Tag: world music

New Video: Up-and-Coming French Electronic Duo Polo & Pan Release Gorgeous and Childlike Visuals for Breezy “Canopee”

Polo & Pan are a Paris-based electronic music production and DJ duo, comprised of Paul Armand “Polocorp” Delille, and Alexandre “Peter Pan” Grynszpan, both of whom are acclaimed artists in their own right. Grynszpan has developed a reputation for being an insatiable crate digger, who has been known to collect a wide and diverse array of records from musical gems of the early 20th century to contemporary electronica and electro pop to 70s Nepalese psych rock and so on. Unsurprisingly Grynszpan is one of the founders of Radiooooo, an online encyclopedic radio station that was launched back in 2013. Delille is best known for his work with MAD Agency creating workspaces for artists in industrial warehouses but also as a renowned DJ; in fact, both Grynszpan and Delille were resident DJs at Le Baron, and when they met, they discovered a common musical interest — creating a genre- and time-defying sound that manages to be dance floor friendly. 

The duo’s first release Rivolta found the duo meshing 30s Italian standards with 70s Giorgio Moroder-inspired disco, and their full-length debut Caravelle, which was released earlier this year will further cement the duo’s meshing of genres and time periods to create their difficult to pigeonhole yet wildly crowd pleasing sound. The album’s material draws from the sounds of South America, Tajikistan, China, Congo Africa and elsewhere — and the album’s latest single “Canopee” is a breezy and sultry song that draws from French chanteuse-styled pop, flamenco, thumping Italian disco and African percussion with an effortlessly seamless and slick yet soulful production.

Animated and directed by Bleu Garou, a.k.a. Chiara Luber, the recently released animated video is an exotic and vividly colorful visual that immediately brings The Jungle Book, The Little Prince and Babar to mind as it evokes a mischievous and childlike sense of wonder and awe, while being centered around an old-fashioned love story. 

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New Video: French Electro Pop Duo Synapson Teams Up with Sengalese Singer/Songwriter Lass on a Breezy and Genre-Defying Single

Synapson is a French electronic music production and artist duo, comprised of Alexandre Chiere (keys, saxophone, beats, vocals) and Paul Cucuron (drums, turntables, production and mixing) and since their formation in 2009, the duo have been critically and commercially successful — they’ve sold over 150,000 physical copies and have amassed over 100 million streams; however, they may be best known for their remake/re-work of Burkinabe singer/songwriter and musician Victor Deme’s “Djon’maya,” which they renamed “Djon Maya Mai,” and their original track “All In You,” featuring Anna Kova. Both tracks were smash hits in the duo’s native France, as they charted at #12 and #10 respectively. 

The duo’s soon-to-be released album Super 8 will further cement their reputation for a sound that possesses elements of nu-disco, deep house but it finds them at their most ambitious, as they collaborate with a diverse, international cast including French act M83’s Mai-Lan,  Archive’s Holly, Kaleem Taylor, L. Marshall, Idyllwild’s Casey Abrams, Miami-born, Paris-based rapper Beat Assailant, Jamaica-born, London-based Taneisha lJackson, Tim Dup, Haute’s Tessa B. and Blasé, Sengalese singer/songwriter Lass and a list of others. 

Super 8’s latest single “Souba” synthesis of French electro pop, house music and Afropop as its centered around a slick yet soulful production featuring a looped, shimmering guitar line, a sinuous bass line, thumping beats and a club rocking and radio friendly hook. And unsurprisingly, the two step inducing track will remind the listener that electronic dance music translates language and culture, and that perhaps most important, it’s music that’s always a beneficial unifying force. Additionally, the track will establish the duo on a growing list of French electronic music acts that blur genre lines with a globe spanning bent. 

The recently released video employs a simple but endearing concept — we see Lass and the members of Synapson hanging out in and around a prototypical European car. At points the videos features the members of the trio brooding, but for the most part they’re hanging out and enjoying each other’s company. 

