Tag: Radiohead

Theodore is a critically applauded, Athens, Greece-based multi-instrumentalist, singer/songwriter and composer, whose schooling in piano and traditional Greek folk music eventually led to a professional music career in London, where he studied Music Composition in 2011. As a composer and singer/songwriter, Theodore meshes classical compositions and arrangements with subtle electronic production and rock instrumentation to create a sound that’s atmospheric, cinematic that nods at psych rock, prog rock and experimental rock — and it shouldn’t be surprising that the Greek composer, singer/songwriter and multi-instrumentalist cites Sigur Ros, Radiohead, Pink Floyd, Manos Hadjidakis, Vangelis Papathanasiou, Nils Frahm, The National, Olafur Arnalds and Max Richter as being major influences on his work and sound. “I like a composer or a band because when I listen to the music or attend a concert I am just getting lost in the atmosphere,” Theodore explains in press notes. “I understand that orchestral music is something that I am really into and I will try to test my self in the future.”

Theodore has written compositions for Matina Megla’s Window, Vladan Nikolic’s film Bourek and he was commissioned to write a new, live score for Buster Keaton’s classic, 1928 silent comedy The Cameraman, which he and his band performed during  a screening at the Temple of Zeus. But interestingly enough, his sophomore album It Is But It’s Not, which was performed live at London’s Abbey Road Studio 2 has been his breakthrough effort as the accompanying performance video has amassed more than 2 million YouTube views — and as a result, the Greek composer, singer/songwriter and multi-instrumentalist has played sets at some of the world’s biggest festivals, including Reeperhbahn Festival, Eurosonic Nooderslag, Release Festival and SXSW. Adding to a growing profile, he has opened for Sigur Ros and DIIV, and has received praise from a number of major media outlets, including Clash Magazine, Music WeekTsugi, FGUK, Gaffa and Szene, as well as airplay from BBC Radio 6 Music’s Lauren Laverne. Oh, and I must add that “Towards (for what is to come)” is currently playlisted on NPR’s All Songs 24/7 and Germany’s Flux Passport Approved.

Theodore’s third, full-length album Inner Dynamics is slated for a November 2, 2018 release and the album finds him thematically looking inward to examine the dichotomies (and dualities) of his identity in order to seek new creative potential. “On It Is But It’s Not, I tried to explore how the opposite elements in the universe interact, how they fight and how without the one you can’t have the other.” Theodore says, adding, “For Inner Dynamics, I was trying to express my urge to connect the conscious and subconscious part of myself so I can be creative. It’s an understanding that humans are not just one thing, and they shouldn’t try to hide certain elements of their personality because society likes to put labels of who we are. It’s the different sides of my self that makes who I am.” Inner Dynamics‘ third and latest single “Disorientation” clocks in at a little over 6 minutes, and it finds Theodore’s sound nodding at dramatic film scores, Kid A and Amnesiac-era Radiohead-like atmospherics, Pink Floyd’s Wish You Were Here and Rush-like prog rock expansiveness, centered around Theodore’s yearning vocals and slick production.

 

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Live Footage: Acclaimed and Up-and-Coming Austrian Artist Inner Tongue Performs “2 Seconds”

Inner Tongue is the (mostly) solo recording project of a rather mysterious Vienna, Austria-based singer/songwriter, composer and musician, who grew upon an intensely musical home — his father is a saxophonist, who constantly wrote songs, so musical instruments were always lying around and his parents frequently shared their favorite albums with him; in fact, Inner Tongue formed his first band when he was 6. “We started out using one of my dad’s synths to play a pre-programmed beat,” he recalls. “I’d sing something that sounded to us like English.” Unsurprisingly, the Austrian artist, who cites Bjork, Moby, Portishead, Micheal Jackson, Sonic Youth, Radiohead, Pet Shop Boys, Aphex Twin, and The Cure’s The Cure In Orange as influences — although those influences don’t quite correspond to his own sound and songwriting approach continued playing and writing music, playing in a small number of bands, including one that had briefly worked with Duran Duran and David Bowie’s producer before getting dropped by their label. 

