Tag: New Orleans LA

Comprised of Los Angeles-based songwriter Jesse Marc and New Orleans-based songwriter and producer Christoph Andersson, who has collaborated with the likes of G-Eazy, Olivia O’Brien, Monopol and others, the Los Angeles/New Orleans-based pop duo JOME can actually trace its origins to when Marc started the project as a solo recording project. And as the story goes, a few minutes after Consequence of Sound posted Marc’s first single as JOME, Marc received an email from Andersson, who asked him Marc if he’d be interested in collaborating together. “I thought it was spam,” Marc recalls in press notes. “It happened too quickly.”

Marc and Andersson met in Venice, CA for an afternoon and quickly recognized that they were on the same page creatively, as both men, who had worked in the realm of pop for some time were yearning to make music with a deeper emotional resonance.  “Crystalline,” the duo’s ethereal new single features an ambient-leaning production consisting of a gentle melody, warm bursts of guitar, propulsive, boom bap-like beats paired with dreamy vocals but what sets the duo and this single apart from an extraordinarily crowded electro pop field is that the song reveals a deliberate and careful attention to craft that belies its breeziness. But perhaps more important is that the song carries a simple yet powerful message — that everything in life will settle in due time, if you’re patient.

 

 

 

Now, if you’ve been frequenting this site over the past few months, you’ve likely come across a post featuring the Austin, TX-based punk quartet PLAX. And as you may recall, the band, which is currently comprised of Michael Goodwin, a member of the OBN IIIs and eeetsFEATS; Chris “Anton” Stevenson, a member of Spray PaintDikes of Holland and When Dinosaurs Ruled the Earth; Marley Jones, a member of the OBN IIIs and Sweet Talk; and newest recruit Victor Ziolkowski, a member of Skeleton and Nosferatu can trace their origins to when Goodwin approached his longtime friend Stevenston and current OBN IIIs bandmate Jones about the possibility of forming an unconventional, outsider punk band, inspired by  Wire and Dawn of Humans. The band’s founding trio quickly went to work writing songs for a demo — they eventually wrote 9 — but they felt were still in need of a vocalist to complete the project. At the time Marley was collaborating with David and Victor Ziolkowksi, the founding members and frontman of Skeleton, a constantly evolving project featuring the Ziolkowski Brothers and a rotating cast of collaborators and friends. Stevenson and Marley then recruited Victor Ziolkowski, who then finalized the project’s lineup.

 

Last July, the quartet played their first live show with  New Orleans punk act Patsy and they quickly followed that by playing with a number of national touring Texas-based bands including Crooked BangsInstitute and Army and others — and building upon the buzz they were receiving, the band went on a January 2017 attention grabbing tour throughout Texas. And although Stevenson has recently relocated to Melbourne, Australia, the band has continued writing, eventually finishing their full-length debut Clean Feeling, which is slated for an August 11, 2017 release through Super Secret Records.

Wit the album’s first single “Boring Story,” the band revealed that they specialize in a scuzzy and sneering, garage punk that would be be perfectly at home on Goner Records or on Castle Face Records, complete with slashing power chords and punchily delivered vocals — and unsurprisingly, the album’s second single “Night Watch” continued along a similar vein, while nodding at the nightmarishly tense, piss vinegar, and PCP-fueled fury sound reminiscent of Ex-Cult’s Cigarette Machine and Negative Growth.  “What A Waste,” Clean Feeling‘s third and latest single “What A Waste” is a bruising punk track that evokes the bitter frustration of those who lives have stalled — often beyond their control; and sonically, the single much like its immediate predecessor will continue to cement the band’s burgeoning reputation for crafting scuzzy and forceful garage punk.

Earlier this month, I wrote about the Austin, TX-based punk quartet PLAX, and as you may recall, the band comprised of founding members Michael Goodwin, a member of the OBN IIIs and eeetsFEATS; Chris “Anton” Stevenson, a member of Spray PaintDikes of Holland and When Dinosaurs Ruled the Earth; Marley Jones, a member of the OBN IIIs and Sweet Talk; and newest recruit Victor Ziolkowski, a member of Skeleton and Nosferatu can trace their origins to when Goodwin approached his longtime friend Stevenston and current OBN IIIs bandmate Jones about the possibility of forming an unconventional, outsider punk band, inspired by  Wire and Dawn of Humans. The band’s founding trio quickly went to work writing songs for a demo — they eventually wrote 9 — but they felt were still in need of a vocalist to complete the project. At the time Marley was collaborating with David and Victor Ziolkowksi, the founding members and frontman of Skeleton, a constantly evolving project featuring the Ziolkowski Brothers and a rotating cast of collaborators and friends. Stevenson and Marley then recruited Victor Ziolkowski, who then finalized the project’s lineup.

