#and while this single can certainly set a vibe for the album it is in no way indicative of the entire sound. have we not heard the void | Explore Tumblr posts and blogs

afrobeatsindacity · 2 years ago

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ASAKE - WORK OF ART REVIEW

“But una know I no dey waste time” is Asake's pre-written answer to questions bordering around why his sophomore album is out barely 9 months after his scintillating debut. Not that anyone is less than thrilled to see him back so soon, mind, but we are all too familiar with the compromises to the production process that may aid an artist to achieve these hurried release schedules. Asake, however, does not sacrifice quality on the altar of speed, so that what is traditionally a sticky point for establishing artists—the second album slump—is turned into a flamboyant, braggadocious display of his extent of pliability of his Fuji-Amapiano creation, and then some.

Doubts have persisted for nearly as long as he has been mainstream of his ability and/or willingness (or lack thereof) to explore music styles outside his patented scope, but Asake does not intend Work Of Art to be a definitive end to this conversation. So while he does push even further from the conventional in a bid to conquer sonic territory, he plants his base firmly in the music that has brought him thus far—the rhythmic familiarity of log drums and shakers, the ethereal resonance of crowd backup vocals and his own euphonic, Fuji-recalling delivery.

For “Yoga”, his 2023 opener which now closes the album, he sets himself sonically somewhere between Indigenous Egun music of Badagry, Lagos and the Sega genre of Mauritius, weaving together diverse cultures. His message here is clear; he is in his own lane and it would be pointless to try and catch him—but this time he goes for sombre self-identity over overarching superiority. Not to say he does not have some of the latter in his toolbox. On “Lonely At The Top”, the track from which this article’s opening quote was carved, he may appear to get ahead of himself—this is, afterall, only the second year since his proper breakout single, and there are others who have secured and maintained a top-flight status for much longer—but Asake’s time has always run a little faster.

That is the reason why, still struggling to find a footing in music and life in general, he announced himself “Mr Money” in his 2020 single of the same name. On Work Of Art, boastful predictions for his future can carry the extra backing of his conquests from last year, and he knows it. On “I believe”, the optimistically upbeat joint which Magicsticks reworks from Amapiano’s log drums, Asake proclaims “Nitty-gritty of ‘22, I’m the one”, casting back to a year ago when he thrilled the country with a conveyor belt of hit singles before his debut album landed the final blow. He rewords and translates this on “Awodi”, stating “2022 mo gbe wan trabaye”, another claim that can be self-promoting without being exaggerative. On this chiefly Yoruba song, his honours Pasuma both in words and in the Fuji-ogling framework the track is crafted on.

Whether Asake’s outsized self-image is primarily a function of belief in himself or trust in a higher power is debatable, but it certainly is some combination of both. He definitely has the spiritual strength to justify the latter, as he embraces, in the popular Yoruba polytheist ideology, both Christianity and Islam, and delves into African Traditional Religion when the situation requires it, when there is need to tie ese ile bo. But where Mr. Money With The Vibe regarded these religions, like most people do, as a means of covering all bases in the search for material upliftment, Work Of Art has Asake transcend beyond this and ponder on the afterlife.

He weighs in turn a Christian (“Mr. Money with the vibe ‘til the devil say my name”) and then a Muslim (“Koni wa le lai lai till we reach Al Jannah”) aftermath, but reaches a consensus in either case that he will live to the full until that moment arrives. And while these musings might seem somewhat premature for a 28 year old man in apparent robust health, Asake has never faltered in his preference of an impactful existence over a lengthy one. So today he will drown in a variety of substances from alcohol to colorado, before burying his head in the thighs of the woman he loves. “Let’s stay all night looking as the star shines/ Make love till the sunrise” he sings on the now-decadent, now-affecting “Mogbe”.

Romance flickers brightly in other corners, even if it is a rare sight on the album and is often easily contorted into lust. “Remember” has a chorus that wants to negotiate affection with money, not an uncommon love language in a country with so little of it. “I wanna love you forever, baby o/ I just want to spend all my chеddar on you”, he says at first, but what comes next unmasks his carnal intentions. “Sunshine” shares all of this blissful radiance, but, without its romantic overtones, Asake intends it to be a pat on the back to the weary soul, equal parts motivating and reassuring. “Sun’s gon’ shine on everything you do”, he says, and if those words appear familiar it is because they were borrowed from Lighthouse Family’s “Ocean Drive” of 1995, and Asake transports this iconic line across time and genre without losing any bit of its eupeptic essence.

Asake uses himself and his incredible journey, as successful people often do, as a guiding light to those still stuck on the lowest rungs of the ladder, but material success is only a small contributor to his euphoria. For Asake, the process is just as important as the result, and like every true artist he prides himself even more in the art that has brought him thus far.

“Basquiat” throws down the gauntlet with the arrogance of a man that knows it won’t be taken up, and while he is aware of similarly sounding artists that the media will try to force into comparisons with him,— “Studying me is an honour jeun lor/ I get many pages like songs of Solomon”—he will superciliously point out the futility in reading a master’s textbook to try and be better than him. “What's the chances, what's the probability/ To see a bеtter version of me with agility”, he asks on the spunky Blaisebeatz-produced “2:30”, but it is only rhetorical. He has his answer.

If he is any worried about deposition, he hardly shows it, and more importantly, he will not let it bog down his brilliant new creation. “Basquiat” is also the closest thing to a titular track on the album, whose cover art is depiction of Jean-Michel Basquiat by Nigerian artist, Ayanfe Olarinde. While Asake sees similarities between himself and the talented, troubled, visual artist, he has long established to have no greater weapon in his arsenal than his individuality and sense of self. A few fans may clamour to see him try on new trends and sounds, but Asake insists that he is the template, the “work of art” that should be studied. And he probably is right. Supreme ability and a unshaking confidence in it are always a devastating match, and his blend of indigenous cultures from fifty years ago and trendsetting house music of the future makes him one of the easiest bets for the next great Nigerian star.

This article was written by Afrobeats City Contributor Ezema Patrick - @ezemapatrick (Twitter)

Afrobeats City doesn’t own the right to the images - image source: Instagram - @Asakemusic

#Afrobeats #Afrobeats City #Asake #Work of art #Album review #Music article #Africa #African music #Basquiat #Nigeria #Nigerian music #music #Afrobeats article #Afrobeats UK #Mr Money with the vibes

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musicblogwales · 11 months ago

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Angharad releases sublime 'Motherland' debut via Libertino

Emerging with an intense amalgamation of genre's, impressive debut long-player from Swansea based singer-songwriter 'Angharad' is certainly an interesting listen that flits accross traditional 'perfect pop', disco, Americana, Folk Pop, and extends to the darkest depths of avant garde experimental noise with spoken word.