Interestingly, with the release of some of his earliest solo work, the Austrian artist quickly garnered comparisons to James Blake, Childish Gambino, Frank Ocean, Death Cab for Cutie, Sohn, and Chet Faker/Nick Murphy. His quietly released yet critically applauded 2015 debut EP Tz Ka allowed him to open for the likes of Ghostpoet, Everything Everything and others. The Vienna, Austria-based singer/songwriter, composer, and musician’s full-length debut Favours was released earlier this year, and interestingly, the album’s overall sound and thematic concern is inspired by a deeply personal yet remarkable story. Back in 2013, Inner Tongue was diagnosed with a rare vocal-cord disorder that was so severe that only a handful of specialists throughout the entire world were capable of treating it; but eventually his condition required surgery, which left him, for a time unable to talk. Understandably, the months that followed the surgery were emotionally and physically shattering but he began composing music again.  At the time, singing was out of the question and as the Austrian singer/songwriter, composer and musician says in press notes, “I decided to modify my musical focus temporarily by writing songs which could produce a melodic tension without vocals, but which featured the traits of forward-looking pop music. It was as if someone had pressed a resent button on the musical identity I had of myself.” Adds Inner Tongue, “I used to layer many sounds and melodies before, and felt like I hid the core of any idea behind that technique.”

Some of the Austrian artist’s full-length debut was made at home with most recorded in a friend’s stood in Vienna. Foals’ John Catlin, who collaborated with him on his 2015 debut EP assisted once again although his involvement varied throughout; however, as Inner Tongue says, Catlin “was continually involved as a producer and friend,” who also mixed the album with some further overdubbing where necessary. As the Austrian artist readily admits, the entire experience of writing and recording his full-length debut provoked ” “a lot of soul searching, trying to become a better mixing engineer and producer. I’m somewhat controlling when it comes to my music, and I need to get the little details right.”

However, unlike his debut EP, Favours was more of a collaborative effort, as he shared his ideas with a collective of very dear and close friends. “All contributions are built on a vision I initially had and then gain shape during the process,” Inner Thought says. His live backing band contributed much of the music with his father playing sax on “New York.” The live version of “2 Seconds,” Favours’ latest single features a sparse yet soulful arrangement centered around twinkling Rhodes piano keys and Inner Thought’s achingly tender vocals, which manage to express a plaintive, vulnerable need. It’s a delicate, sensitive yet incredibly sexy song that balances earnest emotion with deliberate attention to craft. 

New Video: Acclaimed Alt Pop Artist Vilde Releases Tense and Unsettling Visuals for “Warm Milk”

Best known as the frontman of British-based indie act Kins, the Melbourne, Australia-born and now Stockholm, Sweden-based singer/songwriter, multi-instrumentalist, producer Thomas Savage received attention with his solo recording project Vilde, which found Savage’s sound and overall aesthetic drawing from Radiohead, Wild Beasts, TV on the Radio, BØRNS and Tim Hecker — but with a warm take to the moody atmospherics that he dubbed “study-dance.” Now, if you had been frequenting this site last year, you may recall that Savage’s full-length debut eschewed the traditional album release format in which an artist releases a few singles, then puts out an album several months later; rather, much like JOVM mainstays The Raveonettes and Rene Lopez, he released a new single off the album every single month, and one of those singles, the Kid A-era Radiohead-like “Maintain” was a bit more of an uptempo affair with arpeggiated synth chords, a propulsive rhythm section and Savage’s plaintive, falsetto vocals floating over an icy mix.

