Tag: Mtume

Cousin Kula is a rising Bristol, UK-based sextet, featuring highly active members of their hometown’s progressive jazz scene. Bonding over a shared love of an eclectic range of music that includes pop, psych, prog, disco and Afrobeat, the members of Cousin Kula quickly found themselves living together. And with a rehearsal room in their basement, the band honed a sound and approach that meshed their varied influences and passions, eventually becoming one of their hometown’s hottest bands.

Slated for a November 18, 2019 release through Chiverin Records, the Bristol-based sextet’s forthcoming sophomore effort Stroodles EP follows their opening spot for Japanese rippers Bo Ningen and the announcement of a headlining UK tour to support the new EP in November. The EPs first single “Invitation” is reportedly a slight departure for the members of Cousin Kula, as the song is a shimmering bit of 80s-inspired synth funk and soul that nods at the periods titans — i.e.,  Cherelle, Mtume and others, as well as contemporaries like Tuxedo but with a jazzy edge.

 

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Initially formed in 2007, as the solo recording project of Melbourne, Australia-based DJ and producer Benjamin Plant, Miami Horror eventually expanded into a full-fledged band with the addition Josh Moriarty (vocals, guitar), Daniel Whitechurch (bass, keys, guitar) and Kosta Theodosis (drums) and with their earliest releases — 2008’s Bravado EP  2010’s full-length debut Illumination and 2015’s sophomore effort All Possible Futures —  the Aussie act established their own sound, which drew from Prince, New Order, Todd Rundgren and Pink Floyd, as well as from house music and electro pop. Interestingly, the act’s most recent effort, 2017’s The Shapes EP was a decided change in sonic direction for the act with the material largely indebted to 80s neon-colored pop and New Wave.

Earlier this year, I wrote about “Restless,” the first single from the acclaimed Aussie indie electro pop act in over two years, a single that found the project returning to its collaborative and production-based roots, as the act’s new incarnation. “The Shapes was always meant to be a one-off conceptual project, so once that was complete I began moving back towards the original creative process that Miami Horror started with; a simpler approach to production and a continued emphasize on outside vocalists.” Plant says. “For me, music has always been about completing a vision and trying to make something stand out. Allowing outside collaboration really opens me up to complete that vision without being restricted to my own skill set.”

Now, as you may recall “Restless” was a breezy and summery track centered around shimmering synths, Nile Rodgers-like funk guitar, tons of hi-hat and a plaintive and sultry vocal contribution Kevin Lavitt. And while retaining the slick, dance floor-friendly electronic production that has won Plant international acclaim, the song seems indebted to 80s Quiet Storm R&B — in particular Cherelle‘s “Saturday Love,” and Mtume‘s “Juicy Love” immediately come to my mind, as the song possessed a similar sophisticated sexiness to it. “Luv Is Not Enough” the acclaimed Aussie act’s second single of this year is centered around shimmering guitars, a funky, two-step inducing groove and Clear Morifee’s alluring vocals, presenting a romantic vision of empowerment and self confidence. While being in a similar vein as its immediate predecessor, Plant cites artists like The Internet, Kaytranada, Anderson .Paak and Calvin Harris‘ 2017 single “Slide,” which he says caused a big shift in perspective.

“We hadn’t really been into much new music. Everything was feeling dull and minimal,” Plant says of the writing of “Luv Is Not Enough.” “Then when I heard ‘Slide,’ it was a seemingly revelatory moment. It was refreshing to hear a song that was based around the simplicity of a good bass line and chords. It made me realize that maybe we’d been overthinking things, as those had always been two of our favorite and highest prioritized elements when we started out.”

Along with the single comes the announcement that the project will be releasing their highly-anticipated, third full-length album next year — and that Miami Horror will be embarking on a 17 date North American tour with an all-star lineup, a sextet that will include vocalists Reva Devito and TC Milan and Melbourne’s Queen Magic on guitar. The tour will include a November 27, 2019 stop at Webster Hall. Check out the tour dates below.