Stand out tracks are 'Postpartum' which is certianly the darkest and most experiemental song on 'Motherland', self titled album opener boasts downtempo beats and jazzy sax which comes accross as a fantastic foreward and sets the vibe. 'Don't Burn Bridges' stops you in your tracks, beautiful piano and superbly orchestrated strings carry you away to the 'Motherland'.

Angharad's eclectic debut is a sublime testament to the beauty of creating life, living and enjoying it, and whatever it brings.

ANGHARAD releases her anticipated debut album 'Motherland' via Libertino Records. Deemed as an artist and songwriter 'with fire, passion and unflinching honesty at the core of all her music' Angharad's music has been described by Deb Grant, BBC 6 Music as 'Provocative' and "A confident and positive ‘call to arms’ for women in the music industry" by Cassie Fox of Loud Women

Angharad Added:

"My mother is also a musician, but took a back seat from her musical career for some 15 years in order to focus on raising me and my sister. Even before I was ready for children, it played on my mind how could I follow a career in music and become a mother. I used to play out different scenarios in my mind, such as giving myself a certain amount of years, then a change of career. When the time came, I wasn’t ready for a career change. I felt I had more to offer creatively than ever before. I’d reached an age where I had knowledge, confidence and useful networks to really progress to the next level. I wasn’t prepared to let all that go simply because I’d decided to start a family. So far, starting a family has enhanced my creative output. I just need to be flexible, and open to thinking differently about how to manage it and get it out there. My wish is to see the industry being as open to these changes as me, and every other mother who’s tirelessly figuring out how to do both.”

Motherland – Angharad

I am mother . These are the first words we hear after hitting play on Swansea-based [genre: e.g. pop-folk storyteller] Angharad’s debut album Motherland, and this affirmation resounds across the twelve tracks that follow, revealing the gravity of what initially appears to be a simple statement but is in fact an assertion weighted by the story of mothers and motherhood across the ages. I am strong. I am gentle. I am mountainwoman. I am nourisher . I am life-giver . I am all you need right now. I am the moon and the stars. I am everything to you. I am your world.

It’s said that early motherhood is simultaneously the happiest and hardest period of time a mother can experience, and this is reflected by the juxtaposition of the dreamlike spoken-word jazzscape of title track ‘Motherland’ and the bass-driven midnight-feed nightmare of ‘Postpartum’. In ‘Motherland’ we listen as the tidal pull of the moon ushers new life in – “nocturnal and luminous” – while in the album’s first single ‘Postpartum’ both music and mother unravel in an unapologetic cacophony of fatigue and repetition: “I’m exhausted and I’m broken, exhausted and I’m broken, I’m exhausted and I’m broken…get off my tits.”

As the songs that open the album, these two compositions couldn’t be more different, but as Angharad points out “...this is exactly what motherhood is like. It’s the joys and horrors.

Elation and despair . I put those songs next to each other because that’s how it is in real life – you can feel both emotions simultaneously .”

Although Angharad is an experienced musician, perhaps best-known as part of revivalist Welsh folk band Calan, Motherland represents her first foray into songwriting – something which has long been an ambition. “I’ve always felt like I had a lot to say , but I presumed that someone else somewhere would be saying the same things. It took me so long to realise nobody else can tell my story .”

However , it was the double isolation of experiencing early motherhood during Covid lockdowns that finally made her pull on this songwriting thread. “I’ve always collaborated with others when it comes to music, but lockdown forced me to work alone. I’ve written melodies in the past, but never lyrics. I began with making up songs to get my daughter Tanwen to sleep, and then I’d find myself fine-tuning them during daily walks with her in the pram, or making up new ones. I’d never sung before but, after becoming a mother , finding my voice was both a necessity and a gift.”

Motherland Tracklist

1. Motherland 2. Postpartum 3. Little baby embryo 4. I don’t know how 5. Don’t burn bridges 6. Because I’m a woman 7. Hey, there’s always the night 8. Time, time again 9. Hormone called love 10. Every inch of you 11. Hwiangerdd Tanwen 12. Babi ni

Buy 'Motherland' Here

https://www.libertinorecords.com/product-page/angharad-pre-order-motherland

#Angharad #Motherland #Debut album #Libertino records #Wales #Cymru #Motherhood #Sexism Music Industry #Feminist #Bandcamp

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thebandcampdiaries · 24 days ago

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ADARA47 has recently released a brand new studio single: "Gutta Valley” (Featuring Fedd the God)

ADARA47 is an artist and songwriter who recently managed to set the bar higher in terms of adding more innovation and new ideas to his music. His most recent studio release, "Gutta Valley", feels like a fantastic insight on how to artist swiftly combines modern rap and old-school hip-hop, going for an impactful formula. This is a very strong start of 2025 for ADARA47, who released a full-length album in 2022, and various singles and EPs throughout his career. This collaboration with Fedd the God (of Taylor Gang) hits the mark, showcasing quality production and an amazing rap performance.

Musically, ”Gutta Valley" kicks off with a melodic and immersive introduction, only to give way to a very articulate and detailed flow, which really highlights all artists involved. The song has a very atmospheric sound, with deep bass and a melodic keyboard pattern with a dreamy, immersive tone. The main drum pattern blasts off at about 10 seconds in along with the vocals, highlighting not only articulation, but also the artist’s ability to bring melody to the mix. Fans of artists such as Juice WRLD, Capital Steez, or Andrè 3000 would certainly connect with this. Fedd and ADARA47 have very different vocal styles, and this is why the song has such a dynamic flow. By blending Adara47’s melodic, yet cutting flow, with Fedd’s more “old-school” style, the combination gives off a powerful style, which still retains a personal vibe.

They complement each other perfectly, adding some spice to the mix. In addition to the mesmerizing instrumental and great vocals, the song has a truly unique backstory. “Gutta Valley” is about the fight to overcome limits set by the world. Each line tells a story of pushing through tough times. It’s an encouragement to hope, and it’s an ode to never giving up, no matter what. The song is named after the Ohio Valley, deep in the heart of America’s Rust Belt. The area was an important industrial pole back in the day, as it was known for its busy factories and steel mills. With the passing of time, locals were left with fewer jobs and opportunities, as factories closed and work dried up. While the song offers many references to the artist’s local lore, it’s a song that goes far beyond representing the hardships of the artist’s home region. At the end of the day, “Gutta Valley” is really all about authenticity and resilience in the face of changing times. As we all know, the message of the song is more relatable than ever, and it doesn’t matter where you’re from or what your challenges are: this is a universal notion that people can connect with in a very genuine way.

Hip-hop has long served as a platform for marginalized voices, telling stories and sharing struggles often ignored by mainstream culture. With “Gutta Valley,” Adara47 and Fedd the God continue this tradition today, blending raw lyrics and compelling instrumentals to perfection.

Find out more about ADARA47 and check out "Gutta Valley” (Featuring Fedd the God), now available on Spotify and other digital streaming services.

We also had the opportunity to ask the artists a few questions: keep reading for our full interview with ADARA47!