Thud is Savage’s first proper album, and the album which is slated for a July 13, 2018 release found the Australian-born, Swedish-based singer/songwriter, multi-instrumentalist and producer superimposing the album’s overarching themes onto the material’s lyrics — and as he explains in press notes, that was an altogether much more natural process. “I hadn’t any idea for a theme in the beginning, the conscious element in the process is quite limited. It’s mostly reliant upon feeling resonance in the words rather than a specific line of thought. Sometimes I bring in more conscious thinking, but if I really succeed, they somehow manage to fall into linear coherency. I’m in it for the feeling of experiencing and what poured out of me afterwards, rather than attempting to express any sort of certainty. If I was certain about something, I supposed it’d be better as a novel.” Interestingly, throughout the writing and recording of the album, there was a recurrent element — “our relationship to technology and social media. I feel like the record almost became a plea for people to down their phones and speak to each other, or to just sit and think,” Savage adds. “But if this is the future for us, one should just accept it right?”

“Warm Milk,” Thud’s latest single is centered around a propulsive, motorik-like groove, shuffling beats, shimmering electronics and Savage’s plaintive vocals — but unlike his previously released material, not only does the song bring Peter Gabriel 3 and Security-era Peter Gabriel, Barbarossa and others to my mind (at least to my ears), it’s a deeply unsettling track meant to evoke the creeping dread and anxiety of being alone — and yet, when we’re constantly plugged into the digital realm, we’re always alone and never truly connecting with others.

Created by Elin Ghersinich and Thomas Savage, the recently released video is claustrophobic and unsettling as its centered around imagery of liquids being poured — at one point, the aforementioned white milk but cut with footage of Savage shot in an tightly cropped closeups in a dark, almost dungeon-like bathroom, full of self-loathing, regret and desperate loneliness. When we see Savage, it’s much like seeing a man struggling with his own warped, fractured psyche and emotions — and losing.

New Audio: JOVM Mainstays Hearts Hearts Release Symbolism-Filled, Animated Visuals for “Sugar/Money”

Over the past couple of years, I’ve written quite a bit about the Vienna, Austria-based indie rock/experimental rock band Hearts Hearts, and as you may recall, with the release of  “I Am In” and “AAA” off their critically applauded debut album Young,  the Austrian act, comprised of David Österle, Daniel Hämmerle, Johannes Mandorfer, and Peter Paul Aufreitet, initially developed a reputation for crafting brooding, slow-burning and elegiac electro pop that drew comparisons to the likes Sigur Ros, Flying Lotus, The Darcys and Radiohead from critics and media outlets internationally. 

As the story goes, after the release of Young, the band’s Peter Paul Aufreiter and Johannes Mandorfer sent two radically different sound snippets to their bandmate David Österle — an aggressive and jazzy piano loop titled “Phantom” and an electronic drum take recorded overseas titled “Island,” which interestingly enough is the German word for the country of Iceland. Upon receiving those two sound snippets from his bandmates, Österle frantically began attempting to put these disparate pieces together; to synchronise what was never meant to be unified, and then started singing over the results. Goods/Gods, the Austrian act’s genre-defying sophomore album reportedly draws from the work of Bon Iver, Jamie XX and Son Lux while taking its thematic cues from the in between spaces and undefined borderlines in meaning, symbolized by the slash in every title on the album. And as a result, the material finds the band exploring emotional and moral ambiguities, and the ineffectiveness and confusions that the dichotomies and borderlines that define modern society. As the band’s Hämmerle says, the band prefers to think “think in options,” seeing the slash as representing an openness and flexibility in meaning; in similarities as much as in difference.

Earlier this year, I wrote about the aforementioned album single “Phantom/Island,” a wildly experimental track that possessed elements of jazz, electronica, indie rock and experimental pop in a way that brings to mind Kid A and Amnesiac-era Radiohead, Flying Lotus and Kamasi Washington— but while conjuring a mix of anguish and ecstasy, yearning and desire within a turn of a musical phrase. “Sugar/Money,” the  album’s latest single is a bit more straightforward than some of its predecessors as the song finds the band drawing from early 80s New Wave, ambient electronica and indie rock in a way that feels dimly familiar but not quite, while focusing on an accessible and infectious hook that gives the song a sense of immediacy. As the band’s frontman David Österle says in press notes, “Living sometimes seems to be a permanent process of self-discipline. We are all constantly running for a jam tomorrow. Sugar keeps us highly energetic. Life doesn’t encourage us to experience the future as a blind joyride. Let’s catch some moments of exhilaration, damn, let’s feel the thrill of immediateness.”