Last July, the quartet played their first live show with  New Orleans punk act Patsy and they quickly followed that by playing with a number of national touring Texas-based bands including Crooked BangsInstitute and Army and others — and building upon the buzz they were receiving, the band went on a January 2017 tour throughout Texas. And although Stevenson has recently relocated to Melbourne, Australia, the band has continued writing, eventually finishing their full-length debut Clean Feeling, which is slated for an August 11, 2017 release through Super Secret Records. And from the album’s first single “Boring Story,” the band seems to specialize in the sort of scuzzy, sneering, garage punk that would be be perfectly at home on Goner Records or on Castle Face Records, complete with slashing power chords and punchily delivered vocals.

The album’s second and latest single “Night Watch” will further cement the quartet’s burgeoning reputation for crafting scuzzy and sneering, garage punk; however, the song possesses a nightmarish, tense, piss, vinegar, whiskey and PCP-fueled fury reminiscent of Ex-Cult’s Cigarette Machine and Negative Growth.  And much like its predecessor, it’s a cathartic, mosh pit worthy, barn-burner.

 

 

 

 

Over the past handful of years, I’ve written a handful of posts featuring the Cincinnati, OH-based, JOVM mainstay act The Afghan Whigs. Currently comprised of founding members Greg Dulli (guitar, vocals) and John Curley (bass) along  Jon Skibic (guitar), multi-instrumentalist Rick Nelson and Cully Symington (drums), the band can trace their origins to when its founding trio of Dulli, Curley and Steve Earle founded the band in 1986, after the breakup of Dulli’s previous band, The Black Republicans. Interestingly, the band has the distinction of being one of the first bands that Sub Pop Records signed outside of the Pacific Northwest, as well as being one of the more highly-regarded and critically applauded bands of the early 90s, with 1993’s Gentlemen landing at number 17 on The Village Voice‘s Pazz and Jop critics list and 1996’s Black Love, landing at number 79 on the Billboard Top 200 — all while going through several lineup changes. 

After the band’s initial breakup in 2001, the members of the band went on with other creative pursuits — with Dulli famously collaborating with Mark Lanegan in The Gutter Twins, his other post-Afghan Whigs project, The Twilight Singers and with a lengthy list of contemporary artists; however, the members of the band would occasionally reunite for a series of one-off shows and festivals sets that eventually lead to 2014’s Do To The Beast, which marked the band’s first proper release in over 16 years, and the band’s return to their original label home, Sub Pop Records. And while being one of my favorite albums that year — and one of the more forceful rock album of 2014 — the album’s material centered around Dulli’s long-held obsessions.

Released earlier this year, In Spades is the Cincinnati-based indie rock band’s second post-reunion album, and the album, which was produced by the band’s Greg Dulli reportedly finds the band emphasizing a decidedly populist, arena rock-leaning sensibility while retaining the urgent, dark and seductive sound they’ve long been known for; but with an underlying spectral vibe. ““It’s a spooky record,” Dulli remarks in press notes. “I like that it’s veiled. It’s not a concept album per se, but as I began to assemble it, I saw an arc and followed it. To me, it’s about memory — in particular, how quickly life and memory can blur together.”

Now, as you may recall, I wrote about the album’s first single “Demon In Profile,” a single that evokes the lingering ghosts of one’s life — but in particular, the electric touch of a lover’s skin against your own; that lover’s smell and taste, and the sense of irrevocable loss that permeates everything, once they’re no longer in your life. But interestingly enough, it may be the rare Afghan Whigs song that directly reveals a classic soul influence, as they paired their enormous sound with an explosive yet strutting horn line. The album’s second single “Oriole” featured Greg Dulli singing occult and death riddled lyrics paired with a lush and cinematic arrangement of acoustic guitar, xylophone and a soaring string section paired with a power chord-based anthemic, electric guitar-based hook — with the result being a song that meshes 60s bubble gum pop and 90s alt rock.