The concept of resilience is key to “Gutta Valley:” What inspired you to come up with such an impactful song?

To me, music is one of the most powerful ways to give a voice to the voiceless. It’s not just about expressing my own story—it’s about shining a light on the stories and struggles that often go unnoticed. I’ve always felt it’s my responsibility to use the gift I have to spread awareness about issues that people tend to overlook. With “Gutta Valley,” I wanted to capture both the pain and the potential of the Ohio Valley—a region full of incredible talent and grit but also weighed down by challenges like addiction and violence. The song is a call to recognize those realities but also to inspire hope and change. The ‘gutter’ in the title isn’t just a metaphor for the lows of life—it’s about finding a way to let the flow of creativity, potential, and opportunity run free instead of being blocked.

What prompted your collaboration with Fedd the God?

Fedd brings something really special to this track. He’s one of those artists who feels real—his energy is raw, his lyrics are authentic, and his presence resonates with people. That’s why he’s such a big name in Pittsburgh and beyond. Being signed to Taylor Gang might have put him on a larger stage, but what I admire most is how humble he’s stayed. As he’s said himself, he doesn’t consider himself famous—he’s just “very popular.” That humility and relatability make him such a powerful voice for the people of Pittsburgh and the Ohio Valley. Beyond his character, he’s incredibly talented musically, and I knew he could bring the perfect blend of authenticity and energy to this song. He’s the kind of artist who doesn’t just add to a track—he amplifies its message.

As a rapper, who influenced your storytelling approach in music most?

Storytelling is at the core of what I do, and I’ve always been drawn to artists who can paint vivid pictures with their words. Slick Rick, Andre 3000, Notorious B.I.G., and Nas are the legends who taught me how to weave a story into a song. I studied them religiously, breaking down their lyrics to understand how they crafted narratives that felt so alive. But I also look outside of hip-hop for inspiration. Bob Dylan and Johnny Cash, for example, had a way of telling stories that cut straight to the heart. They could capture human emotion in such a raw, timeless way, and that’s something I try to bring into my own music. For me, it’s all about creating a story that stays with people long after the song ends.

How did the Ohio Valley influence your sound, if at all?

The Ohio Valley shaped me in so many ways. As a teenager, I was part of the local scene, performing at shows up and down the valley. There’s something about this region—it’s a melting pot of raw talent, resilience, and creativity. It’s also a place with deep musical roots. People often forget that RZA from Wu-Tang Clan—one of the most influential figures in 90s East Coast hip-hop—is actually from Steubenville, right in the Valley. His impact on music was huge, and that influence rippled through generations, even here. Musically, I draw a lot from the gritty storytelling and soulful beats of 90s East Coast hip-hop, and I think that’s a reflection of the Valley itself—raw, real, and full of untapped potential.

What role does hope play in your music and songwriting?

Hope is everything. It’s what keeps people moving forward when life feels unbearable. Around here, in the Ohio Valley, hope is often the only thing that keeps people from giving up entirely. The struggles we face are heavy—addiction, violence, poverty—but hope is what pushes us to believe in something better, to keep fighting for a brighter future. I try to make hope the backbone of everything I create. Without it, music would just be noise; with it, music becomes a lifeline, a reminder that even in the darkest places, there’s still a chance to rise above.

What’s next on your artistic journey? Any plans for 2025?

2025 is all about growth and evolution. I’m planning to release more music that pushes my artistry to new heights, both sonically and lyrically. I want to experiment with different sounds and genres while staying true to my foundation in storytelling and authenticity. I’ve been working on some projects that I think will resonate deeply with listeners, and I’m excited to share them with the world.

On top of that, I’m focusing on creating more visual content—music videos that feel like mini-movies, drawing people into the stories behind the songs. I’m also aiming to perform more, hitting the stage and connecting with audiences in a way that only live music can provide. And it’s not just about my journey—I want to give back to the creative community, whether that’s through collaborations, mentoring younger artists, or finding ways to inspire the next wave of talent. For me, 2025 is about breaking new ground, creating meaningful art, and leaving a lasting impact.

#gutta valley #fedd the god #adara47 #Spotify

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whatsonmedia · 6 months ago

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Music Monday: 5 New Hits from Sohodolls, and Billie Eilish!

Get ready to vibe this summer with the hottest new Music! Sohodolls unleash an electrifying synthwave anthem with "Territory Of Your Heart," while Veronica D'Souza dazzles with her danceable summer hymn "Peaches In My Halo." Plus, Billie Eilish spices up the Brat remix of "Guess" alongside Charli XCX, bringing flirty fun to the season. Don’t miss these must-listen music that are sure to set your summer on fire! Sohodolls take us on an infectious synthwave ride through deep passions with new single 'Territory Of Your Heart'! If I had to sum up Sohodolls 'Territory' in five words they'd be; infectious, amazing bass, soft yet strong female vocals, superb rock vibes and seriously oozing of Punk attitude. If you ever wanted rock/punk/electronic vibes Sohodolls certainly deliver Listen https://open.spotify.com/track/3w4OafKQZXziSa9KcRRqwl?si=f4330238cd89496d Veronica D'Souza continues her journey from fashion pioneer to producer with powerful dancey summer hymn "Peaches In My Halo", out now! For someone like Veronica, who up until a few years ago spent her days in Fashion, she's definitely proving her worth as an upcoming artist. Peaches shows her as a quality singer and I love listening to her voice as it's enticing, haunting and is full of vocal expression Listen https://open.spotify.com/track/4Yag4QcBTTbzOhTYmLOVRR?si=3f969214dc644164 Watch https://youtu.be/2pu98Xp_GhM?si=40liZU_fbNfRDwZp Eilish's Electrifying Encore: A Summer Remix with a Twist Billie Eilish adds a dash of spice to the Brat remix, introducing three fresh tracks to the original. As the Brat Summer season draws to a close, Eilish breaks the mold, partnering with Charli XCX in the remix of "Guess." This quirky melody humorously tackles the theme of constant scrutiny, with Eilish contributing seductive whispers and a fascination with lingerie. The risqué video rapidly amassed two million views. The remix's producer, Harrison Patrick Smith, also known as the Dare, amplifies the bass in Eilish's segment, echoing her pounding heart as she catches sight of her crush. The remix, which echoes BRAT's self-referential style, delves into a comedic tension between best friends where love is present, but one is heterosexual. While Charli's part remains untouched, Eilish's contribution gives us an excuse to prolong the summer just a little longer. Watch https://youtu.be/huGd4efgdPA Joshua Thew to launch new music album with headline London show at The Lower Third on 23rd Sept! Watch 'Reveal' music video https://youtu.be/v7Bl3Yjgazs?si=VkzKjLvbJIlkj4Qq Listen https://open.spotify.com/track/2N7xCvkztRIEnuLUvemOIC?si=8f71e467ed1c4e74 A great album from the beginning straight through to the end. I absolutely enjoyed this from the first song. For a guy who's spent several years in the States you can definitely hear that American sound Joshua is an under-the-radar artist with a great voice which goes quite the distance. Keep your eye on him BEN BROWN - Announces Summer Dates With THE MEFFS || Watch New Video for "Kathmandu" Watch https://youtu.be/98_9kQrU5-4 This is the first time that I have ever heard anything by Ben but am actually like the video. Completely down-to-earth, not packed with any special visuals. Just Ben playing an instrument in an urban street whilst singing and playing his guitar TAKEN FROM NEW EP: 'BLUE' OUT NOW - STREAM ON ALL SERVICES HERE Has an artistic vibe to it and Ben is playing like a live busker which is nice, does get your attention. As with Kathmandu, Ben's video for Blue steers away from anything overly excessive but still uses a good level of creativity THE MEFFS + BEN BROWN: UK DATES - 23/8 - Soundhouse, Leicester - 29/8 - The Piper, Hastings - 30/8 - The Junction, Plymouth - 31/8 - Anvil, Bournemouth - 12th September – Bathgate - 13th September – Newcastle Under Lyme - 20/9 - John Peel Centre, Stowmarket - 21/9 - Craufurd Arms, Milton Keynes - 22/9 - The Bunkhouse Swansea Aphrodite ft Wildflower - See Thru It (Sigsworth remix 2002) An impressive drum & bass jungle track classic originally released back in 2002. I've always found that this is one of those tunes that just never got the full recognition that it actually deserved. The guest singer, better known by her moniker, Wildflower, has a clean-cut voice that slides right through. Utterly impressive Watch https://youtu.be/MIq0cJfhkz8?si=l4o0d-hv16g9kzau Check out whatsOn for latest music updates Sohodolls take us on an infectious synthwave ride through deep passions with new single 'Territory Of Your Heart'! Veronica D'Souza continues her journey from fashion pioneer to producer with powerful dancey summer hymn "Peaches In My Halo", out now! Eilish's Electrifying Encore: A Summer Remix with a Twist Joshua Thew to launch new music album with headline London show at The Lower Third on 23rd Sept! BEN BROWN - Announces Summer Dates With THE MEFFS || Watch New Video for "Kathmandu" Aphrodite ft Wildflower - See Thru It (Sigsworth remix 2002) Read the full article