Created by Shorsch Feierfeil, the recently released video for “Sugar/Money” employs the use of incredibly fluid line animations that quickly morph into different arrays of symbolic imagery  that further emphasizes the song’s longing. 

New Video: Austria’s Hearts Hearts Release Gorgeously Shot Surreal Visuals for Album Title Track “Goods/Gods”

With the release of “I Am In” and “AAA” off their critically applauded debut album Young, the  Vienna, Austria-based quartet Hearts Hearts, comprised of  David Österle, Daniel Hämmerle, Johannes Mandorfer, and Peter Paul Aufreitet, initially developed a reputation for crafting brooding, slow-burning and elegiac electro pop that drew comparisons Sigur Ros, Flying Lotus, The Darcys and Radiohead among others. Thematically, Young focused on tension and release — in the sense of someone desperately attempting to break through and out of the familiar and debilitating patterns of their own life.

After Young’s release, the band’s Peter Paul Aufreiter and Johannes Mandorfer sent two radically different sound snippets to their bandmate David Österle — an aggressive and jazzy piano loop titled “Phantom” and an electronic drum take recorded overseas titled “Island,” which interestingly enough is the German word for the country of Iceland. Upon receiving those two sound snippets from his bandmates, Österle frantically began attempting to put these disparate pieces together; to synchronise what was never meant to be unified, and started singing over it. It resulted in the Austrian act’s highly-anticipated, genre-defying sophomore album officially drops today, and the album reportedly finds the band drawing sonically from Bon Iver, Jamie XX and Son Lux while thematically focusing on the in between spaces and undefined borderlines in meaning, symbolized by the slash on all of the album’s song titles. Interestingly, the material finds the band exploring emotional and moral ambiguities, and the ineffectiveness and confusions that dichotomies and borderlines that define modern society. As the band’s Hämmerle says, the band prefers to think “think in options,” seeing the slash as representing an openness and flexibility in meaning; in similarities as much as in difference.

Earlier this year, I wrote about “Phantom/Island” a genre-mashing and genre-defying track that possessed elements of jazz, electronica, indie rock and experimental pop in a way that brings to mind Kid A and Amnesiac-era Radiohead, Flying Lotus, and Kamasi Washington  and “Sugar/Money,” Goods/Gods’ most straightforward track as there’s a decided focus on accessible and infectious hooks while nodding at early 80s New Wave. Goods/Gods’ latest single, album title track “Goods/Gods” is centered around stuttering beats, an arpeggiated synth loop, some industrial clang and clatter, while revealing soaring hooks and a tight groove within a song that sounds deeply indebted to Flying Lotus. 

Directed by Rupert Höller, the recently released video for “Goods/Gods” continues a run of gorgeous and cinematically shot and surrealistic visuals — in particular, the new video balances a hypnotic vibe with a contemporary sense of isolation and anxiousness. 

 

Deriving their name from a Vladimir Nabokov short story about a voyager, who finds a place so beautiful that he wants to spent his life there, before being cruelly dragged back to reality, the Dublin, Ireland-based act Cloud Castle Lake, currently comprised of Daniel McAuley (vocals, synths), Brendan William Jenkinson (guitar, piano), Rory O’Connor (bass), Brendan Doherty (drums), and a rotating cast of collaborators, friends and associates received attention with their 2014 self-released debut EP Dandelion, an effort that found the Irish pop act juxtaposing dark, despairing lyrics with a euphoric catharsis that’s largely influenced by the work of  Alice Coltrane and Pharaoh Sanders. Adding to a growing profile, the band has opened for touring acts such as GlasserLisa Hanningan and Ultraisa.