The Cincinnati, OH-based band’s latest single “You Want Love” was originally released by the New Orleans-based Pleasure Club on their second and final album together, and the Afghan Whigs’ rendition of the song features the song’s original vocal and songwriter James Hall — and interestingly enough, the song has become both a staple of their live set during their ongoing tour, and a tribute to the band’s Dave Rosser, who recently died after a battling colon cancer. As the band’s Greg Dulli has recently mentioned publicly, he and Rosser had been fans of the long defunct New Orleans-based band, and they had talked about covering the song for years; but they just never found the opportunity to put it on wax — until recently.  Of course, once you hear the original, you’ll know why Dulli and Rosser dug the song so much; it sounds and feels much like it should have been a Whigs song.
Next week will begin another extended leg of touring, which will have the band in Europe throughout August, including a stop at the gorgeous Paradiso in Amsterdam and a handful of festival sets, followed by some extensive North American touring, which will have the band playing Brooklyn Steel on September 16, 2017. Check out tour dates below.

Tour Dates
Aug. 04 – Vienna, AT – WUK
Aug. 05 – Prague, CZ – Lucerna Music Bar
Aug. 06 – Zurich, CH – Mascotte
Aug. 08 – Munich, DE – Backstage Halle
Aug. 09 – Amsterdam, NL – Paradiso
Aug 11 – Gothenburg, SE – Way Out West Festival
Aug 12 – Rees, DE – Haldern Pop Festival
Aug 13 – Helsinki, FL – Flow Festival
Aug 15 – Nottingham, UK – Rescue Rooms
Aug 16 – Leeds, UK – Church
Aug 17 – Brighton, UK – Concorde 2
Aug 19 – Kiewit, BE – Pukkelpop
Sep 06 – Orlando, FL – The Social
Sep 07 – Atlanta, GA – Terminal West
Sep 08 – Raleigh, NC – Hopscotch Music Festival
Sep 09 – Washington DC – 9:30 Club
Sep 11 – Richmond, VA – The National
Sep 12 – Philadelphia, PA – Union Transfer
Sep 14 – Boston, MA – Paradise
Sep 16 – Brooklyn, NY – Brooklyn Steel
Sep-18 – Montreal, QC – Theatre Fairmount
Sep 19 – Toronto, ON – Opera House
Sep 21 – Minneapolis, MN – First Ave
Sep 22 – Chicago, IL – Metro
Sep 23 – Chicago, IL – Metro
Sep 24 – Milwaukee, WI – Turner Hall
Sep 26 – Detroit, MI – St Andrews
Sep 28 – Cincinnati, OH – Bogarts
Sep 29 – Nashville, TN – Exit IN
Sep 30 – Birmingham, AL – Saturn
Oct 12 – San Diego, CA – Belly Up
Oct 13 – Los Angeles, CA – Fonda Theatre
Oct 14 – San Francisco, CA – The Fillmore
Oct 16 – Portland, OR – Wonder Ballroom
Oct 17 – Vancouver, BC – Rickshaw Theatre
Oct 18 – Seattle, WA – Showbox
Oct 19 – Salt Lake City, UT – Urban Lounge
Oct 21 – Denver, CO – Gothic Theatre
Oct 22 – Kansas City, MO – Record Bar
Oct 24 – Austin, TX – Mohawk
Oct 25 – Dallas, TX – Trees
Oct 26 – Houston, TX – Heights Theater
Oct 27-29 – New Orleans, LA – Voodoo Festival

 

Currently comprised of founding members Michael Goodwin, a member of the OBN IIIs and eeetsFEATS; Chris “Anton” Stevenson, a member of Spray Paint, Dikes of Holland and When Dinosaurs Ruled the Earth; Marley Jones, a member of the OBN IIIs and Sweet Talk; and Victor Ziolkowski, a member of Skeleton and Nosferatu, the Austin, TX-based punk quartet PLAX can trace its origins to last year, when founding member Goodwin approached his longtime friend Stevenson and current OBN IIIs bandmate Jones about the possibility of forming an outsider punk band that would defy all conventional expectations while being inspired by the likes of Wire and Dawn of Humans. The band’s founding trio quickly went to work writing songs for a demo — they eventually wrote 9 — but they felt were still in need of a vocalist to complete the project. At the time Marley was collaborating with David and Victor Ziolkowksi, the founding members and frontman of Skeleton, a constantly evolving project featuring the Ziolkowski Brothers and a rotating cast of collaborators and friends. And as the story goes, Stevenson and Marley approached Victor Ziolkowski to contribute his vocals, and when he agreed, the project’s lineup was finalized.