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chorusfm · 6 months ago

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Team Goldie – Trailblazer

The debut LP by Team Goldie, called Trailblazer, is a solid mix of pop-punk, emo, and overall nostalgia towards the scene of music most of us grew up on. Team Goldie comes from the mind of multi-instrumentalist and vocalist Matt DiStefano, and the new album was produced by DiStefano and John Browne. What comes through the speakers is a blast of energetic pop-punk songs filled with passion and knowledge of this genre. On the name-dropping single of “One & Only,” DiStefano rhythmically sings, “She was standing there in mom jeans and a plain white tee / With confidence, yelled “what’s good, Charlotte?” / Sand in my hand and we got to talking / She said “What’s your sign, boy?” I’m all Aries no Taurus / Just an absolute punk jumping straight to the chorus like…” before jumping into a crowd-pleasing chorus. While Team Goldie may just be happy to be a part of this scene of music, Trailblazer plays out like a record that you’ll want to revisit during the care free days of summer. After a brief spoken word introductory track, Team Goldie sets things off on the right foot with “I’m Back,” that features a fast-paced tempo and a bold statement in the chorus of, “Well, I’m back and I ain’t never left / Or we ain’t never met.” Other early songs like “Roses” change up the tempo to a more somber speed and DiStefano does some self-reflecting as he sings, “You gotta stop and smell the roses / You gotta take it all in.” It’s a nice admission from the vocalist and helps bring more context to the sound that Team Goldie was going for here. ”Michael J” features a cool opening guitar riff before DiStefano raps with confidence over a steady beat, while “Live For The Weekend” offers some well-placed synths to help fill out the track. The latter song is a cool, new wave-esque mid-tempo jam that would be right up the alley for fans of Smallpools and Bleachers. The back half of Trailblazer kicks off with “Big Riff” that leans heavier into the rap genre, while DiStefano complements the rapped verses with a nice instrumental breakdown in between. “Stockton 2 Malone” brings things back to synth-laden pop-punk similar to Motion City Soundtrack, while “28” is a straight-forward speedy pop-punk track reminiscent of Blink-182 and Fenix TX. A rare acoustic ballad of “Scorpion Deathlock (Summer)” helps with rounding out the overall vibes brought forth on Team Goldie’s debut, and allows for a campfire sing-a-long moment in the set. The title track reminded me a lot of the summery pop-punk that Seaway crafted on their last album, Big Vibe, while “Live For the Weekend (Reprise)” closes out the LP with grace and poise, and a moment of reflection in the last few instrumental bars before closing the book on this chapter of Team Goldie. Trailblazer works best when DiStefano leans heavily into his pop-punk influences and adds nice nuances to the songs to keep them from being a carbon copy of what’s come before. Team Goldie should springboard from this successful opening statement and navigate further into an exploration of what makes them different from other bands in the genre. From there, we can certainly get a better understanding of what this band is and wants to be. --- Please consider becoming a member so we can keep bringing you stories like this one. ◎ https://chorus.fm/reviews/team-goldie-trailblazer/

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attallahmusic · 3 years ago

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Top new tracks

Wow what a week it has been for music, especially for those who enjoy rap (like me), Kendrick Lamar has announced an new album to be released May 13th, Pusha-T and Vince Staples has released some very strong projects and Megan-theemotherfucking-Stallion has come out with a single that I cannot stop listening to.

I’m not going to skip over any of that, please if you love yourself listen to Plan B by Megan Thee Stallion. And for those of you who won’t heed my advice, no worries I will listen to it enough to make up for your lack of taste.

Nah, jokes aside, this song is filled with some amazing punchlines and wordplays which set on an old-school beat, makes it reminiscent of the 90s rap.

If you kept your ears to the hiphop ground last week or so, you would know by now that Kid Cudi has publicly said he intends to never work with Kanye again, and this song is the last song we will year with the both on them on it. (RIP to Kids See Ghosts). So enjoy this amazing song, on an album which I can certainly recommend you to listen fully to.

We are not completely done with rap, next up is Vince Staples song PLAYER WAYS. This song is released on his new album, RAMONA PARK BROKE MY HEART and while there are many amazing songs and collabs on this album to chose from, this one stood out to me lyrically as being very classically Vince Staples.

Without completely moving away from rap, we got a a multilingual song, a collab between Sean Paul, Damian Marley (one of the sons of late Bob Marley) and Nicky Jams. Bringing a Central American vibe mixing the reggae drums setting the signature for the song and a dembow beat.