New Video: Renowned Argentinian Producer and Electronic Music Artist Chancha Via Circuito Releases Breezy and Trippy Sounds and Visuals for “Alegria”

Over the last decade or so, Argentina has become the home of an new digital-influenced take on cumbia, in which artists blend the traditional folk music of the Andes Mountains with electronic beats and production, and interestingly enough Pedro Canale, a Buenos Aires, Argentina-born and-based electronic music producer and electronic music artist, best known as Chancha Via Circuito is one of the genre’s leading figures, arguably responsible for its emergence on the global stage with the release of his 2008 debut Rodante. And since, then Canale has released a string of critically applauded and commercially successful albums, including 2010’s Rio Arriba, which Resident Advisor described as “aural magical realism,” and his international breakthrough, 2014’s Amansara, which received critical praise from the likes of The Fader and NPR among others.

Bienavaenturanza, Canale’s fourth, full-length album is slated for release next week through Wonderwheel Recordings, and the album, which derives its name from an Argentinian Spanish word that translates roughly into English as bliss will further cement his reputation for pairing traditional Andean folk instrumentation, typically flute and charango with slick, dance floor friendly electronic production centered around thumping, tribal beats; however, the album which marks Canale’s first batch of new material in over four years, was written and recorded with an unprecedented amount of care and in a highly collaborative fashion with a number of digital cumbia and regional All-Stars making appearances, including Mateo Kingman, Kaleema, Lido Pimienta, Kawa Kawa as well as Colombian Dancehall king Manu Ranks and others, who contribute their highly distinguishable sounds and talents to the natural flow of the album. And as you’ll hear on the breezy yet tribal album single “Algeria,” Canale has expanded upon his sound in an effortless and organic manner — in this case, the song seems to draw from cumbia, tribal house, ambient electronica that that’s psychedelic and mystical. Directed and animated by Kati Egely, the recently released video meshes the natural and synthetic through the use of Egely’s vibrant and childlike watercolor drawings and paintings, which morph at will from a birds, to a modern women, desperate to escape the doldrums of the workplace and so on.

 

 

Now, throughout the course of this site’s eight year history, I’ve written quite a bit about the Brooklyn-based collective Red Baarat, and as you may recall, the act, which derives its name from baraat, a wild South Asian wedding procession that often features the groom riding a horse, an enormous group of extended friends and family, singing and dancing to music led by a brass band with drummers, and what the color red symbolizes in both Indian/South Asian and Western cultures — fiery, red-blooded passion. And with the band, they view it as the passion they have towards creating and playing music, as well as the passion they inspire and elicit from fans and others, who catch them live. Led by Rochester, NY-born, Brooklyn-based bandleader, dholi, drummer and composer Sunny Jain, and featuring John Altieri (sousaphone), Ernest Stuart (trombone), Jonathon Haffner (saxophone), Sonny Singh (trumpet), Chris Eddleton (drums), Rohin Khemani (drums), and their newest member Jonathan Goldberger (guitar), the collective originally formed in 2008 — although it wasn’t until the release of their critically applauded and commercially successful sophomore effort Shruggy Ji that the band received widespread attention for a seamless and genre defying sound that draws from Indian classical music, bhangra, hip-hop, rock, pop and New Orleans brass. And as a result of Shruggy Ji‘s critical and commercial success, the collective has made appearances at Bonnaroo, Austin City Limits, Hardly Strictly Bluegrass, New Orleans Jazz & Heritage Festival and Peter Gabriel’s WOMAD Festivals in Australia, New Zealand and the UK, have played sold out headlining shows at the Luxembourg Philharmonic, the Bowery Ballroom and have performed at the request of The White House, TED and the Olympic Games.

Slated for release at the end of the month through Rhyme & Reason Records, Red Baraat’s Little Shalimar and Sunny Jain co-produced Sound The People reportedly continues the band’s exploration of South Asian culture and music but while placing in within a larger context of an increasingly globalized generation, reflected by the diverse background of its individual members. Adding to the global focus, the album features guest spots from Pakistani singer and writer Ali Sethi, Das Racist’s Heems, American poet and activist Suheir Hammad and American humorist John Hodgman. “With the migration that’s happened, there is all this varied and expressive music that has erupted from the South Asian Diaspora,” says Jain. “Sound The People is a shoutout to, and celebration of this community around the world.”