By the end of last July, the newly formed quartet had played their first show with New Orleans punk act Patsy and they quickly followed that by playing with a number of national touring Texas-based bands including Crooked Bangs, Institute and Army and others — and building upon the buzz they were receiving, the band went on a January 2017 tour throughout Texas. And although Stevenson has recently relocated to Melbourne, Australia, the band has continued writing and recording; in fact, as you’ll hear on “Boring Story” the first single off the quartet’s forthcoming full-length debut Clean Feeling, the band specializes in the sort of scuzzy, garage punk that would be at home on Goner Records or on Castle Face Records, complete with slashing power chords and punchily delivered vocals. Arguably, “Boring Story” is one of the most mosh pit worthy songs I’ve listened to in several months — and it reminds me of the sort of music I’d hear in countless dive bars and dank DIY spaces.

 

Now, if you’ve been frequenting this site over the past few years, you have most likely come across a handful of posts on Simon Green, a Brighton, UK-born, Los Angeles, CA-based DJ, producer, multi-instrumentalist, and electronic music artist, who has written, recorded and performed under the moniker of Bonobo. Interestingly, Green had long been considered part of a movement of producers, multi-instrumentalists and electronic music artists, who specialized in a sleek, hyper-modern and downtempo-leaning electronic music that included  Four Tet, Jon Hopkins, Caribou and others; however, with the release of his critically applauded 2013 release The North Borders Green revealed a decided change in his compositional approach in which he frequently paired electronic production with lush and stunning arrangements featuring organic instrumentation — wth the end result being a sound that possessed a cinematic quality.

The North Borders was also part of a larger, growing trend among many electronic music artists and producers to not only create a much more evocative and nuanced sound but an attempt to remind listeners, fans and critics that there was actual musicality within their productions besides a person haphazardly tapping away at a laptop or turning buttons and dials on a sampler or a processor.

Since the release of The North Borders, Green has been both extremely busy and rather prolific — he released the Flashlight EP at the end of 2014 while during what would turn out to be a two year period of intense touring across the globe. Green somehow managed to find the time to write and recored the material off his sixth full-length album Migration, which was released earlier this year. Naturally, with an album titled Migration, the material thematically focused on migration. As Green remarked in press notes “It’’s interesting how one person will take an influence from one part of the world and move with that influence and effect another part of the world. Over time, the identities of places evolve.” And as a result, the material seemed to possesses a transitory nature — some of the material, including album single “Kerala,” was initially composed while on the road and then was road-tested and revised during Stateside DJ sets. Adding to the album’s transitory nature, it featured guest spots from a number of artists, who have emigrated at some point themselves, including Canadian-born, Los Angeles-based vocalist Michael Milosh of Los Angeles-based indie pop act Rhye, who recorded his vocal tracks while in Berlin, Germany; Australian-born, Brooklyn-based global, indie pop sensation Nick Murphy, formerly known as Chet Faker, who bonded with the British producer over a shared love of disco; Florida-born, Los Angeles-based Nicole Miglis of Los Angeles-based act Hundred Waters; and the New York-based Moroccan collective Innov Gnawa among others. Adding to the album’s transitory nature, Green also employs the use of found sounds that include a Hong Kong elevator, rainfall in Seattle, an Atlanta-based tumble dryer and a New Orleans fan boat engine.

After completing successful tours across both the European Union and North America to support Migration, Green announced the release of a 3 song EP/single package that features album single “Bambro Koyo Ganda,” an analog version of “Bambro Koyo Ganda” that finds Green stripping the song’s production and sound to the bone — retaining a propulsive, undulating pulse and Moroccan-born, New York-based band Innov Gnawa’s vocals and handclap-led percussion, highlighting the hypnotic groove and vocals. EP closing track “Samurai” was written and recorded during the Migration sessions, and consists of a stuttering vocal sample floating over a sinuous production featuring shuffling drum programming and shimmering, subtly arpeggio synth and wobbling low end. And much like the material from the recording sessions it came from, the song should remind listeners of how much Green’s work draws from classic house and soul, while being paradoxically sensual, intimate and yet cinematic.