And without leaving the dembow in the dust, we have Te Felicito by Shakira and Rauw Alejandro. A welcoming collab which also shows Shakira’s longevity and ingenuity as an artist, to adapt with the times as latin music is shifting to a heavy reggaetón focus.

We are not completely done with interesting collabs, because this week a mixture of musicians I didn’t expect released a song. That is: PJ Morton, Stevie Wonder, and Nas. Yeah; Stevie Wonder and Nas. Be Like Water is a smooth soul song, with a rap-verse by Nas on it to break up any possible monotony.

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grimelords · 5 years ago

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So since the last time I posted one of these the entire world has changed dramatically and hopefully 4 hours of music will tide you over in quarantine for a bit longer. Strangely I’ve been busier than ever, and what started as a personal challenge to listen to a new album every day in February turned into me listening to 116 new albums in March and 124 in April. I’ve got a stacked google doc full of star ratings and dates now and it’s really been a lot of fun, I highly recommend trying it yourself. This is my March playlist, because I accidentally took a month off, and I’m thinking of either switching these playlists to weekly to make them a little more digestible or just dropping them whenever. Who knows. Let me know what you think and drop album recommendations in the comments please.

Listen here: https://open.spotify.com/playlist/0k1JjT8fXcUFO6VpM3kaez?si=gWSv88vdShKSnHhLJ_80pQ

If you’d like to receive these playlists in a more digestible email format, please subscribe to my tinyletter here: http://tinyletter.com/grimelords

On A Slow Boat To China - Bing Crosby & Peggy Lee: Ok first off it’s amazing this song isn’t more racist. I don't remember now how or why I came across this. I think I was just thinking about crooners and how as a genre it's now existed in common popularity as a nostalgic idyll of a mytholigised past far longer than it was ever actually popular which is interesting. The origin of this song, according to wikipedia, is also one of the most 40s ideas I've ever read: "I'd like to get you on a slow boat to China" was a well-known phrase among poker players, referring to a person who lost steadily and handsomely. The idea being that a "slow boat to China" was the longest trip one could imagine. Loesser moved the phrase to a more romantic setting, yet it eventually entered general parlance to mean anything that takes an extremely long time".

Fight Night - Migos: I saw that Offset had some new show on Quibi the extremely fake sounding streaming service and I thought "how did Migos get so world conqueringly large that they get to make 10 minute shows nobody will watch for a $2 billion venture capital funded app that will never make any money?" They seem to have this massive reputation without having much to back it up. The last thing I remember everyone talking about was how Culure II was two hours long in order to game streaming numbers and was simply not good. They seemed to have sort of settled into making background music for scrolling instagram. But then I remembered Fight Night and I thought: "oh wait, that's right, Migos are fucking great". Where their other big hits like Bad And Boujee and Walk It Talk It have this sort of laid back vibe where they've comfortably nailed the formula and relax onto it, Fight Night commands your attention. StackboyTwan killed the beat - it has this propulsive momentum where it feels like it's constantly ramping up, moving up from the sidesick and bassline in the verse, up to the claps on the beat, and the big gang chants on the offbeat once the full instrumentation kicks in - then it just goes around and around and around with the constant bassline the whole tim. It's a perfect all-rise production because it never actually explodes, it's all building tension held down by an unchanging bassline.

Do It Puritan! - El Hombre Trajeado & Sue Tompkins: I am extremely delighted to announce that Sue Tompkins of one of my all time favourite single album bands Life Without Buildings has broken a nearly 20 year musical hiatus to appear on this song by El Hombre Trajeado. It is so nice to hear how her voice has changed and her approach has stayed the same. Her style is so unique and so good and I don't think I'll ever get tired of it.

5 8 6 - New Order: Before 'the incident' I had tickets to see New Order at the end of March and so I embarked on a big listen through of their discography, which has now unfortunately made it feel even worse that live music is cancelled indefinitely.

Oom Sha La La - Haley Heynderickx: First of all I love songs where they talking about how they're writing a song halfway through. And I love songs that seem like a pretty normal singer songwriter indie thing where someone just starts screaming near the end. I love this song. A great staring at the wall and absolutely losing your mind because you haven't done anything with your whole life anthem.

Elektrobank - The Chemical Brothers: Can you believe I've never listening to a full Chemical Brothers album before this month? Can you believe big beat ever went our of style? It feels insane that we ever swapped this sort of energy for the beige algorithm of EDM. I think there's a real triumph in this album, and in this track especially of replicating the live feeling in studio. Giving it this much space to grow and change and get very hairy near the end is amazing, it feels like it was just recorded live.

My Mind's A Ship (That's Going Down) - Katie Pruitt: It feels very rare to me that this sort of extremely smooth Nashville prduction actually makes a song better. It has a habit of strangling the life out of a song and making it blend into a boring paste of soundalikes, but with Katie Pruitt it works amazingly. Her songwriting is so distinct and clear and her voice, especially near the end where it punches hole in the sky, is so strong and so her own that it doesn't need anything else.

Water - Ohmme: "What if Tegan And Sara were a noise band instead?" is a question I didn't know I needed an answer to. I love any band that has the guts to write songs like this that sound like pop from an alternate history, so off kilter and odd and noisy but with this undeniable pop heart that the duo vocals make sound like schoolyard clapping chants remixed by Lightning Bolt.

Lions, Tigers and Bears - SLIFT: A friend put me on to Slift and described them as French King Gizz and really, I'm inclined to agree. This is the traditional long last song at the end of their new album, and as usual I am advocating that every song should be the long last song at the end of the album. I love this style of jam where everyone else goes to space but the rhythm section just digs in and works hard as fuck for ten minutes. Then the whole last 3 minutes of the song are just fat drone riffs. This song's got everything.

The Pines - 070 Shake: This 070 Shake album is unbeleivably good and it warms my heart to see the dark energy of The Pines live on through another century in yet another permutation. I have more to say about it later in the Jackson C Frank version coming up but it feels like this 070 Shake album kind of came and went but I implore you to listen, it’s an aoty contender for sure.

Standing On The Verge Of Getting It On - Funkadelic: If you can stop thinking about the intro, which I certainly can’t (Hey lady won’t you be my dog and I’ll be your tree and you can pee on me.) there is so much goodness in this song. For a while now I’ve been thinking about how, for lack of a better word, ‘positive’ music is consistently underrated in the critical canon. Dance music, disco and funk especially are derided as empty sugar music, while every cookie cutter metal band absolutely demands to be taken seriously. In dance music this manifests as genres like tech house sucking all the fun and individuality out of music until it’s just an endless parade of producers working to a schematic of the barest essentials. It feels like you can’t have fun and be taken seriously at the same time, which feels like an obvious contradiction but shouldn’t be!

