Tag: Virgin Records

Born Patrick Baril, Statik Selektah is a Boston, MA-born, New York-based DJ, producer, radio producer and founder of Showoff Records, as well as one-half of hip-hop duo 1982 with frequent collaborator Termanology. Much like anyone who’s involved in music in some way or another, Baril was introduced to music at a very young age, and he can trace the origins of his own career to when he began experimenting with his parents’ eight-track tape deck, cassette recorders and turntables. Unsurprisingly, Baril began DJ’ing school functions as a middle schooler; but as the story goes, a young Baril was truly inspired to be a producer and turntabilist after hearing the likes of DJ Premier and Funkmaster Flex on Hot 97.

As a high schooler, Baril, named himself DJ Statik — the Selektah came much later, after he had heard a local reggae artist say it — and began doing radio at Phillips Exeter Academy‘s radio station, WPEA, and where he also occasionally DJ’ed some of the Afro-Latino Society Parties. He began to DJ clubs and private clubs throughout New England; however, by 2000, Baril had returned to Boston, where he pursued an audio production degree at the New England Institute of Art. Around that time, Baril began releasing a mixtape series titled “Spell My Name Right,” which he then followed several years later by creating ShowOff Marketing, which eventually had ReebokG-Unit RecordsVirgin RecordsCapitol Records and Puff Daddy‘s Vote or Die Campaign as clients, before spinning into a label, which released Termanology’s Out the Gate and his 2007 debut Spell My Name Right.

Since the release of his 2007 debut, Statik Selektah has released 6 more albums including his 2010 breakthrough 100 Proof: The Hangover, an effort that eventually reached #37 on Billboard‘s Heatseekers Chart, and has produced and collaborated with an incredibly diverse list of artists including FreewayStrong Arm Steady and others.

Statik Selektah’s eighth full-length album, aptly titled is slated for an auspicious December 8, 2017 release through his own ShowOff Records, and the album finds the renowned producer collaborating with a who’s who’s list of contemporary hip-hop including 2 ChainzWiz KhalifaAction BronsonWale, G. Eazy  Joey Bada$$PnB Rock, the late Sean Price and others. Now, as you may recall, the album’s title track “No. 8” found the renowned producer pairing his golden era hip-hop inspired production featuring enormous, tweeter and woofer rocking 808s and a jazzy sample reminiscent of Pete Rock with ConwayWestside Gunn and frequent collaborator, the aformentioned Termanology contributing some fiery and swaggering bars.

“Ain’t A Damn Thing Changed”  8‘s latest single is a warm and neo-soul leaning production featuring a backing band consisting of Brady Watt (bass), a member of The Lesson and DJ Premier’s backing band, contributing a sinuous and strutting bass line, Cas Weinbren (keys) contributing twinkling, arpeggiated keys, Utril Rhaburn (horns), contributing some mournful horns fed through gentle washes of reverb, enormous, twitter and woofer rocking 808s and some incredible scratching from Statik Selektah and a soulfully sung hook from Enisa. And the production is roomy enough for G. Eazy and Joey Bada$$ to trade bars about achieving  success beyond their wildest dreams and yet finding that many aspects of their lives have ironically remained the same; they may have a multi-million dollar home but find themselves struggling to pay for it, they’re still scheming for the next opportunity — and while we may still admire them and their incredible talents, what both emcees suggest is that if you didn’t know who they were, they lead fairly average albeit very odd lives. While further cementing Baril as one of contemporary hip-hop’s best producers, 8‘s latest single may arguably be one of his most straightforwardly soulful and contemplative tracks he’s ever released.

 

New Video: Statik Selektah Teams Up with Conway Westside Gunn and Termanology on Swaggering and Gritty Track off Producer’s Soon-to-Be Released Album

Born Patrick Baril, Statik Selektah is a Boston, MA-born, New York-based DJ, producer, radio producer and founder of Showoff Records, as well as one-half of hip-hop duo 1982 with frequent collaborator Termanology. Interestingly enough, much like anyone who’s involved in music in some way or another, Baril was introduced to music at a very young age, and he can trace the origins of his own career to when he began experimenting with his parents’ eight-track tape deck, cassette recorders and turntables. Unsurprisingly, Baril began DJ’ing school functions as a middle schooler; but as the story goes, a young Baril was truly inspired to be a producer and turntabilist after hearing the likes of DJ Premier and Funkmaster Flex on Hot 97.