Jain began writing Sound The People‘s material a few short weeks after Trump’s election victory, and as she says in press notes, “the record is a call to action against the various inequalities and injustices that we’re seeing. We desperately need citizen engagement in response to those injustices.” Earlier this month, I wrote about album single “Kala Mukhra,” which featured Ali Sethi contributing his sonorous baritone — but as Jain explains, the song is ” . . . our take on a Punjabi folk song called ‘Ghora Mukhra.’ I first heard this song a couple of years ago when Ali Sethi shared a 1950s recording with me, featuring the acclaimed ghazal singer Iqbal Bano, with a brass band. I’ve heard very few Punjabi brass band recordings featuring a vocalist and so when Red Baraat was gearing up to work on a new album, it seemed fitting to try and see what we could do with this song. The meaning of Ghora Mukhra literally means “white face.” There’s a fetishization in South Asian culture about being fair-skinned or light-skinned, something that is pressed upon women. It’s ridiculous, but this kind of nonsense is witnessed throughout the world to varying degrees. So while we loved the melody and brass band flavor of this song, we needed a different narrative. I asked Ali if he could come up with some lyrics that are more aligned with our beliefs and also reflective of the times we are living in.” And while being a propulsive and densely arranged song, the song manages to be a boldly and proudly defiant and danceable track that will remind listeners that music holds a profound and true power.

Album title track “Sound the People” which finds the acclaimed collective collaborating with Heems is a swaggering, hip-hop inflected take on their sound; but it’s also the most overt politically charged song they’ve released to date, as the song touches upon race, the connectedness of the South Asian Diaspora despite the age-old differences in religion, culture, regional or nationalistic identities and so on. The song brings up a key fact that despite the fact that the listener may be Pakistani, Indian, Sri Lankan, Nepalese, Bangladeshi, Afghani, Bhutanese, Muslim, Christian, Hindu and so on and so on, that in the age of Trump and other right wing nationalist/nativist movements, that they’re brown — and that unity and empathy among other people of color and other marginalized communities is the only way that to ensure survival in our dire and frightening times.  But along with that it’s an urgent call to arms that says “time to unite and fight through music, dance, art, love, humor, empathy and everything else you can throw. All hands on deck!”

“Heems and I met several years ago when he was still doing Das Racist,” Red Baraat’s Sunny Jain recalls. “When Red Baraat started working on the new album, there were various ideas I had about [the] South Asian Diaspora, migration and Trump’s disconcerting victory, but it hadn’t all been tied together just yet. I shared all of this with Heems and also sent him a couple of songs I had composed specifically thinking about his flow. The band was tracking for a few days at Studio G in Brooklyn and I asked Heems to come in and lay down a rap. He turned up in the studio and did his thing and that’s when we all realized, ‘Holy crap! This is the title track!’ He pulled the whole album concept together with those words.”

The members of Red Baraat have a long-held reputation for being relentless road warriors and they’re about to embark on a lengthy world tour that will include a June 8, 2018 stop at Flushing Town Hall. Check out the tour dates below.

TOUR DATES:
6/8 – Flushing, NY – Flushing Town Hall
6/11 – Camden, NJ – Sunset Jazz Series at Wiggins Waterfront Park
6/22 – Los Angeles, CA – The Satellite

6/25 – Mill Valley, CA – Sweetwater Music Hall

6/26 – Oakland, CA – The New Parish
6/28 – Saskatoon, SK – SaskTel Saskatchewan Jazz Festival
6/29 – Saskatoon, SK – SaskTel Saskatchewan Jazz Festival
6/30 – Victoria, BC – TD Victoria International JazzFest | Centennial Square
7/1 – Vancouver, BC – TD Victoria International JazzFest | David Lam – Park Main Stage
7/25 – Reno, NV – Artown
7/27 – Denver, CO – Clyfford Still Museum Summer Series

