Oslo-native and up-and-coming DJ/producer WNDR is back with his brand-new single "Falling Down Down" via Icons Creating Evil Art.
Speaking of the new single, WNDR said:
"Falling Down" is one of my darker tracks. I’ve been experimenting with sound choices to give my sets a more dynamic feel. With this one I think my followers will be positively surprised, that’s what I’m hoping for at least..
On The Romance of Being is the second solo album from the South African artist Desire Marea as he uses his spiritual singing powers in front of a thirteen-piece experimental big band. Marea and crew go for it all throughout the album, at times things are too overloaded, at times too sparse and aimless, and other times just right.
The record opens strongly as "Ezulwini" taking the listener on a journey, building dramatically, then receding with grace before a big rock beat returns the energy as Marea repetitively sings that he wants to "See you Levitate"; it is a rewarding track. As is "Be Free" which starts with frantic bass work, moving to a modern afrobeat vibe while Marea sings in the Zulu language. A huge rock/fuzz/ electro passage kicks down the door before strings sooth to wrap up a highlight offering.
Sexuality pulses throughout "Makhukhu" as pianos, tense strings and fluttering trumpet set the scene. As the album progresses, layers of sound wash over the listener in sensual fashion. While "Mfula" uses driving drums and rock guitars, Marea's odd, throaty vocals take away from the tune while the shorter "Arrival" is clouded with odd electro blasts.
The albums centerpiece is "Rah (feat. Zoë Modiga)" yet the tune meanders in drawn out fashion, never fully coalescing even while ending on a high note with Modiga's operatic like vocals. Better is "Skhathi" which slowly swells and flows like a soothing river around the extended sounds as the spiritual healer enlivens the listener.
The album wraps up on a fever dream titled "Banzi", a nine-and-a-half minute workout that allows Marea and crew stretch out beyond the breaking point. Starting with unsettling strings and electronics the experimental offering continues to add sounds as rumbling drums push it forward and Marea experiments with all different vocalizations. The crashing horns, strings and cymbals swirl into a chaotic free jazz blend that works well to close an album that lays it all out there for the listener to experience as Desire Marea's On The Romance of Being searches, while exploring the soul.
The London based artist Shygirl has released a new single with an accompanying video for "Shlut". The video was directed by Diana Kunst, produced by Object & Animal, and shot in Sweden.
The vaporwave project death’s dynamic shroud (James Webster, Keith Rankin & Tech Honors) have reunited for the release of their new single "Judgement Bolt".
The debut EP from the Brazilian born New York City based songwriter CARVi is a mix of confessional offerings that swing from minimalist piano based ballads to skittering electro-pop with hip hop flourishes.
CARVi (Maria Helena de Carvalho) uses her breathy, earthy vocals to wrap the listener in her world as the backing production has a low key neon glow with beats and pianos wafting in and out. Fuel The Crazy opens with her single "Vibe" and it is the most upbeat, polished number with layers of sound, squawking and grooving with equal ease around a rising, tense beat. Never in a hurry, her artistic heart comes out through her lyrics, unique vocals and modern sound.
What follows is much more mellow as the vocals take center stage and they are the true highlight of Fuel The Crazy; where other pop singers try to soar for vocal dynamics, her restrained approach is a welcomed change. The production also places de Carvalho directly in the listeners ear for a powerful intimacy such as on slow downbeat of "Rollercoaster" or the piano lead sparseness of "Away".
Closer "Ghosted" goes for the minimalist electro-pop route while "Rope" tries to mix the downer brokenhearted feel with a light and airy dance floor beat, and while this juxtaposition ends up disjointed her willingness to explore and combine genres is admirable. For a first effort Fuel The Crazy and CARVi are successful, worth checking out and keeping tabs on.
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Support the artist, buy the album and peep some tunes below:
(Jazzfest's second weekend starts tomorrow, and while RtBE feels it is the best festival in the country, New Orleans is more than tuba's and second lines. As the fest arrives we wanted to take some time to review smaller various bandcamp finds from the city, as the town just pulsates music culture and art.)
To quote the artist themselves: "Its a album of bounce". True, but that title is also important. Nerd Bounce finds more inspiration in it's video game console than it does in booty shaking dance clubs.