Spoils - Dry Cleaning: Dry Cleaning are my Lock Of The Month Band To Watch In The Future Because They’re Gonna Go Off. They have such a great sound and I’m desperate for an album because I just need more. This song absolutely knocked me down when I first heard it. I love any band where it sounds like the singer has just wandered in while the rest of them were rehearsing. There’s a very good talking-songs movement happening in the UK right now between these guys, Do Nothing and Fontaines D.C and i’m excited to see where it progresses. I might put together a playlist a little later to show you what I mean.

As - Stevie Wonder: I finally listened to Songs In The Key Of Life this month, which is an experience I would recommend to everyone. This shit goes for 21 songs over 105 minutes and absolute bangs the whole way. The original release of this album was a double LP plus a 7", which is yet another reason I am grateful for streaming that I don't have to buy a damn box set to hear this thing.

Sleep Now In The Fire - Rage Against The Machine: I am working on a very niche playlist called Songs Where The Guitar Amp Accidentally Picks Up A Nearby Radio Station For A Couple Of Seconds and it's only 3 songs so far. A Man A Plan A Canal Panama by The Fall Of Troy, Melody 4 by Tera Melos and Sleep Now In The Fire by Rage Against The Machine. In every single one of those songs it feels like a critical component even though it's just an accident that's been left in because it sounds good. Here it's the perfect ending as the rage dies down and the commercial world fades back in. Anyway, my other question about this song is about the great Michael Moore directed video where they famously shut down Wall Street for an afternoon. There's a shot of a guy for a second holding a sign that says Donald Trump For President in 1999. Which is odd but not out of the question, he's been famous for a long time and there's always been freaks. My question is why the fuck did he have that sign that day? Was he amongst the Rage Against The Machine Fans that showed up? A counter protestor? Was he, perhaps most chillingly of all, just walking idly around Wall Street with his Donald Trump For President sign like usual and stumbled upon this whole hoo-haa accidentally?

Applause (Purity Ring Remix) - Lady Gaga: Did you fucking know that Purity Ring did a remix of Applause? If there’s something I’d love to know more about and it’s Purity Ring’s forays into pop production. After their first album they did some production for rappers like Danny Brown in the great track 25 Bucks, which is a good fit really - their sound is witch house with the tempo pushed back up, witch house of course just being chopped and screwed reinvented by tumblr users. So it’s a natural fit to take that new perspective back into the world of hip hop. They also did this fantastic remix of Applause after their first album. Then, after their second album they produced 3 songs for Katy Perry’s Witness album, and one Katy Perry song for a Final Fantasy mobile game soundtrack (?) and feel like the long silence and delay between their second and third albums is because of more behind the scenes pop production work - but if that’s true, where is it? Is it, as I suspect, part of my own personal Pepe Silvia, Katy Perry’s scrapped 2019 album that has vanished into thin air? Or is it part of Chromatica? I think Purity Ring have solidified an interesting place in pop, paving the way for Billie Eilish and Kim Petras’ dark anti-pop and so i’m excited to see where they go after this new album now that they’re the architects of the new wave.

React/Revolt - Drahla: The smartest thing you can do is add a saxophone to your band. The whole first half of this song could go for 20 minutes of growling screaming saxophone post-punk and I wouldn't mind. Then when the second half of the song kicks in it's fantastic in the way this whole Drahla album is: it's tight and sprawling post-punk at the same time with a complicated structure that seems to just pile onto itself instead of ever circling back.

And I Was Like - Porridge Radio: I'm seemingly having a real thing this month for songs that open with a bizzare acapella chant. Between this and the Funkadelic one it's a genre I'm very interested in hearing more of. Isaac Newton was a virgin and it's important to recognise that. The thing I love about this song is how it's in 3 distinc sections: Isaac Newton was a virgin, she's a birthday girl in a birthday world, and mum no please it's grunge, and they all feel like the concentrated energy of a 14 year old's thoughts. She sounds like she's almost crying when she sings 'she's a birthday girl in a birthday world'. The concentrated confusing teenaged energy of this song is just overwhelming.

Dirty Mattresses - Mama's Broke: So much of contemporary 'traditional folk' either exists as pure nostalgia music or as music that's trying too hard to be 'authentic' and evoke a mythology of a bygone time, but Mama's Broke manage to make it feel new and modern but honest and authentic at the same time. The super close harmonies and modern approach remind me of House And Land who I also love, but the songwriting is in another class entirely.

Building A House - CHOPCHOP: I don't know if you've ever seen Bad Boy Bubby but CHOPCHOP feels a little like the band that he ends up joining at the end. A musical ensemble built to enable the will of a very strange man. I think the band is from the UK and I'm not sure where the singer is from, but he has this incredible deeply accented voice that brings such a gravity to everything he sings in the way that anyone speaking english as a second language accidentally brings new weight to common turns of phrase.

Universal Soldier - Jay Electronica: It feels fitting, looking back, that Jay Electronica finally released his album right before the world ended. It was literally now or never. Some how Jay-Z is the breakout star of this album for me. He's got some of his best verses in years on here and he's a great opposition to Electronica's flow when they trade verses. I would also, as an aside, like to know the origin of the kids cheering sample throughout this, because it's the same one from AM//Radio by Earl Sweatshirt and Wish You Were Gay by Billie Eilish. So what's that about.

Sticky Hulks - Thee Oh Sees: I've been very slowly getting into Oh Sees and I love them a lot so far. Their unweildy, huge discography spread across a lot of variations of the same name makes digging into them very rewarding as well. There's a great line on their wiki detailing all the times they've changed their name that goes: Orinoka Crash Suite (1997–2003), OCS (2003–2005, 2017), Orange County Sound (2005), The Ohsees (2006), The Oh Sees (2006–2008), Thee Oh Sees (2008–2017), Oh Sees (2017–2019) Osees (2019) to give you some idea of what we're working with here. Basically it's just everything you could want from a pychedelic band like this: a history and discography as shaggy as the songs themselves.

Knife On The Platter - BODEGA: In reading about Bodega I learned that they don't have a drummer in the traditional sense. They have someone credited as a 'stand up percussionist', and in listening back I realised that's they key to the groove in their music. He's not playing a kit he's just slamming at a tom and a snare on a rack, while one of the singers plays hi-hat here and there. So all the drumming has this barebones caveman feel to it and I absolutely love it. The band feels a lot like The Fashion, and that whole mid-2000s dance-punk movement that I've been desparate to come back so naturally I love it a lot.

Against Gravity - Horse Lords: Horse Lords are one of the most incredible bands I've heard in a long time. Somewhere between a more analogue Battles and Laddio Bolocko, they make a kind of churning math-jazz that sounds like huge intersecting squares of rhythm slowly overlapping. It feels like there's an infinite depth in these songs, you can listen and focus on a single instrument and see it shifting in and out of place with everyone else, before you lose it again and it retreats back into the swirling mass.

Plain To See Plainsman - Colter Wall: I've been listening to this Colter Wall album a lot, and it's really beginning to rank among my all time favourites. I grew up around the flattest place in the southern hemisphere, so I love the plains and it's very nice to have a cowboy song I can relate to like that.