Now, if you’ve been frequenting this site over the past few months, you’d recall that late last year, I wrote about the Dublin, Ireland-based act’s breathtakingly gorgeous Amnesiac-era Radiohead-like single “Bonfire,” and the cinematic, Tales of Us-era Goldfrapp and Ennio Morricone soundtrack-like “Twins” off the band’s forthcoming, highly anticipated-Rob Kirwan-produced debut album, Malingerer both of which prominently feature McAuley’s achingly tender falsetto. Slated for an April 20, 2018 release through Bright Antenna Records, Cloud Castle Lake’s full-length debut reveals an act writing their most ambitious and thought provoking material to date, making the album a gorgeous and transcendent statement of intent, and the album’s first official single, album title track “Malingerer,” which was released earlier this year is a cinematic and expansive track that draws from from the cosmic jazz explorations of John Coltrane, Pharaoh Sanders and Sun RaAmnesiac-era Radiohead and Sigur Ros — but with an unusual song structure that features several sections that manage to simultaneously be discordant yet flow into each other.

“Genuflect,” Malingerer‘s latest single continues in a similar, stunningly gorgeous and cinematic vein as its predecessors, as it’s based around McAuley’s aching and tender falsetto and an arrangement featuring shimmering guitar chords, an angular yet propulsive rhythm section, and a jazz-like horn section wailing along with McAuley towards the song’s cathartic conclusion. Certainly, this single will further cement the Irish band’s growing reputation for crafting transcendent (and otherworldly) material, centered around a unique and profound artistic vision.

 

Live Footage: Hearts Hearts Perform “Sugar/Money” at Hotel am Brillantengrund, Vienna

With the release of “I Am In” and “AAA” off their critically applauded debut album Young, the  Vienna, Austria-based quartet Hearts Hearts, comprised of  David Österle, Daniel Hämmerle, Johannes Mandorfer, and Peter Paul Aufreitet, initially developed a reputation for crafting brooding, slow-burning and elegiac electro pop that drew comparisons Sigur Ros, Flying Lotus, The Darcys and Radiohead. Thematically, Young focused on tension and release — in the sense of someone desperately attempting to break through and out of the familiar and debilitating patterns of their own life. 

As the story goes, after the release of Young, the band’s Peter Paul Aufreiter and Johannes Mandorfer sent two radically different sound snippets to their bandmate David Österle — an aggressive and jazzy piano loop titled “Phantom” and an electronic drum take recorded overseas titled “Island,” which interestingly enough is the German word for the country of Iceland. Upon receiving those two sound snippets from his bandmates, Österle frantically began attempting to put these disparate pieces together; to synchronise what was never meant to be unified, and start singing over the results. Goods/Gods, the Austrian act’s genre-defying sophomore album reportedly draws from the work of Bon Iver, Jamie XX and Son Lux while taking its thematic cues from the in between spaces and undefined borderlines in meaning, symbolized by the slash in every title on the album. And as a result, the material finds the band exploring emotional and moral ambiguities, and the ineffectiveness and confusions that the dichotomies and borderlines that define modern society. As the band’s Hämmerle says, the band prefers to think “think in options,” seeing the slash as representing an openness and flexibility in meaning; in similarities as much as in difference.

Now, as you may recall, I wrote about the trippy album single “Phantom/Island,” a genre-mashing and genre-defying track that possessed elements of jazz, electronica, indie rock and experimental pop in a way that brings to mind Kid A and Amnesiac-era Radiohead Flying Lotus and Kamasi Washington — but while conjuring a mix of anguish and ecstasy, yearning and desire within a turn of a musical phrase. “Sugar/Money,” the soon-to-be released album’s latest single is a bit more straightforward as the song finds the band drawing from early 80s New Wave, ambient electronica and indie rock in a way that feels dimly familiar but not quite, while focusing on an accessible and infectious hook. 