DJ Mahdi Briggs put together four short tracks of bounce music on his Nerd Bounce EP and uploaded it to bandcamp. While artists may very well take these and use them to rhyme over, the songs each are appealing on their own if you are in the mood for some bounce beats.
The dramatic "Spider Bounce" begins things as layers of digital beats fight for supremacy pushing higher and higher as the clapping bass rumbles underneath. The digital flute laden "Bounce Woods" feels anime injected around a brief chopping sample; the clear influence on all of these tracks is video game music, linking the short EP into a thematic cohesiveness.
"Costa del Bounce" uses Latin flavored piano and digital keyboards with equal ease providing the most engaging effort here as the track has a warped Bossa nova feel while disk closer "Star Bounce" uses Mario Kart and other video games sounds to warp itself into a techno colored melange of sounds.
This lighthearted finale puts a fun stamp on the brief release from DJ Mahdi Briggs. It will be interesting to see if these beats transform elsewhere.
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Support the artist, buy the album and stream it on bandcamp and below:
The annual Voodoo Music + Arts Experience will be returning to New Orleans City Park for the 19th year this fall with a diverse musical lineup that was just announced today.
Tickets go on sale Friday for the Festival and having attended many in the past we can tell you it is an amazing experience. The location is gorgeous the food is sublime and the talent is impressive.
Some of the personal highlight acts for RtBE this year are: Charles Bradley, Bleached, The Black Angels and Benjamin Booker. Unfortunately we will not be attending the Experience in 2017 but to get us in the mood, here are a few videos of the headlining acts that will be playing:
It is of Natalie Cressman newest EP titled Traces. Cressman is a young musician who first came onto the scene by playing trombone and singing behind Trey Anasatsio on his solo tours and occasionally behind Phish.
This EP has more of an indie/dance feel as opposed to some jamband playing she may be known for but her background is varied being trained in Jazz and more. Support the artist, buy the album or stream it on bandcamp or below and peep some video:
The newest release from the French-Chilean artist Medline (Orlando Diaz Corvalan) is titled Old Souls Carnival and the producer/player/mixer/masterer combines festive sounds with electronic beats and breaks for a full, immersive experience.
The opening title track is cinematic with sparse and swirling sounds while "Moon Crescent" inserts hip-hop breaks into the beats and flow. This song would work excellent with some rhyming over the flutes, drums and assorted sounds while "Wild Sour" falls directly into hip hop with vocals and rhymes from Stainless Steel.
The album moves in an angular, at times rambling style. Not always tight, the disk wanders into interesting nooks and crannies "Flying Dervishes" with its disjointed vibrations and horn breaks is a good summation of things. The spacey "Dreams and Nightmares" explores more of this terrain while "When Truth Blasts" is grounded and sludge filled.
Medline moving towards hip-hop is clearly the way that he feels comfortable, however he never limits his sounds, allowing the tracks to develop a life of their own. Fans of adventurous music should give this Old Souls Carnival a ride.
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Moving into the electronic side of our Jazzy Jan with this fun album. Support the artist, buy the album, stream it at bandcamp or below:
On Jim James first solo album, 2013's Regions of Light and Sound and God, the My Morning Jacket front-man was spiritual and positive throughout. Eternally Even continues the crooners love of skittering beats, digital-dance funk and soulful bass, but his outlook is a lot less rosy.
Clearly effected by the current state of politics, violence and race relations James tones back on his falsetto flights of fancy, getting plainspoken and direct. From the start he directly addresses things with "Hide In Plain Sight" calling out bigots via a mix of old school R&B, updated digital bleeps and feedback fuzz; the bass line here and throughout can be intoxicating.
However there is no bumping bass for the following directness as "Same Old Lie" skitters about moving from indictment of the whole system to warbling string laden, eastern tinged dance instrumental to close the last two minutes of the effort. The track shows both the pluses and minuses of James on this album; willing to go anywhere, but convoluting things in the process. Acting as a an indictment dance party it works, but the oddly engaging music to close dilutes the preceding screed.
The follow up "World In Spirit" is better but is still overcooked with its mid song digital break and chopping. Before that though James does his best Marvin Gaye (his major influence for the whole album) with topical lyrics over updated Motown grooves. That feel turns more gospel with the searching and worldly "The World's Smiling Now". Up to this point the album may be flawed but it is still a success, that changes when it hits the wall of "We Ain't Getting Any Younger Parts 1 & 2".
