. The Swedish-born Jonsson “brings a touch of out of control pop,” her bandmates often joke. And the London-born Crawshaw played in a number of local punk bands before joining Los Bitchos. “Coming from all these different places,” Serra Petale says, “it means we’re not stuck in one genre and we can rip up the rulebook a bit when it comes to our influences.”

The band can trace its own origins through its members meeting at all-night house parties or through various friends. And interestingly enough, the London-based outfit’s highly anticipated Alex Kapranos-produced full-length debut, Let The Festivities Begin! is slated for a February 4, 2022 release through City Slang Records.

Recorded at Gallery Studios, Let The Festivities Begin! further establishes Los Bitchos reputation for crafting maximalist and Technicolor, instrumental party jams with a cinematic quality. The celebratory title is something you might say while toasting dear friends, families and even strangers at the end of this horrible period to usher in a period of carefree debauchery. “It’s about being together and having a really good time,” Los Bitchos say in press notes.

The album’s first single “Las Panteras” is an expansive disco funk strut featuring wiry post punk meets Nile Rodgers funk meets surf rock-like guitars, a sinuous bass line and shimmering synths paired with bongos, cowbells and cabasa that hits at Turkish pop and 80s rock. It’s funky and mind-bending jam that will get the party started y’all.

Directed by Tom Mitchell, the recently released video for “Las Panteras” features the members of the band as a part of the cast of a crime-fighting and crime-solving unit, like Charlie’s Angels. Fittingly, while the quartet is busy trying to find their new arch enemy, Las Panteras, there is some some sassy choreographed dance breaks that add even more levity to the affair.

“We wanted to show the mystery of the song combined with sassy dance moves. Inspirations for the video are Kill Bill, Scooby Doo & Spice Girls’s ‘Wannabe’ video,” Los Bitchos’ Agustina Ruiz explains in press notes. “The huge battle climax at the end is a Bram Stoker Dracula inspired fight which will leave you hanging for what’s in store next, between Las Panteras and the girls. A tacky ‘70s show in which the band must solve the mystery of Las Panteras, taking a break now and then to bust out some sassy choreographed dance sequences to keep their spirits up! To be continued… “

Formed by Eddie Roberts and Robert Walter founding members of The New Mastersounds and The Greyboy AllStars respectively, The Rare Sounds is a new act that also features The Greyboy All Stars’ Chris Stillwell and Karl Denson’s Tiny Universe and The Greyboy AllStars’ Zak Najor.

The Rare Sounds’ debut single “Yeah You” is a gritty and urgent bit of 70s-like jazz funk and fusion centered around a relentlessly funky groove and some inspired soloing that to my ears is a slick mix of The JBs Booker, T and the MGs and Headhunters era Herbie Hancock. And at its core, is the knowing familiarity, comfort and esteem held by musicians who have played together for years in a number of different projects and configurations.

Interestingly, the Robert Walter penned composition had been workshopped in several different projects but its found a home during the band’s session at San Francisco‘s Hyde Street Studios last August. Walter describes “Yeah, You!” as “70s jazz-funk and fusion before the edges and dissonance were smoothed over to make it more commercial.” 

The band will be releasing additional tracks from their Hyde Street Studios session in the coming months and plan on booking additional performances in select markets to showcase the material.

New Audio: Bordeaux’s The Prisoners Specialize in Rock Covers of Classic TV Theme Songs

The Prisoners are a Bordeaux, France-based act that specializes in rock-based covers of film and TV composers like John Barry and Lalo Schriffin — i.e, the themes of classic TV shows like Manix and The Persuaders.

The band’s newest album is slated for an October 31, 2021 release. The album’s latest single is cover of The Persauders theme song that features some prominent changes in arrangement: The Prisoners’ cover is centered around glistening Rhodes and twangy guitars and forceful drumming. The Bordeaux-based act manage to retain the original’s cinematic quality while giving it a muscular oomph.

