Tag: Jack White

New Video: Holy Fuck Releases a Mind-Bending and Hallucinogenic Visual for Motorik-Groove Driven “Luxe”

Toronto-based electronic act Holy Fuck — Brian Borcherdt, Graham Walsh, Matt McQuaid and Matt Schultz — have developed a long-held reputation for playing by their own rules, frequently using miscellaneous instruments and non-instruments including a 35mm film synchronizer, toy keyboards and toy phaser guns to achieve electronic-sounding effects without the use of laptops, programmed backing tracks, splicing and so on. And perhaps more important, the act has never been overly concerned about chasing the limelight or any genre-based trend.

“Luxe” is the first batch of new material from the acclaimed Canadian electronic act since the release of 2017’s Bird Brains EP and interestingly, the single was born out of the quartet’s desire to revisit old and trusted methods of creating new material — primarily by experimenting live on the stage. Centered around a pulsating, minimal synth loop, shimmering and arpeggiated synths, thumping kick drum, the expansive song, which clocks in at a little over six minutes and bears a bit of a resemblance to Tour de France-era Kraftwerk can trace its origins back to a spontaneous encore jam at Luxembourg, Belgium. As the story goes, once they had the early elements of the track worked on in the studio, they sent it to to their good friend and casual musical mentor Kieran Hebden, best known as Four Tet, who picked the early version of “Luxe” as a standout. The Canadian quartet then invited Hot Chip’s Alexis Taylor to contribute vocals. Taylor not only jumped at the opportunity but went to Jack White‘s Third Man Studio in Nashville to record his vocals on White’s 1947 Voice-O-Graph.

“Among more literal translations, ‘Luxe’ is the short form of Luxembourg – the city in which the nexus of the song was created,” the members of Holy Fuck explain in an extensive statement. “On this particular night, during soundcheck, we had a pulsing minimal synth loop we’d been tinkering around with. (We were listening to lots of TRAX Records stuff on that tour.) We decided that if the crowd demanded an encore we’d go for it. ‘Luxe’ was the result. Or – as it was then called on the live recorded MP3 – ‘Luxembourg Encore’. Once home from tour we took all the live demos back to the drawing board. We shared everything with our friend Kieran Hedben aka Four Tet. His always-intuitive advice was that he heard a great club track in his ‘very favorite thing here’: ‘Luxembourg Encore’”.

The next moment of discovery came when Graham suggested the band scrap Brian’s vocals and give it to Alexis Taylor of Hot Chip. When we presented Alexis with the concept our reference notes to him, based around Brian’s temporary vocals, were ‘like an old sample you’d dig up off an old folk record… and approached more like a classic house track’. He responded, ‘We could try to record the vocal in a Voice O Graph booth (an obsolete 1940s coin operated phonograph booth) if we can access one…’. As far as we’re aware, there are only two in the world – one in Liverpool (that apparently doesn’t work anymore) and the other at Jack White’s Third Man studio in Nashville. And that is where Alexis sang ‘I’d like to scrap all of this and start over again.’ Fittingly, it was New Year’s Eve.”

Interestingly, “Luxe” also is the first official single off the acclaimed Canadian electronica act’s forthcoming, fifth album Deleter. Slated for a January 17, 2020, the material reportedly finds the band pushing their signature sound in a new direction — with it being polyrhythmic and pleasure focused, as they seamlessly mesh krautrock, deep house and motorik percussion. Thematically (and spiritually), Deleter reportedly explores what happens when humanity and technology coalesce into one big, semi-organic celebration of the joys of spontaneity, repetition and individuality.  As the band puts it, “the robots are smarter than ever, and the algorithm knows more and more what we like as individuals, but we have to remind ourselves that there is music in the margins that can go missing and that that music is more important than ever.”

Directed by Rapapawn, Óscar Raña and Cynthia Alfonso, the recently released video is a mind-bending and hallucinogenic visual featuring floating geometric shapes, and animated version of the band performing the song. 

