Tag: WNYC

Single Review by William Ruben Helms

Formed back in 2014, the New York-based Anbessa Orchestra — Wayne Tucker (trumpet), Eyal Vilner (alto sax), Eden Bareket (baritone sax), Nadav Peled (guitar), Dor Heled (keys), Ran Livneh (bass) and Eran Fink (drums) — have received attention locally and elsewhere for a sound that’s heavily influenced by 60s and 70s Ethiopian funk, soul and jazz: their repertoire features interpretations and arrangements of classic material from the period that has largely influenced their sound, as well as original compositions heavily influenced by the same period.

Adding to a growing profile, the act has shared stages with Ethiopian music legends like Hailu Mergia and Hamelmal Abate — and they’ve contributed material to Beyond Addis, Vol. 2,  a compilation series dedicated to new. original music inspired by Ethiopia that also included contributions from The Daktaris and Manu Dibango. Along with that their latest album Negestat, which translates to Amharic Kings has received airplay from KCRW, WNYC and WFUV.

The New York-based septet’s latest single is the hypnotic “Tch’elema (Darkness).” Further establishing the act’s enormous and vibrant sound, the expansive composition is centered around shimmering and arpeggiated keys, a propulsive, stomping rhythm and explosive blasts of horns and some expressive and dexterous soloing. Unsurprisingly,  “Tch’elema” is arguably the funkiest track I’ve heard in a few months — and while displaying some impressive musicianship, the composition manages to capture the energy and feel of their live sound.

 

 

 

 

 

 

 

Single Review by William Ruben Helms

Comprised of Karen O. (vocals), Nick Zimmer (guitar) and Brian Chase (drums), the New York-based trio Yeah Yeah Yeahs have been a critically and commercially successful act with the release of their four full-length efforts, Fever to Tell (2003), Show Your Bones (2006), It’s Blitz! (2009), and Mosquito (2014). Interestingly, out of all of their efforts, it’s the trio’s third full-length effort, It’s Blitz! that manages to be a major change in sonic direction for the band as the material primarily employs atmospheric electronics, layers of buzzing and undulating synths. And although the album’s first three or four songs are arguably the most dance-floor ready the trio have ever released, the album’s remaining songs manage to be moodily atmospheric. Interestingly, the entire album is an exercise in restraint as Zimmer’s guitar playing and Karen O’s vocals are carefully reined in.

Album single “Skeletons” is a spectral and atmospheric song that pairs gently undulating synths, gentle yet dramatic drumming and Karen O’s ethereal vocals in a song that gently builds up tension until the song’s quiet conclusion. The song evokes wisps of smoke curling upward and dissipating into the ether . . .

Comprised of three long-time friends, Liz Drummond, Hannah Field, and Annie Hamilton, the Australian-based trio Little May have quickly become one of their homeland’s most buzzed about bands with the release of their debut effort For The Company, which was released last month to critical praise from the likes of WNYC, Stereogum, Noisey, Billboard and others. And over the past month or so, the Australian trio had been on a lengthy North American tour, which ended last night; but before their tour ended, the Drummond, Field and Hamilton released a cover of Yeah Yeah Yeahs’ “Skeletons” that features a gorgeous three part harmonies paired with guitar chords played through reverb, atmospheric electronics and military-styled drumming, which naturally changes the song’s arrangement. It’s a fairly straightforward cover — but it manages to be equally spectral and gorgeous cover nonetheless.