New Video: Toronto’s BADBADNOTGOOD Releases a Gorgeous and Mind-bending Visual for Expansive “Beside April”

The acclaimed Toronto-based jazz-inspired act BADBADNOTGOOD — currently founding members Chester Hansen (bass), and Alexander Sowinski (drums) with Leland Whitty — have developed and honed a sound and compositional approach that draws from hip-hop, electronica, jazz, acid jazz and prog rock — and famously for jazz based interpretations of hip-hop tracks, which has allowed the acclaimed Canadian ensemble to collaborate with Kendrick Lamar, Tyler The Creator, Earl Sweatshirt, Denzel Curry, Danny Brown, Mick Jenkins, Ghostface Killah and others.

Interestingly, BADBADNOTGOOD can trace its origins to its founders — Hansen, Sowinski and Matt Tavares — bonded over a mutual love of MF Doom and Odd Future. As the story goes, the band played a composition based on Odd Future’s music for a panel of their jazz performance instructions, who unsurprisingly didn’t believe it had much musical value. Instead of listening to their instructors, the band released the composition as “The Odd Future Sessions, Part 1.” The track eventually caught the attention of Tyler the Creator, who helped the video go viral.

BADBADNOTGOOD followed up with their full-length debut, 2011’s BBNG, which featured interpretations of A Tribe Called Quest, Waka Flocka Flame and of course,. 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.

The Toronto-based act’s sophomore album 2012’s BBNG2 was recorded over a course of a ten-hour studio session. Featuring guest spots from Leland Witty (saxophone) and Luan Phung (electric guitar), the album was a mix of their own original material, as well as renditions of songs 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.

Their third album, 2013’s III featured “Hedron,” which was featured on the compilation album Late Night Tales: Bonobo. They also assisted with the production and composition of The Man with the Iron Fists soundtrack.

The band’s fourth album, 2015’s Sour Soul saw them collaborate with Ghostface Killah on what has been described as a hip-hop album that nodded 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 the band quickly went to work 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). Capping off a busy year, they released their fifth album, the somewhat ironically titled IV, which featured Future Islands’ Sam Herring, Colin Stetson, Kaytranada, Mick Jenkins and JOVM mainstay Charlotte Day Wilson. The album was also named BBC Radio 6’s #1 album of the year.

The Canadian outfit’s highly anticipated psych jazz album Talk Memory is slated for an October 8, 2021 release through XL Recordings. Composed in conjunction with legendary Brazilian composer Arthur Verocai, the album features features guest spots from Karriem Riggins, Laraaji, Terrace Martin, and a list of others. Perhaps more so than their previously released material, Talk Memory sees the acclaimed act actively capturing some of the focus, energy and improvisation which is at the heart of their live show.

For the band, a song is a living, breathing entity that naturally changes and evolved as it’s played in different settings. The album plays with that thinking. After years of relentless touring, the band paused and refreshed and looked at their history and experiences before starting out on the creative process for the new album. And as a result, a sense of reflection and renewed communication is at the heart of their new creative approach. Interestingly, that led to the album’s title. While their earliest material took place very quickly, the band took on a much more international approach: The album was written over a two year period, with the band expanding upon the album’s material in the studio, rather that on the road.

Talk Memory’s latest single “Beside April” is an expansive and breathtakingly gorgeous composition featuring a cinematic string arrangement, skittering syncopated drumming and a mind-bending and expressive guitar solo. The end result is a song that — to my ears — is one part indebted to Brazilian psych rockers and JOVM mainstays Boogarins, one part jazz fusion, one part shimmering film score.

Directed by Camille Summers-Valli, the accompanying visuals draw some inspiration from the first motion picture, Horse in Motion 1878. The video itself manages to be simultaneously surreal, trippy and gorgeously shot. Plus, there’s a majestic horse that’s really the star of the entire affair. “There was really special energy around this video,” Camille Summers-Valli says. “The band wanted to do something with horses and equestrians. That’s where this begun. Funnily enough, I am petrified of horses. But it felt like a good way to overcome my fears. Subconsciously through a process of reading, finding references and discussing with my team, I started to piece together the puzzle of what this video could be. We shot this in Georgia; where the casting was incredible. The horse also was wonderful. So strong and majestic, we just wanted to do this beautiful creature justice. The magic aligned, so many great hard working people pulled this video together.”