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Toronto-based electronic act Holy Fuck — Brian Borcherdt, Graham Walsh, Matt McQuaid and Matt Schultz — have developed a long-held reputation for playing by their own rules, frequently using miscellaneous instruments and non-instruments including a 35mm film synchronizer, toy keyboards and toy phaser guns to achieve electronic-sounding effects without the use of laptops, programmed backing tracks, splicing and so on. And perhaps more important, the act has never been overly concerned about chasing the limelight or any genre-based trend.
“Luxe” is the first batch of new material from the acclaimed Canadian electronic act since the release of 2017’s Bird Brains EP and interestingly, the single was born out of the quartet’s desire to revisit old and trusted methods of creating new material — primarily by experimenting live on the stage. Centered around a pulsating, minimal synth loop, shimmering and arpeggiated synths, thumping kick drum, the expansive song, which clocks in at a little over six minutes and bears a bit of a resemblance to Tour de France-era Kraftwerk can trace its origins back to a spontaneous encore jam at Luxembourg, Belgium. As the story goes, once they had the early elements of the track worked on in the studio, they sent it to to their good friend and casual musical mentor Kieran Hebden, best known as Four Tet, who picked the early version of “Luxe” as a standout. The Canadian quartet then invited Hot Chip’s Alexis Taylor to contribute vocals. Taylor not only jumped at the opportunity but went to Jack White‘s Third Man Studio in Nashville to record his vocals on White’s 1947 Voice-O-Graph.

“Among more literal translations, ‘Luxe’ is the short form of Luxembourg – the city in which the nexus of the song was created,” the members of Holy Fuck explain in an extensive statement. “On this particular night, during soundcheck, we had a pulsing minimal synth loop we’d been tinkering around with. (We were listening to lots of TRAX Records stuff on that tour.) We decided that if the crowd demanded an encore we’d go for it. ‘Luxe’ was the result. Or – as it was then called on the live recorded MP3 – ‘Luxembourg Encore’. Once home from tour we took all the live demos back to the drawing board. We shared everything with our friend Kieran Hedben aka Four Tet. His always-intuitive advice was that he heard a great club track in his ‘very favorite thing here’: ‘Luxembourg Encore'”.

The next moment of discovery came when Graham suggested the band scrap Brian’s vocals and give it to Alexis Taylor of Hot Chip. When we presented Alexis with the concept our reference notes to him, based around Brian’s temporary vocals, were ‘like an old sample you’d dig up off an old folk record… and approached more like a classic house track’. He responded, ‘We could try to record the vocal in a Voice O Graph booth (an obsolete 1940s coin operated phonograph booth) if we can access one…’. As far as we’re aware, there are only two in the world – one in Liverpool (that apparently doesn’t work anymore) and the other at Jack White’s Third Man studio in Nashville. And that is where Alexis sang ‘I’d like to scrap all of this and start over again.’ Fittingly, it was New Year’s Eve.”

Live Footage: The Raconteurs Perform “Help Me Stranger” on “Late Show with Stephen Colbert”

Comprised of founding duo Jack White (vocals, guitar) and Brendan Benson (vocals, guitar) along with Jack Lawerence (bass) and Patrick Keeler (drums), the Nashville, TN-based supergroup The Raconteurs can trace their origins to when White and Benson, who have been longtime friends were hanging out together and wrote “Steady, As She Goes,” and after they wrote it, it inspired them to start the band, with the band’s founding members recruiting Lawrence and Keeler, who were once members of The Greenhornes to complete the band’s lineup. The band came together in Detroit during 2005 and wrote and recorded material when time allowed.  White and Lawrence went on to form The Dead Weather with The Kills Alison Mosshart.

The Raconteurs long-awaited third, full-length album HELP US STRANGER was released last month through Third Man Records — and the album, which also marks the first batch of new material from the band in a decade, finds the band further pushing their sound in new directions, meshing enormous power chord-based riffs with blues, psych rock, Detroit funk and Nashville soul. Now, as you may recall, album single “Bored and Razed” was a sleazy power chord-based 12 bar blues with an anthemic hook, delivered with a swaggering AC/DC-like air. “Help Me Stranger” finds the band playing a swaggering and dusty old-school blues filtered through modern rock, complete with anthemic hook.  While in town for a nubmer of promotional activities for the new album, the band had a two-night run on Late Show with Stephen Colbert.

