Tag: The Internet

Thundercat · Dragonball Durag (Remix) [feat. Guapdad 4000 & Smino]

Throughout the course of this site’s almost 10 year history  I’ve managed to spill quite a bit of virtual ink covering the critically applauded, Grammy Award-wining singer/songwriter, bassist and JOVM mainstay artist Stephen “Thundercat” Bruner. Bruner has long been a Brainfeeder Records cornerstone, releasing critically applauded material including  Golden Age of Apocalypse, 2013’s Apocalypse, 2015’s The Beyond/Where Giants Roam EP and 2017’s Drunk while also establishing himself as a highly sough-after collaborator, contributing to Kamasi Washington’s aptly titled 2015 effort, The Epic and to Kendrick Lamar‘s 2016 commercial and critical smash hit, the Grammy Award winning To Pimp A Butterfly. And in 2018, he teamed up with Flying Lotus to compose an original score for an episode of Donald Glover’s Golden Globe and Emmy Award-winning TV series Atlanta.

Drunk, Bruner’s most recent album was conceived and written as an epic journey into the bizarre, hilarious and sometimes dark mind of the Grammy Award-winning singer/songwriter and bassist, but importantly, the album represented a major career transition — from virtuoso bassist and collaborator, to globally recognized star while further cementing his reputation for arguably being one of the past decade’s most unique, genre-defying voices. Thundercat’s fourth full-length album, the Flying Lotus-produced It Is What It Is was released earlier this year through Brainfeeder Records. Much like its immediate predecessor, the album features a who’s who list of collaborators and guest spots from the likes of Ty Dolla $ign, Childish Gambino, Lil B, Kamasi Washington, The Internet‘s Steve Lacy, Slave‘s Steve Arrington, BADBADNOTGOOD, Louis Cole and Zack Fox among others.

“This album is about love, loss, life and the ups and downs that come with that,” Bruner says in press notes. “It’s a bit tongue-in-cheek, but at different points in life you come across places that you don’t necessarily understand… some things just aren’t meant to be understood.”

It Is What It Is‘ second single, “Dragonball Durag” is a mid-tempo strut of a song centered around Bruner’s chunky and wobbling bass lines and his velvety falsetto — and while recalling Quiet Storm-era funky soul, the song is mischievous and funny song that details its creator’s sense of humor and obsession with Dragon Ball Z and the confidence boosting power of the durag.

“I have a Dragon Ball tattoo… it runs everything. There is a saying that Dragon Ball is life,” Bruner explains. As for the durag: “There are two types of people in the world, the guy with the durag and the guy who doesn’t know what a durag is. The durag is a superpower, to turn your swag on… it does something, it changes you. If you have one in the wardrobe, think about wearing it tonight, and it may pop off because you never know what’s going to happen.”

Thundercat’s fourth album was released to widespread critical applause earlier this year and continuing the momentum as best as he could in light of pandemic-related lockdowns, the JOVM recently released a remix of “Dragonball Durag,” that features St. Louis emcee and vocalist Smino and Los Angeles-based emcee, vocalist, creative and like-minded anime fanatic Guapdad 4000. Smino is the co-founder of the Zero Fatigue collective, which features Bari, Monte Booker, Jay2 and Rayvn Layne — and he’s a member of of Ghetto Sage with Saba and Noname. Gaupdad 4000 and Smino are also members of hip-hop supergroup Zoink Gang with JID and Buddy. So all of these brothers are insanely busy. As far as the remix, it’s a straightforward take on the song that with the addition of Guapdad and Smino’s verses, add a new and ridiculous context to the song.  The swag is more, the fuckboi assholery is more and it’s fucking hilarious.

 

 

 

James Chatburn is a rapidly rising Sydney-born, Berlin-based singer/songwriter and producer. With the release of his first two EPs -which he followed with  a string of critically applauded and commercially successful collaborations, including Aussie hip-hop act’s Hilltop Hoods‘ certified Gold single “Higher,” the Aussie-born, German-based singer/songwriter and producer quickly established himself as one of the contemporary soul’s hottest new talents, developing a sound that seamlessly meshes elements of soul, blues, contemporary electro pop and neo soul. Adding to growing profile, Chatburn has toured with Jordan Rakei and The Internet.