As a high schooler, Baril, named himself DJ Statik — the Selektah came much later, after he had heard a local reggae artist say it — and began doing radio at Phillips Exeter Academy’s radio station, WPEA, and where he also occasionally DJ’ed some of the Afro-Latino Society Parties. He began to DJ clubs and private clubs throughout New England; however, by 2000, Baril had returned to Boston, where he pursued an audio production degree at the New England Institute of Art. Around that time, Baril began releasing a mixtape series titled “Spell My Name Right,” which he then followed several years later by creating ShowOff Marketing, which eventually had Reebok, G-Unit Records, Virgin Records, Capitol Records and Puff Daddy’s Vote or Die Campaign as clients, before spinning into a label, which released Termanology’s Out the Gate and his 2007 debut Spell My Name Right.

Since the release of his 2007 debut, Statik Selektah has released 6 more albums including his 2010 breakthrough 100 Proof: The Hangover, an effort that eventually reached #37 on Billboard’s Heatseekers Chart, and has produced and collaborated with an incredibly diverse list of artists including Freeway, Strong Arm Steady and others.

Statik Selektah’s eighth full-length album, aptly titled 8 is slated for an auspicious December 8, 2017 release through his own ShowOff Records, and the album finds the renowned producer collaborating with a who’s who’s list of contemporary hip-hop including 2 Chainz, Wiz Khalifa, Action Bronson, Wale, G-Eazy, Joey Bada$$, PnB Rock,  the late Sean Price and others. The album’s latest single, album title track “8” finds the producer pairing his golden era production featuring enormous 808s and a bluesy and jazzy sample reminiscent of Pete Rock with Conway, Westside Gunn and frequent collaborator Termanology contributing some fiery and swaggering bars. While Hot 97 may be playing Future and god knows what else, thankfully, there’s real hip-hop like I remember still being made and released.

The recently released video begins with footage of an actual shooting in Buffalo that took place while recording the scene introducing Conway. The video then introduces Westside outside of a cheesesteak place and Termanology on a stoop serving as a reminder that hip-hop is always about the streets. 

 
 

Formed in Western Massachusetts back in 1982, The Sighs initially began with its founding members Robert LaRoche (lead vocals, guitar) and Tommy Pluta (bass, vocals), two lifelong musicians, who had bonded over their mutual love of The Beach Boys, Crosby, Stills and Nash and other acts that employed the use of multi-part harmonies — and the duo of LaRoche and Pluta quickly learned that they own voices blended together beautifully.  Tom Borawaski (drums) and Matt Cullen (lead vocals, guitar) were recruited to flesh out the band’s sound and to complete their lineup, and as a quartet the band quickly made a name for themselves as a must-see live act across the region. As Tommy Pluta explains in press notes “One luxury of living in Western Mass is that we played all the colleges and clubs for years and years. By the time things started happening for us, we were primed for it — we sounded really tight and everything was just spot on.”

As the story goes, the members of The Sighs crossed pants with John DeNicola, an Oscar Award-winning songwriter, who co-wrote “(I’ve Had) The Time of My Life” and producer, and his production partner Tommy Allen at the China Club, the band signed with Charisma/Virgin Records and released What Goes On to critical acclaim; in fact, the band built upon a growing profile with tours with Gin Blossoms, Dada and others.

The Sighs third full-length effort Wait On Another Day is the first release from the Western Massachusetts-based indie rock quartet in over 20 years, and the material on the album can trace its origins to a recently unearthed batch of demos recorded on analog tapes back in the 90s that the band’s Matt Cullen stumbled upon. Once Cullen had shared the demos with his bandmates and their longtime producer John DeNicola, the members of the band decided to reconvene at DeNicola’s Upstate New York-based studio and revise a handful of songs; however, as the band’s drummer Tom Borawaski explains “.  .  . it all came together so well, and we were having such a great time, we ended up making a whole album. It really just took on a life of its own.”

“All the years of playing together left a permanent mark on us. It wasn’t too difficult to tap into our musical and personal bond again,” LaRoche says of the album, which occurred over a spontaneous five-day recording session. As Borawski adds, “Everything had more of a spark to it than when we made What Goes On, where we put all the songs under a microscope and tried to get it all completely perfect.” And as a result, the material possesses an uncommon urgency and vitality — of the sort the most bands wish they could capture on wax; but interestingly enough, as Pluta notes, the material on the album focuses on many of the things they had written about in the past: girls, getting kickedd around, hopes and dreams and falling in love. And perhaps because of the band’s age and experience, the material possesses the wistful tone of one, who has accepted both the passing of time, and the strange sense that the more things change, the more they manage to remain completely the same. So what if you’ve traveled the world, read the great novels, seen and done all that’s needed to be seen? Heartache is heartache and everyone knows it at some point, and life is about knowing what to do once your heart is broken again and again and again and again . . .