7/28 – Basalt, CO – The Temporary
8/11 – Greensboro, NC – Lebauer Park
8/13 – Asheville, NC – The Grey Eagle
8/16 – Madison, WI – The Central Park Sessions
8/17 – Detroit, MI – The Cube at the Max M. & Marjorie S. Fisher Music Center

New Audio: JOVM Mainstays Here Lies Man Returns with an Anthemic and Scuzzy Take on Afrobeat-Tinged Psych Rock

I’ve written quite a bit about the  Los Angeles, CA-based act Here Lies Man over the past year or so, and as you ay recall, the act, which was founded by Marcos Garcia and Geoff Mann, both of whom had stints in renowned Afrobeat collective Antibalas have received attention across the blogosphere for a sound that seamlessly bridges classic, Fela Kuti-era, funky Afrobeat grooves with classic, Black Sabbath and Led Zeppelin-era, power chord-fueled rock.

You Will Know Nothing, Here Lies Man’s highly-anticipated sophomore effort is salted for a June 15, 2018 release through RidingEasy Records, and the album reportedly finds the band refining and expanding upon their sound. As the band’s co-founder Marcos Garcia explains in press notes, “We’re very conscious of how the rhythms service the riffs. Tony Iommi’s innovation was to make the riff the organizing principle of a song. We are talking the same approach but employing a different organizing principle: For Iommi, it was the blues, for us to comes directly from Africa.” Additionally, the band members specifically focused on writing catchier, much more anthemic material and thematically conceptualized lyrics focusing on states of being and consciousness centered around somewhat slicker production that its predecessor. As Garcia continues in press notes, “We wanted to go deeper with the sonic experience. Even though it sounds more hi-fi than the first record, it was important that it didn’t sound too polished.”

The members of the band note that the album’s material is also centered around musical theory with interludes between songs being 2/3rds to 3/4ths of the tempo of the proceeding song. “The reason it breaks down to 2 over 3 or 3 over 4 is that everything in the music rhythmically corresponds to a set of mathematical algorithms known as the clave. The clave is an ancient organizing rhythmic principle developed in Africa,” Here Lies Man’s Geoff Mann explains in press notes. “We dove deep into the texture of the music, beyond the groove and the riff. Although something might sound like one instrument, there are subtle layers shifting through. It’s definitely a headphone album.”

Much like its predecessor, Garcia and Mann recorded You Will Know Nothing in their Los Angeles studio on a Tascam 388 8-track recorder. Congas were later recorded by percussionists Richard Panta and Reinaldo DeJesus. Then Garcia traveled to New York to record the interludes with former Antibalas keyboardist Victor Axelrod. The members of the band had to balance a busy touring schedule with mixing, which took most of the creative process of the album with the band having to find the proper sonic space of each particular layer of musical detail. Interestingly, the band split mixing duties with their debut’s engineer Jeremey Page mixing drum parts. 

“Taking the Blame,” You Will Know Nothing’s third and latest single continues in a similar vein as the preceding two singles “Fighting” and “That Much Closer” as its centered around some blistering and guitar pyrotechnics, propulsive drumming and percussion — and while it effortlessly meshes psych rock, stoner rock, Afrobeat and 70s era classic rock, the song is a dense and incredibly textured piece that requires multiple, careful listens making it ambitious yet anthemic and accessible headphone friendly rock. 

 

 

Polo & Pan are a Paris-based electronic music production and DJ duo, comprised of Paul Armand “Polocorp” Delille, and Alexandre “Peter Pan” Grynszpan, both of whom are acclaimed artists in their own right. Grynszpan has developed a reputation for being an insatiable crate digger, who has been known to collect a wide and diverse array of records from musical gems of the early 20th century to contemporary electronica and electro pop to 70s Nepalese psych rock and so on. Unsurprisingly Grynszpan is one of the founders of Radiooooo, an online encyclopedic radio station that was launched back in 2013. Delille is best known for his work with MAD Agency creating workspaces for artists in industrial warehouses but also as a renowned DJ; in fact, both Grynszpan and Delille were resident DJs at Le Baron, and when they met, they discovered a common musical interest — creating a genre- and time-defying sound that manages to be dance floor friendly. 