Chatburn’s highly-anticipated full-length debut, Fable is slated for release later this year, and the album reportedly finds the Sydney-born, Berlin-based artist further establishing the warm, soulful sound that has won him attention internationally in the contemporary soul scene — but while pushing his sound in a subtly psychedelic direction. The album sonically draws from Unknown Mortal Orchestra, D’angelo, Donny Hathaway and Shuggie Otis among others. Interestingly, the album’s latest single “In My House” is centered around a two-step inducing groove featuring sinuous bass lines, shimmering and reverb-drenched guitars and thumping beats paired with Chatburn’s gravelly and effortlessly soulful vocals. While decidedly a warm and vibey neo-soul song, the song is centered around introspective and earnest songwriting.

“This piece asks the question of who we allow into our lives and why we do so, the ones which we allow close can leave so much behind when they dive into our being, so it is wise to be careful,” Chatburn explains in press notes. “The song came together quicker then any other song I have ever written, Ironically I used the chopped up recorded drums from another song which was supposed to be included on the upcoming Album Faible, a song I reformatted and re-wrote 4 times to be left discarded. All of the other instruments and vocals are the original recordings from the first day of writing.”

 

 

 

New Video: JOVM Mainstay Thundercat Releases a Hilarious Visual for Shimmering and Funky Jam “Dragonball Durag”

Throughout the course of this site’s almost 10 year history  I’ve managed to spill quite a bit of virtual ink covering the critically applauded, Grammy Award-wining singer/songwriter, bassist and JOVM mainstay artist Stephen “Thundercat” Bruner. Bruner has long been a Brainfeeder Records cornerstone, releasing critically applauded material including  Golden Age of Apocalypse, 2013’s Apocalypse, 2015’s The Beyond/Where Giants Roam EP and 2017’s Drunk while also establishing himself as a highly sough-after collaborator, contributing to Kamasi Washington’s aptly titled 2015 effort, The Epic and to Kendrick Lamar‘s 2016 commercial and critical smash hit, the Grammy Award winning To Pimp A Butterfly. And in 2018, he teamed up with Flying Lotus to compose an original score for an episode of Donald Glover’s Golden Globeand Emmy Award-winning TV series Atlanta.

Drunk, Bruner’s most recent album was conceived and written as an epic journey into the bizarre, hilarious and sometimes dark mind of the Grammy Award-winning singer/songwriter and bassist, but importantly, the album represented a major career transition — from virtuoso bassist and collaborator, to globally recognized star while further cementing his reputation for arguably being one of the past decade’s most unique, genre-defying voices. Thundercat’s fourth full-length album, the Flying Lotus-produced It Is What It Is is slated for an April 3, 2020 release through Brainfeeder Records. Much like its immediate predecessor, the album features a who’s who list of collaborators and guest spots from the likes of Ty Dolla $ign, Childish Gambino, Lil B, Kamasi Washington, The Internet‘s Steve Lacy, Slave‘s Steve Arrington, BADBADNOTGOOD, Louis Cole and Zack Fox among others.

“This album is about love, loss, life and the ups and downs that come with that,” Bruner says in press notes. “It’s a bit tongue-in-cheek, but at different points in life you come across places that you don’t necessarily understand… some things just aren’t meant to be understood.”

Earlier this year, I wrote about “Black Qualls,” It Is What It Is‘ first single, which found Bruner teaming up with Slave’s Steve Arrington and The Internet’s Steve Lacy on a strutting and strolling pimp bop, centered around Bruner’s sinuous bass lines, four-on-the-floor drumming and an infectious hook. The end result is a song that manages to be classic Thundercat while sounding as though it could have been on Slave’s Just a Touch of Love. The album’s second and latest single “Dragonball Durag” is a mid-tempo strut of a song centered around Bruner’s chunky and wobbling bass lines and his velvety falsetto — and while recalling Quiet Storm-era funky soul, the song is mischievous and funny song that details its creator’s sense of humor and obsession with Dragon Ball Z and the confidence boosting power of the durag.