New Video: JOVM Mainstays No Joy with Sonic Boom Release Surreal and Experimental Visuals for Their Most Unusual Song To Date

Now, if you’ve been frequenting this site over the past year or so, you would have seen that I’ve written quite a bit about Montreal, Quebec, Canada-based shogeaze duo No Joy, and as you may recall, the duo, which is comprised of primary songwriter Jasamine White-Gluz and Laura Lloyd can trace their origins to when White-Gluz, who was then living in Los Angeles began collaborating with the Montreal-based Lloyd via email — and their collaboration eventually lead to White-Gluz returning to Montreal, so that they could play their first show, with Husker Du’s Grant Hart. As the story goes, after that show, White and Gluz continued collaborating, playing a number of shows locally, including with Best Coast, whose frontwoman Bethany Cosentino became an early champion of the act. 

Building upon the growing buzz surround the Montreal-based duo, White-Gluz and Lloyd signed to renowned indie label Mexican Summer, who released their debut 7 inch single “No Summer”/”No Joy,” an effort that allowed them to book their own national headlining tour with Katy Goodman’s, La Sera. The 7 inch quickly sold out, and by November 2010, the duo released their full-length debut Ghost Blonde to critical praise from the likes of Pitchfork, AllMusic.com, The New York Times, Brooklyn Vegan, The Guardian and others. No Joy followed that with the British release of the “Hawaii” 7 in, a release that featured a remix of “Indigo Child,” by Stereolab‘s Tim Gane, which they supported with a UK tour with  Surfer Blood, an opening spot in London for Wire, and an appearance at Barcelona’s Primavera Sound Festival.

The  members of No Joy spent the better part of 2011 touring across North America — and it included a busy SXSW schedule, a tour with Vivian Girls, and a co-headling tour with Marnie Stern with whom they released a split single, which featured No Joy’s cover of the Shangri-La’s “He Cried.” Since then, the band has released 2012’s Negaverse EP and Wait to Pleasure, 2013’s Pastel and Pass Out EP, 2015’s More Faithful, 2016’s Drool Sucker, the first of a planned series of EPs and last year’s Creep, which was released through the band’s new label Grey Market Records.

Interestingly, this year finds No Joy’s White-Gluz collaborating with Spacemen 3‘s and E.A.R.’s Sonic Boom (a.k.a. Peter Kember), and although the collaborators can’t accurately remember how they met or when they met, what they do clearly remember is that the idea of collaborating together was brought up in an email exchange back in 2015. At the time, No Joy had finishing touring to support their third album More Faithful, an album that the duo has considered one of their most difficult and demanding efforts they’ve worked on together, and White-Gluz was eager to try new ideas and do something different. “No Joy functioned as a four-piece ‘rock band’ for so long,” White-Gluz explains in press notes. “I wanted to pursue something solo where I collaborated with someone else who could help me approach my songs from a completely different angle. Pete is a legend and someone I’ve admired for a long time. Being able to work with him on this was incredible.”

Initially, the collaboration began as a bit of exploration between two friends, who admired each other’s work with each one passing songs back and and forth with White-Gluz writing and producing songs in her hometown of Montreal and Kember writing, arranging, and producing in Portugal. The end result was their collaborative EP together — four tracks that reportedly walk the tightrope between electronica, trip hop and experimental noise.  As White-Gluz says in press notes, “I wrote some songs that were intended for a full band and handed them off to Pete, who helped transform them. I barely knew how to use MIDI so I was just throwing him these experiments I was working on and he fine-tuned my ideas. There are barely any guitars on this album, because I was focused on trying to find new ways to create sounds.”

The EP’s latest single “Triangle Probably,” continues in a similar vein as its immediate predecessor “Slorb,” as it features a minimalist production featuring swirling wobbling electronics, twinkling and droning synths and industrial clang and clatter paired with  Gluz-White’s ethereal crooning, which make the song one of the most experimental songs not the EP, as it finds the duo nodding at Amnesiac and Kid A-era Radiohead — but with murky feel. 

Created by Jacob Cooper and Ride or Cry, the recently released video for “Triangle Probably,” features live screen grabs from independent, open source and free Unity/3D simulators and the hodgepodge nature further emphasizes the experimental tone and vibe of the song.

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.