Part 1 is a six minute instrumental that may have been too long at six seconds, as a mid album focal point it is stunning in its blandness. Acting as place holder or intermission music Part 1 fails, but Part 2 tries to save things with a foreboding, Leonard Cohen inspired vocal delivery about creeping death. Alone it would be a fine track, if you are listening digitally feel free to skip Part 1 completely.
The old school R&B comes back to close the album. "True Nature" finds the bass bouncing things back on track (both producer Blake Mills and James himself are credited with playing bass and both should be commended for that contribution). James breathy clipped vocals return to his Marvin Gaye theme encouraging the listener to "Do whatever feels right". Sonic over-saturation still abounds but James grooves it long for "In The Moment" with wispy horns sweeping throughout. The slow crooning title track allows James to vocally shine, but his singing is clearly not his motive on this record, his theme that time is passing us by and we need to do something is the point.
Overall this album feels more substantial then Regions of Light and Sound and God. Powerful but flawed, where it might be better to cut down on all the tricks, instrumental interludes and pro-tools studio options, and focus on his lyrics and theme. However as is, Eternally Even delivers an honest expression of disconnected anguish with a silver lining of hope for 2016.
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Support the artist, buy the album, peep some video:
We search the murky back waters of youtube to find full concerts and post them to the site weekly, come back every seven days to help us celebrate Full Show Friday's. These shows are of varying quality and may not be here for long so enjoy them while you can...As always, please support the artist every which way, but especially by seeing them live (if they are still playing)...This week...STS9!!!
From last year, when Sound Tribe Sector 9 played at the Playstation Theater Times Square NYC. The electro-jam outfit go on and on in this set. It's a one camera shot, but lots of great visuals with the lights and excellent sound. Full set list below, Enjoy:
2015.11.05 :: Playstation Theater :: New York, NY
Set I:
Modular
Moonsocket
When the Dust Settles Reprise
New Dawn New Day
Orbital
Somesing
What Is Love
March
Set II:
Dance - We Want The Funk^ - Dance - We Want The Funk^ - Dance
Natural Blues*
Glogli
Circus
EHM
Rent
The Unquestionable Supremacy of Nature
Encore:
Breathe In
^Parliament Funkadelic cover
*Moby cover
***Circus cut short and EHM starts late due to stream issue. If any fan video surfaces may try to edit that in to fill out the songs.***
The eight piece electro-Latin-jazz-jam-funk band from Miami the Spam All-Stars newest record Trans-Oceanic brings their South Florida sounds to broader audience while keeping their roots firmly intact. Produced and arraigned by DJ Le Spam the group moves through sonic textures willingly and breezily never digging too deep or crashing hard.
While Le Spam takes care of samples, turntables and production the other members are, Tomas Diaz - timbales, vocals Mercedes Abal - flute Aj Hill - saxophone Chad Bernstein - trombone Jose Elias - guitar and tres Steve Welsh - saxophone Ted Zimmerman - trumpet.
The opening title blows in via sampled beats and horn lines structured around digital backing that ebbs in and out, easily setting the stage for the rest of the disk. The group's Latin influences take center stage on "Cosquilla" as the vocals are showcased in Cuban fashion, prime for dance floor routine.
That Latino groove swings back state side for some funky string and horn work on "Ruby Carat". "Around The Track" continues in this vein only adding a huge horn build, a ripping guitar solo and elements of a blaxploitation soundtrack that elevates it above all of the others on the disk. "Around the Track" seems to be the perfect combo of the bands wide range of talents showcasing their natural groove, electro flourishes and cultural flavor; if you just want a feel for this group here is your starting point. On the flip side "Satellite" puts an adult contemporary twist on things and the group clearly works better in other areas.
All the tracks are long pushing the seven minute mark for most, and while the majority drift by easily a few (like "Satellite") stick around a bit long. "La Concha" smooths things out over samples and electro beats/flourishes while "Agua De Poco" brings back the funky energy to close things on a high note.
Primarily known for their live shows, the collective have put together a solid studio disk to chill out, get down, drive around, or simply listen to with Trans-Oceanic.