The Nail - Sarah Shook & The Disarmers: Sarah Shook has so much character in her voice I completely love it. She is also a fantastic songwriter that manages to make outlaw country punk that sounds authentic and doesn't have the rockabilly posturing that a lot of the genre suffers from.

Inner Reaches 慾望的暗角二 - Gong Gong Gong 工工工: The best thing about Gong Gong Gong is you can listen to this whole song before you realise they don't have a drummer. They're a guitar and bass duo that play and sing with such a layered rhythmic intensity between the two of them that they really don't need one. A drummer would just clutter the space already taken up by their ferocious rhythm.

Country Pie - Bob Dylan: I'm a big fan of Bob Dylan's dumb songs. He has a lot where if it's the first song you ever heard from him you would be mad at whoever told you he was the greatest songwriter to ever live for trying to trick you like this. What I especially love about this song is how abruptly it ends, like dad just came home and everyone panicked cause they're know they're not supposed to be staying up that late.

You Did It Yourself - Arthur Russell: It seems hard to believe that I've only just found out about Arthur Russel. He seems to be a mainstay of Music Guy lists and somehow I've only heard of him this month. I've been obsessing over the Iowa Dream album, which is a compilation of a lot of different (mostly extremely high quality) demos from the late 70s to mid 80s and what really shines through other than the singular strength of his songwriting is how readily and easily he bends from country style folk to romantic piano ballads, to groovy post-punk like this. What I love so much about this song is it's a great lesson in songwriting: sometimes a song can just be a vague review of a middling movie and still have emotional resonance. Incredible. There's a great NPR article about Arthur Russel and the process of assembling half-takes and demos into complete recordings that you should read if you're interested. https://www.npr.org/2019/11/20/779721417/which-arthur-russell-are-we-getting-on-iowa-dream

The Dogs Outside Are Barking - Arthur Russell: I love this song because it's such a perfect distillation of a teenaged moment: trying to find a moment alone with someone when you have no freedom at all to create one. The song cycles through potential situations but leaves the problem unresolved, existing in the moment of nervous romantic tension preceding an unasked question and it's just beautiful.

Men For Miles - Ought: I love the vocal melody in the verse here so much. Spiking up unnaturally at the end of the lines like a nervous and strange version of The Strokes. Even the way he cramps his words in in the chorus is so good, switching registers randomly like he's impersonating someone else.

Mister Soweto - Lizzy Mercier Descloux: https://pitchfork.com/features/from-the-pitchfork-review/9828-lizzy-mercier-descloux-behind-the-muse/ Pitchfork has a great article about Lizzy Mercier Descloux detailing how she is continually undervalued and underappreciated. I found her though my Discover Weekly and became immediately obsessed with this album - a perfect mix of off-kilter 80s bass and brass that is so colourful and seems to move in a million directions at once like the songs can't even catch up with themselves sometimes. I'm excited to dig into her discography more and try to understand her more because she has a truly unique approach that I can't get enough of.

Sweden - Marilyn Crispell: I've been looking for a while for other pianists of Cecil Taylor's calibre, rare type that it is and I am so glad to have finally found out about Marilyn Crispell. She plays free jazz like Taylor, but in much less percussive and disonnant style. There's a New York Times quote that seems to follow her that says "Hearing Marilyn Crispell play solo piano is like monitoring an active volcano. She is one of a very few pianists who rise to the challenge of free jazz." and it's really very apt. She will move with seemingly no warning at all from mediative, colourful stokes to a mad descent unto uncertainty and beyond, then back again without a moments hesitation. Her music moves like a dream, linking a stream of unlinked images with an ease that only seems incongruous on reflection.

Twins - Gem Club: I have loved this song for a very long time and I come back to it over and over and appreciate it anew. What I appreciate about on listening to it this time is the strangeness of it's structure, following up the verse with an instrumental break, and then a long instrumental intro to the chorus gives it so much space to spread out and breathe, giving the beautiful gravity of the song even more weight. Then after the chorus it moves straight to a bridge and then the intro and first verse again. It's a fantastic song that makes it's small parts so large, where another songwriter or another producer would pare them down.

Grand Central - Paul Cauthen: Something I've learned in listening to a lot of cowboy music is that the number one thing that cowboys hate and fear is getting hanged. They hate it worse than cats hate getting sprayed with water. I found out about Paul Cauthen combing through Colter Wall's similar artists looking for more of this brand of new old fashioned country and I really found it here. Paul Cauthen comes from four generations of preachers and left the church to pursue country music instead, which feels like an extremely old fashioned position to be in here in 2020 but I guess lots of people in Texas still live like that, and thank god they do or we wouldn't have Paul Cauthen's big mournful Elvis voice to sing us songs about the railway.

Serafina - BAMBARA: I love this sort of spoken word leather jacket rock and roll. It's so extremely Cool in an old fashioned way. Like a more rock and roll version of Enablers.

So 4 Real - The Hecks: I love love love this song that sounds like a sped up Prince demo. The strange thinness of the mix and the way the vocals are buried just makes it sound so strange and great, like it was put together on some ancient 4 track recorder that can't handle the pure energy of the song.

In The Pines (Version 2) - Jackson C. Frank: There's a very good 3 hour compilation of Jackson C. Frank recordings that came out a few years called Remastered And Unreleased that I listened through the other day. It's just magnificent. This version of In The Pines is one of my favourite I've ever heard, the mournful vocals coupled with his churning rhythm guitar really brings out the darkness of it in a way I've never heard.

(Tumble) In The Wind (Version 1) - Jackson C. Frank: Another favourite from this compilation that is slightly hard to listen to. I don't know if there's a date on it but I'd guess this was recorded near the end of his life. It is so beautiful, but you can hear in his voice and breathing that he's unwell. In Horseshoe Crabs by Hopalong she sings a story from his perspective this song really seems to fit in the second half of that. "Woke from the dream and I was old / Staring at the ass crack of dawn / Walked these streets up and down / Looking for Paul Simon / All I found was myself, lost in time / I tried singing my songs / But I lost my mind"

Sludge - Squid: I'm thinking of putting together a playlist of all the great Black Midi-adjacent bands I've found out about recently and Squid is at the top of the list. This new breed of art-punk is so fantastic and goes in a million different directions. I'm just so excited it exists.

Straight Shot - Quelle Chris: I love this song and Guns is a phenomenal album but there’s one thing bothering me. The ‘who are you, what are you’ part at the end sounds so incredibly familiar to me and I can’t figure out why. As far as I can tell it’s not a sample, but googling reveals that the english voice on it is fucking James Acaster the standup comedian. So what’s going on? Quelle Chris himself is less than helpful: “Straight Shot is one of those ideas that reached out to me, we got along and I simply showed it around town. The chorus, poem at the end and basic piano progression literally came to me in two separate dreams”. Who knows. Great song though.