“I have a Dragon Ball tattoo… it runs everything. There is a saying that Dragon Ball is life,” Bruner explains. As for the durag: “There are two types of people in the world, the guy with the durag and the guy who doesn’t know what a durag is. The durag is a superpower, to turn your swag on… it does something, it changes you. If you have one in the wardrobe, think about wearing it tonight, and it may pop off because you never know what’s going to happen.”

Directed by Zack Fox, the recently released video features cameos from HAIM, Kali Uchis, and Quinta Brunson and stars Bruner, as a desperate and impossibly horny loser, who stumbles upon the titular durag, and when he puts it on, he unleashes his newfound mojo and attempts to charms the ladies in a hilariously awkward and creepy fashion. And although he constantly gets rejected, he never lets it dull his spirit or his hopes.  

Throughout the course of this site’s almost 10 year history  I’ve managed to spill quite a bit of virtual ink covering the critically applauded, Grammy Award-wining singer/songwriter, bassist and JOVM mainstay artist Stephen “Thundercat” Bruner. Bruner has long been a Brainfeeder Records cornerstone, releasing critically applauded material including  Golden Age of Apocalypse, 2013’s Apocalypse, 2015’s The Beyond/Where Giants Roam EP and 2017’s Drunk while also establishing himself as a highly sough-after collaborator, contributing to Kamasi Washington’s aptly titled 2015 effort, The Epic and to Kendrick Lamar‘s 2016 commercial and critical smash hit, the Grammy Award winning To Pimp A Butterfly. And in 2018, he teamed up with Flying Lotus to compose an original score for an episode of Donald Glover’s Golden Globe and Emmy Award-winning TV series Atlanta.

Drunk, Bruner’s most recent album was conceived and written as an epic journey into the bizarre, hilarious and sometimes dark mind of the Grammy Award-winning singer/songwriter and bassist, but importantly, the album represented a major career transition — from virtuoso bassist and collaborator, to globally recognized star while further cementing his reputation for arguably being one of the past decade’s most unique, genre-defying voices. Thundercat’s fourth full-length album, the Flying Lotus-produced It Is What It Is is slated for an April 3, 2020 release through Brainfeeder Records. Much like its immediate predecessor, the album features a who’s who list of collaborators and guest spots from the likes of Ty Dolla $ign, Childish Gambino, Lil B, Kamasi Washington, The Internet‘s Steve Lacy, Slave‘s Steve Arrington, BADBADNOTGOOD, Louis Cole and Zack Fox among others.

“This album is about love, loss, life and the ups and downs that come with that,” Bruner says in press notes. “It’s a bit tongue-in-cheek, but at different points in life you come across places that you don’t necessarily understand… some things just aren’t meant to be understood.”

Earlier this year, I wrote about “Black Qualls,” It Is What It Is‘ first single, which found Bruner teaming up with Slave’s Steve Arrington and The Internet’s Steve Lacy on a strutting and strolling pimp bop, centered around Bruner’s sinuous bass lines, four-on-the-floor drumming and an infectious hook. The end result is a song that manages to be classic Thundercat while sounding as though it could have been on Slave’s Just a Touch of Love. The album’s second and latest single “Dragonball Durag” is a mid-tempo strut of a song centered around Bruner’s chunky and wobbling bass lines and his velvety falsetto — and while recalling Quiet Storm-era funky soul, the song is mischievous and funny song that details its creator’s sense of humor and obsession with Dragon Ball Z and the confidence boosting power of the durag.

“I have a Dragon Ball tattoo… it runs everything. There is a saying that Dragon Ball is life,” Bruner explains. As for the durag: “There are two types of people in the world, the guy with the durag and the guy who doesn’t know what a durag is. The durag is a superpower, to turn your swag on… it does something, it changes you. If you have one in the wardrobe, think about wearing it tonight, and it may pop off because you never know what’s going to happen.”

The JOVM mainstay will be embarking on a lengthy international tour that includes a March 24, 2020 stop at Webster Hall. Check out the tour dates below. 