Tour Dates:
Oct 31: Vancouver, BC @ Fortune Sound Club
Nov 1: Seattle, WA @ The Showbox
Nov 2: Portland, OR @ Mississippi Studios
Nov 6: San Francisco, CA @ August Hall
Nov 8: Santa Ana, CA @ The Observatory
Nov 9: Los Angeles, CA @ Teragram Ballroom
Nov 13: San Diego, CA @ Music Box
Nov 14: Phoenix, AZ @ The Crescent Ballroom
Nov 16: Mexico City, MX @ Corona Capital Festival
Nov 20: Minneapolis, MN @ Fine Line
Nov 22: Chicago, IL @ Park West
Nov 23: Toronto, ON @ Velvet Underground
Nov 24: Montreal, QC @ L’Astral
Nov 26: Cambridge, MA @ The Sinclair
Nov 27: New York, NY @ Webster Hall
Nov 29: Washington, DC @ 9:30 Club
Nov 30: Philadelphia, PA @ The Foundry

New Audio: Melbourne’s Karate Boogaloo Takes on an 80s Synth Soul Classic

Featuring the rhythm section of the acclaimed, Melbourne-based soul act The Cactus Channel, Karate Boogaloo have quickly developed a reputation for sitting in a their own lane, a lane they’ve proudly and defiantly created: when it comes to creating material, they follow their own rules; frequently recording and mixing on tape with no plugins and no edits, with the material released exclusively in mono. And they do so not because of an adherence to anachronism but about a specific creative manifesto — one in which they abide by a chosen set of limitations to force a specific outcome. 

Their KBs Mixtape No. 1: songs that were sampled into your favourite hits was a cult success in their native Melbourne. Building upon the rapidly growing profile, the much-anticipated follow-up to KBs Mixtape No. 1, KBs Mixtape No. 2: songs from the 80s that were sampled into your favourite hits! expands upon the theme developed from the first mixtape — while further developing their unique sound and approach. Mixtape 2’s latest single finds the Aussie funk act taking on the Mtume’s oft-sampled, slinky synth funk classic “Juicy Fruit.” While Karate Boogaloo’s version is purely instrumental take, they retain the song’s slinky melody — but while turning into a breezy mid-tempo bop with shimmering and wobbly synths and bluesy slide guitar. 

New Video: Acclaimed Indie Electro Pop Act Miami Horror Releases a Sepia-Toned Visual for “Restless”

Initially formed in 2007, as the solo recording project of Melbourne, Australia-based DJ and producer Benjamin Plant, Miami Horror eventually expanded into a full-fledged band with the addition Josh Moriarty (vocals, guitar), Daniel Whitechurch (bass, keys, guitar) and Kosta Theodosis (drums) — and with the release of 2008’s Bravado EP, 2010’s full-length debut Illumination and 2015’s All Possible Futures, the band established a sound that drew from Prince, New Order, Todd Rundgren and Pink Floyd, combined with contemporary electronic production techniques, including house and electro pop. Interestingly, the act’s most recent recorded output, 2017’s The Shapes EP was a decided change in sonic direction with the band’s sound being indebted to 80s pop and New Wave — in particular, Talking Heads, Blondie and the like. 

Two years have passed since the acclaimed Australian indie electro pop act has released material and the act’s latest single, “Restless” finds the project returning to its collaborative and production-based roots. Plant champions this return to his roots as Miami Horror’s new incarnation. “The Shapes was always meant to be a one-off conceptual project, so once that was complete I began moving back towards the original creative process that Miami Horror started with; a simpler approach to production and a continued emphasize on outside vocalists.” Plant says. “For me, music has always been about completing a vision and trying to make something stand out. Allowing outside collaboration really opens me up to complete that vision without being restricted to my own skill set.”

Interestingly, “Restless” is a breezy and summery track centered around shimmering synths, Nile Rodgers-like funk guitar, hi-hat led drumming and a plaintive and sultry vocal contribution from Kevin Lavitt. And while retaining the slick, dance floor-friendly electronic production that has won Plant international acclaim, the song sounds indebted to 80s Quiet Storm R&B — in particular Cherelle’s “Saturday Love,” and Mtume’s “Juicy Love” immediately come to my mind, as the song has a similar sophisticated sexiness to it. “I love putting two people in a room that wouldn’t normally work together and seeing what comes of it,” Plant says of his collaboration with Lavitt. 

Directed by Keenan Wetzel, the recently released sepia-toned video for “Restless” features an assortment of quirky characters coming together for tennis training and some meet-cute lust — before ending with a menacing and suggestive air. “When I heard ‘Restless’ I was struck with a nostalgic feeling of starting out a relationship; those first feelings of anxiety coupled with the uncertainty whether or not the attraction is mutual,” Keenan Wetzel says of his video treatment. “I wanted to take these familiar feelings and add Miami Horror’s style to create a bright but strange world for these young people to find each other. I have always been interested in 1970’s culture and how people turned to communities, often ritual-based, to find a sense of belonging. So the idea for the ‘Restless’ music video was to put a pair of young people into a tennis playing community where they were looking for meaning. Only, instead of finding purpose in this community, they find each other, which leads to both love and realization that the nature of the community was not going to give them any more sense of belonging.”