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Support the band, buy the disk, see them live, peep some video below:
It is of Teddy Midnight's first full length release, Velvet Blue. If you are a fan of jam/live electronica then you should def check it out. If you are wary of long instrumental songs that repeat in disco fashion you may want to skip it. This is album is not going to change many opinions but if their style is your bag, it will really be your bag.
As you can see from the flyer above the excellent Summer Series is back. We have reviewed a few of these in the past and they are fun shows. You will need to RSVP for the Jon Hopkins,The Black Madonna and The Field show coming up on Thursday.
This week's free show is not RtBE's style but we are looking at the Quicksand/Converge punk show on July 6th as a possibility to attend. Def support this great series and all the others around the city this summer.
Here are some videos of bands who are playing House of Vans to get the blood pumping.
Sometimes the environment in which you write/create music in has an overwhelming effect on the production. This was the case for the Chicago based collective Tensei who used an older studio to literally sweat out these tracks offered here as The Hot Box Sessions Volume #1.
"Impossibility" opens things and swings between a new school electro dance beat and a early 80's disco infused pop track. The swirling background/foreground gives it a late night club fee while the "Too Familiar" Remix continues to blend genres with light keys moving between shuffling beats and electro fills/chimes for extended workout.
Tensei are Simple X and Midas Wells and this short EP collects tracks they were working on in studio from 2009-2010.
"Slowburn" kicks up the bass a bit and begins the climb up the sonic mountain with delicate chords and running workouts. The best track here it is a shame it cuts off at the moment when you want it to soar even higher. The closer "Grant City" plays dream like with its ethereal haunting but also ends abruptly. Piano and electro claps are the focal points not only on "Grant City", but the album as a whole and they keep the EP from floating out into the gloaming.
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Yet another Jazzy Jan find on bandcamp. We love this month for all of these. Go buy the disk or stream it:
This incredibly weird and diverse offering comes from Bo Bun Fever a trio that dabble in all sorts of sounds and styles on this brief EP put out on the French label TriCollectif.
Quentin "Kevin" Biardeau - saxophone, synth, vocal, Leo "Scott" Jassef - keyboard, synth, vocal and Theo "Wallace" Lanau - drums, vocal are the players with their respective instruments and responsibilities, but describing their sound is a bit tougher.
There is a kaleidoscope feel to things as the players twist and turn on a dime in the fun house sounding opener "Sawan Bangkok". The song would be at home on an early Ween or Fantomas album maybe perhaps background during some Doctor Demento segments but while wild, it remains engaging. "Susie Wan" calms it down and spaces it out with eastern flutes a leading sax. Bass and organ move it smoothly along, quite a change from the wacky opener until the band puts in its street cat in heat vocal twinges, amping back up the weirdness.
Closing on almost a jamband note, the trio trip out fairly straight and rocking for "Bong Ja Bong" proving they can move in pretty much any direction and make your ears sit up and take notice.
More bandcamp related obscure jazz for Jazz Jan. Finding these groups is more then half the fun of this winter highlight for us. Hope you enjoy Bo Bun Fever, check out their bandcamp or stream below:
The Phoenix based duo Social Lovers first full length on Cherries Records is a six song stroll through a quirky mix of funk, new wave and disco. Most press releases stretch the truth but Enjoy The Ride's nails it with the description, "smooth, modern funk & disco sounds, with a touch of bossa nova & soft rock". Summed up nicely.
The opener "Baby Tonight" is a slow build taking things at a light easy pace before "Cosmic Love" amps up the sultry and the bass. "Love Sick Eyes" is the most complete track pushing the duo's best groove to the forefront and recalling a Blondie in their heyday aesthetic.
"Enjoy The Ride" is the first duel vocal from the group, until now it was just a female presence whose vocals are wispy at best. Here the male dynamic tries to funk things up but also isn't very successful. The instrumental "Lover's Theme" better suites the groups overall feel letting the music take the lead on the listening journey. Vocally, accents and flair are fine it is just when full verses get expressed that they feel light and float away.
The keyboard heavy with fuzz effects "Love's True" ends things and for a band and album custom made for the late night lounge it is a sweet ending, that will probably continue on til morning.
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Another interesting bandcamp find.
Support the band here, stream the album here or below, and peep some video:
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