The duo’s first release Rivolta found the duo meshing 30s Italian standards with 70s Giorgio Moroder-inspired disco, and their full-length debut Caravelle, which was released earlier this year will further cement the duo’s meshing of genres and time periods to create their difficult to pigeonhole yet wildly crowd pleasing sound. The album’s material draws from the sounds of South America, Tajikistan, China, Congo Africa and elsewhere — and the album’s latest single “Canopee” is a breezy and sultry song that draws from French chanteuse-styled pop, flamenco, thumping Italian disco and African percussion with an effortlessly seamless and slick yet soulful production.

The renowned French electronic duo will be embarking on their first Stateside tour ever, and as a result of the album already amassing more than 23 million streams, their June 12, 2018 Bowery Ballroom stop; their June 19, 2018 Los Angeles stop at the Echoplex; and their June 20, 2018 San Francisco stop at The Independent are already sold out. Check out the tour dates below.
Tour Dates: 
6/12 – New York, NY – Bowery Ballroom (SOLD OUT)
6/14 – Chicago, IL – Lincoln Hall
6/16 – Montreal, QC – MTELUS
6/17 – Quebec City, QC – Imperial Bell
6/19 – Los Angeles, CA – Echoplex (SOLD OUT)
6/20 – San Francisco, CA – The Independent (SOLD OUT)

 

 

 

Throughout the course of this site’s eight year history, I’ve written quite a bit about the Brooklyn-based collective Red Baarat, and as you may recall, the act, which derives its name from baraat, a wild South Asian wedding procession that often features the groom riding a horse, an enormous group of extended friends and family, singing and dancing to music led by a brass band with drummers, and what the color red symbolizes in both Indian/South Asian and Western cultures — fiery red-blooded passion; in the case of the band, the passion they have towards creating and playing music, as well as the passion they inspire and elicit from fans, who catch them live. Led by Rochester, NY-born, Brooklyn-based bandleader, dholi, drummer and composer Sunny Jain, and featuring John Altieri (sousaphone), Ernest Stuart (trombone), Jonathon Haffner (saxophone), Sonny Singh (trumpet), Chris Eddleton (drums), Rohin Khemani (drums), and their newest member Jonathan Goldberger (guitar), the collective formed in 2008 — although it wasn’t until the release of their critically applauded and commercially successful sophomore effort Shruggy Ji that the band received widespread attention for a seamless, genre defying sound that draws from Indian classical music, bhangra, hip-hop, rock, pop and New Orleans brass.

The band’s sound and aesthetic is centered around Jain’s utopian vision and faith in the power of music and art instilling empathy, creativity and love to anyone who accepts it with an open heart and mind. Of course, as a result of Shruggy Ji‘s critical and commercial success, the collective has made appearances at Bonnaroo, Austin City Limits, Hardly Strictly Bluegrass, New Orleans Jazz & Heritage Festival and Peter Gabriel’s WOMAD Festivals in Australia, New Zealand and the UK, have played sold out headlining shows at the Luxembourg Philharmonic, the Bowery Ballroom and have performed at the request of The White House, TED and the Olympic Games.

Slated for a June 29, 2018 release through Rhyme & Reason Records, Red Baraat’s Little Shalimar and Sunny Jain co-produced Sound The People reportedly finds the band managing to continue their exploration of South Asian culture while placing it within the context of a globalized generation,  reflected by the diverse backgrounds of its members. Interestingly, Jain began writing the album’s material a few short weeks after Trump’s election victory, and as he says in press notes, “the record is a call to action against the various inequalities and injustices that we’re seeing. We desperately need citizen engagement in response to those injustices.” Adding to the global focus, the album features guest spots from Pakistani singer and writer Ali Sethi, Das Racist’s Heems, American poet and activist Suheir Hammad and American humorist John Hodgman. “With the migration that’s happened, there is all this varied and expressive music that has erupted from the South Asian Diaspora,” says Jain. “Sound The People is a shoutout to, and celebration of this community around the world.”