Live Footage: The Raconteurs Perform “Bored and Razed” on “Late Show with Stephen Colbert”

Comprised of founding duo Jack White (vocals, guitar) and Brendan Benson (vocals, guitar) along with Jack Lawerence (bass) and Patrick Keeler (drums), the Nashville, TN-based supergroup The Raconteurs can trace their origins to when White and Benson, who have been longtime friends were hanging out together and wrote “Steady, As She Goes,” and after they wrote it, it inspired them to start the band, with the band’s founding members recruiting Lawrence and Keeler, who were once members of The Greenhornes to complete the band’s lineup. The band came together in Detroit during 2005 and wrote and recorded material when time allowed.  White and Lawrence went on to form The Dead Weather with The KillsAlison Mosshart. 

HELP US STRANGER, The Raconteurs long-awaited, third full-length album officially dropped yesterday through Third Man Records — and the album, which also marks the first batch of new material from the band in a decade, finds the band further pushing their sound in new directions, meshing enormous power chord-based riffs with blues, psych rock, Detroit funk and Nashville soul. HELP US STRANGER‘s latest single “Bored and Razed” finds the members of The Raconteurs playing sleazy power chord rock, centered around a boozy, 12 bar blues arrangement, a rousingly anthemic hook, delivered with a swaggering AC/DC-like air.

The members of the Raconteurs have been busy doing promotional activities for their new album that included a two-night run on Late Show with Stephen Colbert in which they performed “Help Me Stranger” and “Bored and Razed” and in-store appearance and performance at Rough Trade. Check out the live performance of one my favorite songs off the album “Bored and Razed,” which they played last night. 

Comprised of found duo Jack White (vocals, guitar) and Brendan Benson (vocals, guitar) along with Jack Lawerence (bass) and Patrick Keeler (drums), the Nashville, TN-based supergroup The Raconteurs can trace their origins to when White and Benson, who have been longtime friends were hanging out together and wrote “Steady, As She Goes,” and after they wrote it, it inspired them to start the band, with the band’s founding members recruiting Lawrence and Keeler, who were once members of The Greenhornes to complete the band’s lineup. The band came together in Detroit during 2005 and wrote and recorded material when time allowed.  White and Lawrence went on to form The Dead Weather with The Kills Alison Mosshart

HELP US STRANGER, The Raconteurs long-awaited, third full-length album is slated for a June 21, 2019 release through Third Man Records — and the album, which also marks the first batch of new material from the band in a decade, finds the band further pushing their sound in new directions, meshing enormous power chord-based riffs with blues, psych rock, Detroit funk and Nashville soul. HELP US STRANGER‘s latest single “Bored and Razed” finds the members of The Raconteurs playing sleazy power chord rock, centered around a boozy, 12 bar blues arrangement, a rousingly anthemic hook, delivered with a swaggering AC/DC-like air.

White, Benson, Lawerence and Keeler will be embarking on a lengthy North American tour, which will include a three nights stop in New York — September 5, 2019-September 6, 2019 at Hammerstein Ballroom and September 7, 2019 at Kings Theatre. The September 6, 2019 show at Hammerstein Ballroom and the September 7, 2019 show at Kings Theatre are sold out. Every online ticket purchased for the upcoming North American headlining shows will include a physical copy the album on CD — except for the Aspen, CO shows. Fans will also have the option to upgrade their CD to the standard, black vinyl LP. Check out the tour dates below.