The album’s latest single “It’s Real” is jangling guitar pop paired with gorgeous harmonies, impressive guitar work, and the sort of anthemic hooks reminiscent of The SmithereensStarfish, Gold Afternoon Fix and Forget Yourself-era The Church but with a swooning and urgent romanticism; after all, the song is about some of the classic rock ‘n’ roll tropes: wildly passionate love with that pretty young thing and the desperate excitement of it being real, for perhaps the first time and of finally achieving something that you’ve dreamt of for such a long time.

 

 

 

 

 

 

Initially formed in 1971 and comprised of Werner “Zappi” Deirmaier, Hans Joachim Irmler, Arnulf  Meifert,  Jean-Hervé Péron, Rudolf Sosna and Gunther Wüsthoff, German sextet Faust developed an internationally recognized reputation for a sound and aesthetic that proudly defied genre conventions and expectations — and perhaps most important as being pioneers of a sound that critics have since dubbed krautrock. Adding to their reputation of pioneering a new sound and eventually a new genre, the German band was one of the first acts to sign with Richard Branson‘s Virgin Records. And as the story goes, after Virgin Records rejected what was slated to be the band’s fifth full-length effort, the band broke up — with the individual members of the band largely disappearing from the public. Other than a handful of shows sometime in the 80s and the release of Patchwork, a compilation of outtakes, which featured three pieces the band recorded in the early 80s, the band’s whereabouts and what they were even up to were shrouded in mystery until the trio of Irmler, Diermaier and Péron began performing reunion shows in the early 1990s.  But despite the questions regarding Faust’s whereabouts, the band’s recorded output maintained a level of interest and curiosity among krautrock fans and newer fans as Recommended Records reissued and re-released their four full-length efforts, as well as releasing unreleased material and a variety of compilations.

Interestingly, since their reunion in the early 1990s, the band has managed to be remarkably prolific, although they’ve managed to record and tour with a variety of different lineups and members with the most recent effort being 2010’s Faust Is Last.

“Jennifer,” off their fourth and aptly titled album Faust IV is a song that defies conventional songwriting and structure at every single turn. The song eschews the familiar format of verse, chorus, verse, chorus, bridge, coda for a series of distinct movements held together with a propulsive rhythm section. And as you listen to the song, you’ll hear a band that tackles minimalist drone and noise rock, jazz fusion and creaky, old-timey vaudeville with an unexpected turn of a musical phrase to create something that’s mind-bendingly trippy and unexpected.

Although the Birmingham, AL-based trio Wray formed a little over two years ago, the individual members of the band, David Brown (bass and vocals), Blake Wimberly (drums) and David Swatzell (guitar) have been mainstays in their local music scene, performing in a number of musical projects including Last Flight In, Comrade, Waterfall and several others. However, Wray has been a sonic departure from Brown’s, Wimberly’s and Swatzell’s previous work as the trio have developed a national profile for a textured, atmospheric shoegazer rock sound; in fact, the band’s debut effort was released to critical praise from media outlets such as The New York Times and MOJO — and they made appearances on MTVu and Daytrotter.

The members of the Birmingham AL-based trio have spent the past year writing, revising and then recording the material that would eventually comprise their soon-to-be released and highly-anticipated sophomore effort, Hypatia, which the renowned and eclectic Birmingham, AL-based indie label Communicating Vessels Records will release on January 15, 2016. Co-produced by the band and Lynn Bridges, who has worked with Jack Oblivian, Devendra Banhart and Dan Sartain, the album reportedly has the band making what they believe is their most cohesive effort yet with the material fitting into a particular mood as the band explored subtle contrasts.

Hypatia‘s latest single coincidentally is a somewhat stripped down cover of Faust’s “Jennifer” that turns the expansive and structure defying song into a slow-burning, minimalist and shoegazey meditation on the Jennifer that the song’s narrator seems to adore; however, Wray’s cover managed to possess a wistful, melancholic feel, as though Jennifer has become part of the narrator’s past that they can never get back.

Check out how Wray’s cover stands up against Faust’s original below.