Sounds The People‘s latest single “Kala Mukhra,” features Ali Sethi contributing his sonorous baritone and is as Jain explains, “. . . our take on a Punjabi folk song called ‘Ghora Mukhra.’ I first heard this song a couple of years ago when Ali Sethi shared a 1950s recording with me, featuring the acclaimed ghazal singer Iqbal Bano, with a brass band. I’ve heard very few Punjabi brass band recordings featuring a vocalist and so when Red Baraat was gearing up to work on a new album, it seemed fitting to try and see what we could do with this song. The meaning of Ghora Mukhra literally means “white face.” There’s a fetishization in South Asian culture about being fair-skinned or light-skinned, something that is pressed upon women. It’s ridiculous, but this kind of nonsense is witnessed throughout the world to varying degrees. So while we loved the melody and brass band flavor of this song, we needed a different narrative. I asked Ali if he could come up with some lyrics that are more aligned with our beliefs and also reflective of the times we are living in.” And while being a propulsive and densely arranged song, the song manages to be a boldly and proudly defiant and danceable track that will remind listeners that music holds a profound and true power.

The members of Red Baraat have a long-held reputation for being relentless road warriors and they’re about to embark on a lengthy world tour that will include a June 8, 2018 stop at Flushing Town Hall. Check out the tour dates below.

TOUR DATES:
5/7 – London, UK – Rich Mix
5/8 – Bristol, UK – The Louisiana
5/11 – Caceres, ES – WOMAD Caceres
5/12 – Madrid, ES – Sala Clamores
5/13 – Barcelona, ES – Club Marula
5/14 – San Sebastian, ES – Club Dabadaba
5/15 – Zaragoza, ES – Sala Las Armas
5/16 – Santander, ES – Sala BNS
5/17 – Bilbao, ES – Kafe Antzokia
5/18 – Paris, FR – New Morning Jazzclub
5/19 – Brussells, BE – Jam’in Jette Festival

5/20 – Nijmegen, NE – Music Meeting
5/22 – Wels, AT – Alter Schlachthof
5/24 – Vienna, AT – Wiener Konzerthaus
5/26 – Austin, TX – 3Ten @ Austin City Limits Live
5/27 – Dallas, TX – Soluna Intl Music & Arts Festival | Klyde Warren Park
6/8 – Flushing, NY – Flushing Town Hall
6/11 – Camden, NJ – Sunset Jazz Series at Wiggins Waterfront Park
6/22 – Los Angeles, CA – The Satellite

6/25 – Mill Valley, CA – Sweetwater Music Hall

6/26 – Oakland, CA – The New Parish
6/28 – Saskatoon, SK – SaskTel Saskatchewan Jazz Festival
6/29 – Saskatoon, SK – SaskTel Saskatchewan Jazz Festival
6/30 – Victoria, BC – TD Victoria International JazzFest | Centennial Square
7/1 – Vancouver, BC – TD Victoria International JazzFest | David Lam – Park Main Stage
7/25 – Reno, NV – Artown
7/27 – Denver, CO – Clyfford Still Museum Summer Series

7/28 – Basalt, CO – The Temporary
8/11 – Greensboro, NC – Lebauer Park
8/13 – Asheville, NC – The Grey Eagle
8/16 – Madison, WI – The Central Park Sessions
8/17 – Detroit, MI – The Cube at the Max M. & Marjorie S. Fisher Music Center

 

If you’ve been following me through my various social media platforms, you’d know that I’ve been in Chicago for the past few days for a conference related to my day job — and of course, while in town I’ve been running around to see friends, eat good food, drink good beers and catch as much live music as I could possibly take in. Naturally, while en route here and towards the bars, music venues and restaurants I’ve eaten in, I’ve spent it listening to a variety of music — especially Chicago blues, particularly my favorites, Howlin’ Wolf, Muddy Waters and B.B. King. Check out this (mostly) Windy City-inspired playlist below. (Of course, there will likely be additions as I’m commuting to and fro for the next few days, so feel free to keep checking it.)