Tour Dates:

2/28     Vancouver, BC – Vogue Theatre

2/29     Portland, OR – PDX Jazz Festival 

3/02     Seattle, WA – Showbox SoDo

3/03     Arcata, CA – Van Duzer Theatre

3/04     Chico, CA – Senator Theatre

3/06     Oakland, CA – Fox Theater

3/07     Los Angeles, CA – The Wiltern

3/08     Santa Ana, CA – The Observatory North Park

3/10     Phoenix, AZ – The Van Buren

3/12     Denver, CO – Ogden Theatre

3/13     Omaha, NE – Slowdown

3/14     Minneapolis, MN – The Fillmore

3/15     Chicago, IL – Riviera Theatre

3/17     Detroit, MI – Majestic Theatre

3/18     Toronto, ON – Queen Elizabeth Theatre

3/19     Montreal, QC – Corona Theatre

3/21     Boston, MA – House of Blues

3/22     Philadelphia, PA – The Fillmore

3/24     New York, NY – Webster Hall

3/28     Silver Spring, MD – The Fillmore Silver Spring

3/29     Knoxville, TN – Big Ears Festival

3/31     Nashville, TN – Marathon Music Works

4/1       Asheville, NC – The Orange Peel

4/2       Atlanta, GA – Variety Playhouse

4/9       London, UK – Roundhouse

4/11     Manchester, UK – Academy

4/14     Amsterdam, NL – Paradiso

4/15     Paris, FR – Elysée Montmartre

4/17     Berlin, DE – Astra

Throughout the course of this site’s nearly 10 year history — we turn 10 in June — I’ve managed to spill quite a bit of virtual ink covering the critically applauded, Grammy Award-wining singer/songwriter, bassist and JOVM mainstay artist Stephen “Thundercat” Bruner. Bruner has long been a Brainfeeder Records cornerstone, releasing critically applauded material including  Golden Age of Apocalypse, 2013’s Apocalypse, 2015’s The Beyond/Where Giants Roam EP and 2017’s Drunk while also establishing himself as a highly sough-after collaborator, contributing to Kamasi Washington’s aptly titled 2015 effort, The Epic and to Kendrick Lamar‘s 2016 commercial and critical smash hit, the Grammy Award winning To Pimp A Butterfly. And in 2018, he teamed up with Flying Lotus to compose an original score for an episode of Donald Glover’s Golden Globe and Emmy Award-winning TV series Atlanta.

Drunk, Bruner’s most recent album was conceived and written as an epic journey into the bizarre, hilarious and sometimes dark mind of the Grammy Award-winning singer/songwriter and bassist, but importantly, the album represented a major career transition — from virtuoso bassist and collaborator, to globally recognized star while further cementing his reputation for arguably being one of the past decade’s most unique, genre-defying voices. Thundercat’s fourth full-length album, the Flying Lotus-produced It Is What It Is is slated for an April 3, 2020 release through Brainfeeder Records. Much like its immediate predecessor, the album features a who’s who list of collaborators and guest spots from the likes of Ty Dolla $ign, Childish Gambino, Lil B, Kamasi Washington, The Internet‘s Steve Lacy, Slave‘s Steve Arrington, BADBADNOTGOOD, Louis Cole and Zack Fox among others.

“This album is about love, loss, life and the ups and downs that come with that,” Bruner says in press notes. “It’s a bit tongue-in-cheek, but at different points in life you come across places that you don’t necessarily understand… some things just aren’t meant to be understood.”

“Black Qualls,” It Is What It Is‘ first single finds Bruner teaming up with Slave’s Steve Arrington and The Internet’s Steve Lacy on a strutting and strolling pimp bop, centered around Bruner’s imitable and dexterous bass lines, four-on-the-floor drumming and a sinuous hook. And as result, the song manages to be a bit of classic Thundercat that finds the JOVM mainstay lovingly highlighting his influences in a mischievously anachronistic fashion: in some way, it sounds as though it could have been on Slave’s Just a Touch of Love and any of Thundercat’s albums simultaneously. But importantly, the song touches on something deeply personal and familiar to me — what it means and feels to be, as the great Nina Simone once sang “young, gifted and Black.” And as Bruner adds, “What it feels like to be in this position right now… the weird ins and outs, we’re talking about those feelings… Part of me knew this [track] was where Steve [Arrington] left us.”