Tour Dates
July 4: Belly Up Tavern – Aspen, CO
July 5: Belly Up Tavern – Aspen, CO
July 12: Masonic Temple Theatre – Detroit, MI (SOLD OUT) @
July 13: Masonic Temple Theatre – Detroit, MI $
July 14: Eagles Ballroom – Milwaukee, WI #
July 15: Armory – Minneapolis, MN #
July 18: WaMu Theater at CenturyLink Field Events Center – Seattle, WA #
July 19: Queen Elizabeth Theatre – Vancouver, BC (SOLD OUT) #
July 20: Queen Elizabeth Theatre – Vancouver, BC #
July 21: Edgefield – Troutdale, OR (SOLD OUT) #
July 23: Fox Theater – Oakland, CA (SOLD OUT) #
July 24: Fox Theater – Oakland, CA
July 26: Greek Theatre – Los Angeles, CA #
July 27: Santa Barbara Bowl – Santa Barbara, CA
July 28: Cal Coast Credit Union Open Air Theatre – San Diego, CA
August 10: Railbird Festival – Lexington, KY *
August 11: Knoxville Civic Auditorium – Knoxville, TN
August 12: Egyptian Room at Old National Centre – Indianapolis, IN (SOLD OUT)
August 13: Stage AE (Indoors) – Pittsburgh, PA
August 15: Agora Theatre – Cleveland, OH (SOLD OUT)
August 17: The Anthem – Washington, DC
August 18: The Fillmore Charlotte – Charlotte, NC (SOLD OUT)
August 20: Township Auditorium – Columbia, SC
August 21: Tabernacle – Atlanta, GA
August 22: Tabernacle – Atlanta, GA
August 29: Ryman Auditorium – Nashville, TN (SOLD OUT) %
August 30: Ryman Auditorium – Nashville, TN (SOLD OUT) %
August 31: Ryman Auditorium – Nashville, TN (SOLD OUT) %
September 3: Red Hat Amphitheater – Raleigh, NC %
September 5: Hammerstein Ballroom – New York, NY %
September 6: Hammerstein Ballroom – New York, NY (SOLD OUT) %
September 7: Kings Theatre – Brooklyn, NY (SOLD OUT) %
September 9: House of Blues – Boston, MA (SOLD OUT) %
September 10: House of Blues – Boston, MA %
September 12: Sony Centre for the Performing Arts – Toronto, ON (SOLD OUT) %
September 13: Express Live! Indoor Pavilion – Columbus, OH %
September 13-15: Riot Fest – Chicago, IL *
October 4-6: Austin City Limits Music Festival – Austin, TX *
October 9: Denver, CO – The Mission Ballroom (SOLD OUT)
October 11-13: Austin City Limits Music Festival – Austin, TX *
October 12: The Criterion – Oklahoma City, OK ^
October 13: Cain’s Ballroom – Tulsa, OK (SOLD OUT) ^
October 14: Cain’s Ballroom – Tulsa, OK (SOLD OUT) ^
October 16: Cain’s Ballroom – Tulsa, OK ^
October 17: Arvest Bank Theatre at The Midland – Kansas City, MO (SOLD OUT) ^
October 18: The Pageant – St. Louis, MO (SOLD OUT) ^
November 13: Teatro Colisea – Santiago, Chile
November 15: Popload Festival – São Paulo, Brazil *
November 16-17: Corona Capital – Mexico City, Mexico *
@ WITH THE PURE HEART TRAVELERS & NIKKI D AND SISTERS OF THUNDER
$ WITH THE HENTCHMEN & THE STOOLS
# WITH LILLIE MAE
% WITH OLIVIA JEAN
^ WITH THE CASUALITIES OF JAZZ
* FESTIVAL PERFORMANCE

 

Tim Carr is a Marin County, California-born, Los Angeles, CA-based singer/songwriter, multi-instrumentalist, composer and producer, who grew up within a family of musicians. Unsurprisingly, at an early age, Carr was immersed in music, and as a result, he eventually studied jazz drums at the California Institute of the Arts. After earning a BFA, Carr began working with a number of renowned and notable acts including HAIM, Julian Casablancas, Nick Cave, and Lucinda Williams, among others. Carr can also claim a stint as a member of The Americans, with whom he performed on Late Show With David Letterman. Additionally, as member of The Americans, Carr has recorded with T. Bone Burnett and was featured in the Emmy-nominated documentary American Epic (which was produced by the aforementioned T. Bone Burnett with Jack White and Robert Redford.)

As a solo artist, Carr’s work can be described as minimalist folk, inspired by African rhythms, French Romantics and 60s pop, mixed with instrumentalist melodies — and interestingly enough, his work caught the attention of Robert Redford, who featured material off Carr’s 2016 effort, The Last Day of Fighting on the soundtrack for his movie Watershed alongside material from Beck and Thom Yorke. Carr’s forthcoming EP Swing & Turn is the anticipated follow-up to The Last Day of Fighting, and the EP reportedly derives its name after the feeling of movement, with the material sonically and thematically being a dance between intimacy and independence. The EP’s latest single is the hauntingly beautiful “Take Me There,” which is centered around Carr’s plaintive and tender falsetto, shuffling rhythms, some strummed acoustic guitar and a coda that ends with a bluesy blast of electric guitar, and finds Carr balancing a balladeer/troubadour-liek introspection and thoughtfulness with a cinematic vibe. That shouldn’t be surprising as the song is focuses on the desire to escape apathy, highlighting the difficult but necessary need to either let go and fully love — or to let go of a love, and as a result, the song has a bittersweet air to it.