 

 

New Audio: North Mississippi Allstars’ Explosive Yet Moody Tribute to R.L. Burnside

Comprised of Hernando, MS-based sibling duo Luther (guitar, vocals) and Cody Dickinson (drums, piano, synth bass, programming and vocals), the sons of renowned pianist, vocalist and producer Jim Dickinson, North Mississippi Allstars are a critically applauded, commercially successful, multi Grammy Award- nominated, Grammy Award-winning Southern fried rock/blue duo celebrated their 20th anniversary together with a national victory-lap-like tour, and reportedly along the way, the duo booked studio time in Memphis, New Orleans, their father’s studio in Hernando, MS, and about six other cities, writing, tracking and recording their recently released eighth full-length effort Prayer for Peace, an album that finds the band based around the boogie blues and fuzzy funk of their live sets and a message of positivity, inclusion, hope and the power of familial bonds.

Co-produced by Boo Mitchell, and featuring guest spots from an incredible list of friends and associates including Oteil Burbridge, who has had stints with The Allman Brothers Band and Dead & Company; Grahame Lesh, a member of Midnight North and The Terrapin Family Band, vocalist Sharisse Norman, Dominic Davis, a member of Jack White’s backing band and Shardé Thomas, vocalist/fife player and daughter of Mississippi blues legend Otha Turner, Prayer for Peace features both original and covers and will further cement the band’s reputation for celebrating the blues’ legacy and history while pushing it into new, contemporary directions; in fact, the Electric Blue Watermelon: Screwed and Chopped EP found the band meshing the classic blues sound with Houston’s screwed and chopped hip-hop movement, creating a sound that was bluesy yet lysergic.

Interestingly enough, the first single off the Grammy Award-winning duo’s eighth full-length effort is a stomping, swaggering, arena rock-friendly cover of R.L. Burnside’s “Long Haired Donkey” that features explosive slide guitar riffs played through layers upon layers of effects and a tight groove. Reportedly, the song is a nod to the duo’s early years when fellow Mississippi bluesman R.L. Burnside took them under his wing. After Burnside’s death in 2005, the duo paid homage to their friend and mentor by adding “Long Haired Donkey” to their setlists, making it a live show staple before they officially put it on wax, 15 miles west of St. Francis Hospital where Burnisde spent his last days. And as a result, the recorded version possesses a moody and spectral vibe underneath the free-flowing, you-were-there improvised feel.

Live Footage: Preservation Hall Performs “Santiago” with Dave Grohl and the Late Show with Stephen Colbert Band with Jon Baptiste

Allan Jaffe founded Preservation Hall and Preservation Hall Jazz Band in the early 190s with two vital and critical missions: promoting and preservation New Orleans’ traditional jazz sound and culture with the authenticity and devotion it deserved and to ensure that some of New Orleans’ best musicians kept working at a time that jazz had steadily lost popularity. And although the band has gone through several lineup changes throughout its history, the act has proudly continued those missions, recording over 30 critically acclaimed albums, a live album and with a touring scheduling that has had the band collaborating with an incredibly diverse number of renowned and contemporary acts at concerts and festivals across the globe, helping to introduce and re-popularize the New Orleans jazz sound to concertgoers and music fans everywhere.

In the years after Hurricane Katrina devastated one of the world’s great musical cities, Preservation Hall Jazz Band, now lead by Allan Jaffe’s son Ben have continued their mission of promoting and preserving New Orleans’ jazz sound and culture — but with a decidedly modern take. Now, as you may know, Preservation Hall Jazz Band was recently in town to support the release of their second full-length album of original material So It Is with a packed house at Highline Ballroom and an appearance on Late Show with Stephen Colbert where they played the album’s fiery lead single “Santiago” with Jon Baptiste and his Late Show Band — and special guest, Dave Grohl, who was on the show to promote his new book with his mom, From Cradle to Stage.