The song emerged from writing sessions with Lacy, whom Thundercat describes as “the physical incarnate of Ohio Players in one person: he is genuinely one funky ass dude.”

The JOVM mainstay will be embarking on a lengthy international tour that includes a March 24, 2020 stop at Webster Hall. Check out the tour dates below. 

Tour Dates:

2/28     Vancouver, BC – Vogue Theatre

2/29     Portland, OR – PDX Jazz Festival 

3/02     Seattle, WA – Showbox SoDo

3/03     Arcata, CA – Van Duzer Theatre

3/04     Chico, CA – Senator Theatre

3/06     Oakland, CA – Fox Theater

3/07     Los Angeles, CA – The Wiltern

3/08     Santa Ana, CA – The Observatory North Park

3/10     Phoenix, AZ – The Van Buren

3/12     Denver, CO – Ogden Theatre

3/13     Omaha, NE – Slowdown

3/14     Minneapolis, MN – The Fillmore

3/15     Chicago, IL – Riviera Theatre

3/17     Detroit, MI – Majestic Theatre

3/18     Toronto, ON – Queen Elizabeth Theatre

3/19     Montreal, QC – Corona Theatre

3/21     Boston, MA – House of Blues

3/22     Philadelphia, PA – The Fillmore

3/24     New York, NY – Webster Hall

3/28     Silver Spring, MD – The Fillmore Silver Spring

3/29     Knoxville, TN – Big Ears Festival

3/31     Nashville, TN – Marathon Music Works

4/1       Asheville, NC – The Orange Peel

4/2       Atlanta, GA – Variety Playhouse

4/9       London, UK – Roundhouse

4/11     Manchester, UK – Academy

4/14     Amsterdam, NL – Paradiso

4/15     Paris, FR – Elysée Montmartre

4/17     Berlin, DE – Astra

 

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 Video: Montreal’s Planet Giza Release a Lysergic Visual for “Ace Boogie Energy”

Up-and-coming Montreal-based hip-hop and production trio Planet Giza — comprised of Rami B, Tony Stone and Dumix — have released a series of efforts over the last couple of years, including last year’s ZZZ EP. Sonically, the trio effortlessly meshes elements of hip-hip, soul and funk into a unique sound that clearly nods to the past, but with a look towards the future, all while reflecting their multi-cultural backgrounds. Naturally, the trio cite the diversity of their hometown, as well as their widely-varying musical influences that inlaced Lil Boosie, Madlib, Roy Ayers, Michael Jackson and others. And as a result some critics have said that their sound easily sits with contemporaries such as The Internet, Kaytranada (who they collaborated with on “Domina”) and Godlink. 

The Montreal hip hop and production trio’s latest effort, the recently released Added Sugar is reportedly the trio’s most versatile release to date, as the material finds the members of Planet Giza crafting an effortlessly meshing elements of R&B, electro pop, hip-hop and others into a sleek and lushly texture sound paired with dexterous and perfectly delivered bars. Additionally, the Canadian hip-hop and production trio collaborate with Mick Jenkins and Kaytranada, who co-produced a track on the effort. (The trio also produced Goldlink’s “Ridd,” which the artist performed earlier this week on The Tonight Show Starring Jimmy Fallon.) 

Added Sugar’s latest single “Ace Boogie Energy” is centered around a lush, sleek and incredibly hyper modern production featuring shimmering and atmospheric synths, stuttering hi-hat, tweeter and woofer rocking low end paired with emcees ruthlessly rhyming about  hustling and taking over the industry. The Touchemoipas-directed visual is partially inspired by “Paid In Full” but with a subtly  lysergic air. 

Best known as a founding member of hip-hop collective Odd Future and the Grammy-nominated, soul pop act The Internet, Matt Martians, a sometimes vocalist and producer released his critically-applauded debut, 2017’s The Drum Chord Theory, which was hailed by Rolling Stone as “pleasingly eccentric.”