New Video: King Tuff Releases Surreal and Meditative Visuals for Shuffling and Cosmic Album Single “Psycho Star”

Kyle Thomas is a singer/songwriter and multi-instrumentalist, who’s the creative mastermind behind the critically applauded indie rock recording project King Tuff. And much like countless other musicians, Thomas grew up in a fairly musical home, where he was encouraged to play several different instruments — particularly guitar, keyboard and drums; but interestingly, it was a Fender Stratocaster that his father brought for him when he was 7 that served as a constant source of inspiration. After high school, Thomas spent his time writing songs and playing with a number of bands. “I would go on tour, but i never really took it as a serious job up until a couple years ago, when I decided to really make an effort at it. It’s been a real long, slow practice,” Thomas once publicly said. 

Thomas’ first release was a self-made CD-R distributed by Spirit of Orr Records, and the album consisted of rough version of songs, white he later released on his official debut 2008’s Was Dead, which was released through Tee Pee Records’ sister-label The Colonel; however, after not receiving much attention for his work as King Tuff, Thomas went on to other creative pursuits including stints in bands like Witch, Happy Birthday and Ty Segall’s backing band, The Muggers. Thomas’ 2012 sophomore, Bobby Harlow-produced, self-titled, full-length effort was released by Sub Pop Records and charted at #21 on Billboard’s Heatseeker Albums chart while debuting at #14 on CMJ’s charts, before eventually climbing to #2, knocking Jack White’s Blunderbuss from its top charting position. 2013 saw the re-ssiue deluxe edition of Was Dead, which charted at #8 on Billboard’s Heatseeker charts. 

Thomas’ third, full-length effort, 2014’s Black Moon Spell continued his ongoing collaboration with Bobby Harlow and featured Ty Segall as a guest drummer on the title track — and the album continued a run of critical and commercial success, with the album debuting at #1 on Billboard’s Heatseeker charts, and was once #1 on the CMJ College Radioplay chart. 

Last week, Thomas released his first single in four years, “The Other” the album title track off The Other, which is slated for an April 13, 2018 release through Sub Pop Records. And while his self-produced effort will continue his reputation for hook-driven rock, the material reportedly finds Thomas ditching the goofy, rock-‘n’-roll bacchanalia for much more expansive arrangements, a diversity of instrumentation with lyrics that also reportedly straddle the fence between painful rumination and reconnecting with the childlike and innocent aspect of yourself. Additionally, the album features guest spots from Ty Segall (drums), Jenny Lewis (vocals), Greta Morgan (vocals) and Mikal Cronin (saxophone).  And while being a decided change in sonic direction, Thomas views the album as a psychic reset of him. “I let the songs lead me where they wanted to go, instead of trying to push them into a certain zone. King Tuff was always just supposed to be me. When I started doing this as a teenager, it was whatever I wanted it to be. King Tuff was never supposed to be just one thing. It was supposed to be everything.”

“Psycho Star” is The Other’s first official single is a funky and soulful track based around an arrangement of arpeggiated keys, sinuous bass line, shuffling drums, wah wah pedal effected guitars and a disco-like hook but lyrically the song finds its narrator musing about his place in an indifferent and mysterious universe. It’s obvious that the viewpoint on the album is to look upward and outward towards the cosmic, the infinite.  

Directed by Cameron Dutra, the recently released video for “Psycho Star” is a surreal concept that follows the video’s director, King Tuff and backing dancers as they’re about to shoot their video but pulls back to focus on some of the random passerby, a roller skater lost in her music, and a paranoid truth-teller and psychic. At times, the visuals are gloriously lo-fi, nodding at VHS video and cheap car dealership commercials while at other points, being remarkably slick, as well as a mediation on life and death.