Slated for an April 26, 2019 release through 3qtr Records, Martians’ sophomore album The Last Party was written and recorded as a way to heal himself after going through one of the most difficult times of his life. And while doing so, he reportedly found that you have to truly love yourself before you can sincerely give it back. Featuring guest spots from Mac DeMarco and Steve Lacy, the album’s overall sound blends modern funk, soul and electro pop. Serving as a perfect taste of what you’d expect from the new album, the sultry yet playful “Knock Knock” brings Quiet Storm-era soul, Thundercat and Dam-Funk, within a lysergic song structure full of weird time and tempo changes.

Martians will be spending the next few months touring with The Internet, and it includes a stop at Governors Ball in May. Check out the tour dates below.

Live Dates With The Internet

4/27 – Niceto Club, Buenos Aires

4/30 – Circo Voador, Rio de Janeiro

5/1 – Audio, Sao Paolo

5/4 – Campo Abierto Festival, Santiago 

5/31 – Governors Ball, NYC 

6/15 – Smoking Grooves, Long Beach

7/11 – Summerset House, London

7/12 – North Sea Jazz, Rotterdam Netherands

7/13 – Dour Festival, Dour Belgium

 

New Video: JOVM Mainstays ESCORT Team Up with NYC Disco Legend Fonda Rae on a Glittering and Joyous Club Anthem

Throughout this site’s almost nine-year history, I’ve written a lot about the New York-based electro pop/dance music act and longtime JOVM mainstays ESCORT. Initially founded by production team Eugune Cho and Dan Balls and featuring powerhouse vocalist and bassist Adeline Michele as a core members of an act that routinely expanded from anywhere from 5 to 17 members, the acclaimed pop act have received attention across the blogosphere and elsewhere for a sound that draws from classic disco, house music, soul and funk. Adding to a still-growing profile, the members of ESCORT have played across North America’s festival circuit, including sets at Sasquatch Festival, Okeechobee Festival Montreal Jazz Festival, Full Moon Festival and others — and have shared stages with The Internet, Charles Bradley, Digable Planets, De La Soul and Cody ChesnuTT.

Since the release of the longtime JOVM mainstays last single “Josephine,” the group has gone through a major lineup change with the act’s longtime vocalist Adeline leaving to pursue a solo career, and eventually being replaced with new vocalist Nicki B, who contributes both lead and backing vocals. Unsurprisingly, ESCORT’s long-awaited album City Life, which is slated for an April 12, 2019 finds the acclaimed electro pop act may arguably be their most expansive and collaborative album they’ve worked on and released to date, as the album features guest spots from longtime Gil Scott-Heron collaborator Brian Jackson; NYC disco and soul legend Fonda Rae, best known for her classic single “Over Like a Fat Rat;” renowned dub producer Lone Ranger; and their long-time vocalist Adeline, who appears on several tracks. Sonically speaking, the album reportedly finds the band attempting to evoke the kinetic and frenzied energy of New York — with the album’s material drawing from dub, house music, Brazilian pop and disco made for turning up with your headphones while commuting or while burning up the club. 

City Life’s first single, album title track “City Life” features the legendary Fonda Rae teaming up with the act’s new vocalist Nicki B on the glittering disco banger. Centered around glistening and shimmering arpeggiated synths, a sinuous bass line, Nile Rodgers-like guitar, stuttering drum programming and a motorik-like groove, the track sonically may remind some listeners of a seamless synthesis of Fonda Rae’s classic tunes, Chaka Khan and Rufus’ “Ain’t Nobody,” 80s synth funk and classic house music — with a hedonistic thump. “We tried to put something together evoking the feeling of Fonda’s records,” Eugene Cho says in press notes, about collaborating with Fonda Rae. “We were nervous to send it to her—here’s something that’s inspired by you!—but she was totally into it. It was great.”

Directed by Bridget Barkan, the recently released video captures a night out with Escort’s Nicki B that includes meeting up with a buddy, goofing off as you ride the subway to meet the rest of the crew and heading to your favorite club to shake your ass all night to some dope DJs, followed by a stop at the diner (inevitably in this case, Kellogg’s Diner in Williamsburg) and a sleepy yet satisfied subway ride back home. It captures a wild night on the town, full of fun and possibility.