Levitation - Dua Lipa: What I really like about this song is that she says sugarboo. This whole album bangs and Dua is really reaping the benefits of being the only pop star with the guts to release an album while everyone’s in lockdown I also have a half-baked theory about the way this song is almost interpolating Blame It On The Boogie in the ‘moonlight, starlight’ part as a sort of aggressive takeover of Michael Jackson’s cancelled legacy. Which is smart really. The same way Taylor Swift is re-recording her albums, let’s just get The Weeknd in the studio for a couple of days and give the world back it’s bangers.

Another Crashed Car - Nine Inch Nails: I am so glad Trent Reznor put out another two volumes of Ghosts. Ghosts I-IV from 2008 seems to have been the bridge from his Nine Inch Nails work to his film score work, and now that he’s had such success with that it’s nice to hear him writing in this style without telling anyone else’s story again. It’s also interesting for him to go back to this project now that Ghosts I-IV has paid dividends in the form of the sample at the centre of Old Town Road but that’s neither here nor there. It’s hard to pick and individual track from these, because they work so effectively as long form albums and not individual tracks, but I chose this one because I put the album on as background ambient while I was doing some boring data entry at work and this track is the point at which I realised I was going out of my mind with stress from doing the simplest tasks because of Trent’s Damned Chords.

Lilacs - Waxahatchee: This is a perfect song. It makes me want to like, draw charts about it and go through it bar by bar to figure out how she did it. It’s perfectly put together. It feels like she uses every trick in the book and it just comes together flawlessly in 3 minutes. Amazing.

Cool Water - Hank Williams: I decided to properly listen to Hank Williams because his shadow stretches over so much of country music, and while a lot of his music really alienated or bored me, and a lot of his songs feel like they would read as novelty songs today (like Hey Good Looking), this is the song that made me understand why he’s so revered.

In My Bones (feat. Kimbra and Tank And The Bangas) - Jacob Collier: Jacob Collier generally irks me. He makes brain music for redditors that lose their mind when someone shows them chord inversions or odd time signatures. Youtubers whose whole personality is ‘y’all heard Giant Steps?’ But he killed it on this song. It’s great despite him. There’s still a lot of corniness to work through, mostly in the big yuck funky lyrics, but structurally it’s a kaleidoscope and a big chunk of its success I’m putting down to Kimbra and Tank who understand that performance is a bigger part of a song than composition in a way Collier maybe doesn’t yet. He can overload the bassline and stop-start the rhythms as much as he likes but without actual personalities driving it it’ll just sound like a Peter Gabriel midi played at 200%.

Earthquake - Graham Central Station: I learned something wonderful in researching this band. The leader, Larry Graham, who was in Sly And The Family Stone is credited with inventing slap bass. He himself refers to the technique as "thumpin' and pluckin' ".

Quand Les Larmes D’un Ange Font Danser La Neige - Melody’s Echo Chamber: Once again furious that I’ve known of Melody’s Echo Chamber for years but never listened to them until now. I have been missing out. This is a perfect sprawling psychedelic jam punctuated with a bizzare cut-up recording about shitting yourself when you die and being declared brain dead in the vatican. It’s got everything. I had to look up who the drummer was on this song because he’s just nailing it, and it turns out it’s Johan Holmegaard from Dungen which is really a perfect fit.

Murder Most Foul - Bob Dylan: I was thinking the other day about how Bob Dylan is doing in quarantine. The man who hasn’t stopped moving his whole life and who’s been on a never ending tour since the 70s is now, I assume, just pacing a hole in a hotel carpet somewhere and jabbering to himself. The strangest part of Bob dropping this 17 minute song about JFK out of nowhere is that he hasn’t put out any original music since 2012. So a gigantic song like this is an even bigger surprise. I, already a huge fan of gigantic songs and Bob Dylan, unsurprisingly love it. I love the slow stirring of the instrumentation, like he hired Dirty Three as a backing band and I love that nearly the entire second half is just listing good songs that he knows. It’s a remarkable song and unlike anything i’ve heard before from Dylan or anyone else. It’s interesting to hear Bob Dylan step into being the great chronicler of the 60s like he’s been told he already was his entire life almost 50 years later, finally accepting the fate foisted on him. The other thing I love about this song is the line when he for some reason praises Lee Harvey Oswald’s shooting “Greatest magic trick ever under the sun / Perfectly executed, skillfully done”

https://open.spotify.com/playlist/0k1JjT8fXcUFO6VpM3kaez?si=gWSv88vdShKSnHhLJ_80pQ

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legalvinyl · 3 years ago

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Epitomizing Classic Rock Lead Guitar

Half the fun of being a musician is trying to look like, sound like, and play like your heroes. While this path often leads to expensive sessions on websites like eBay and reverb searching for that next magical piece of gear and alternating between moments of joy and frustration as you get a little closer to playing like your idols but then realizing the closer you get just how much better they are than you - regardless, chasing this dream is a lot like chasing the dragon; it probably isn’t possible but you’re going to try anyways.

In the world of guitar playing, which is a world I’ve proudly inhabited now since the single digits in age, the unfailing chase for ‘that tone’ is something that comes as a universal qualifier once someone gets comfortable enough to rip a pentatonic scale with a little bravado and confidence. While I love rhythm guitar playing and think it’s one of those areas that truly makes a great guitar player (especially when playing with others or in a band setting), my heart rests in the beauty and magic of the solo and melody in lead guitar playing. There’s something so expressive, like a direct link from your emotions and your soul to the fretboard that creates a special bond and demands full attention from not only yourself, but also your audience. It’s a spotlight moment, and as much as it presents an opportunity to sound like a cliché poser, it can also bring a strong moment of glory that feels so gratifying after rehearsing and practicing licks repeatedly until one can play them from muscle memory alone. This compilation of songs demonstrates some of my favorite and most influential guitarists at the top of their game. I hope it can serve as inspiration for aspiring guitar players and entertains some rock music fans who just want to groove along with players that make the connection between the instrument and the individual seem more like a spiritual illumination than just a guy pulling on some strings on a dead piece of wood.

Starting with the most classic rock sounding classic rock possible, we have Paul Kossoff ripping his Les Paul into a cranked Marshall stack (the true epitome and peak of rock n roll) in the song I’m A Mover from the Free Live! album. That crunchy guitar tone makes up the vast majority of the left pan of the mix, so listeners can hear every detail and nuance in his playing clearly. And boy does he use that space to good use. Kossoff combines some tasteful but not overly exaggerated riff-based rhythm playing with opportunities to launch off into vibrato heavy solos all the while keeping a perfect understanding of the timing of the song and the rest of the band. It’s a tight song that gives the lead player just the right amount of ‘free’dom without getting lost in excess. Kossoff doesn’t try to use too many notes or pull the song in his direction entirely; he stays central to the bluesy message of the song and lets his fingers do the talking with impactful and purposeful words with every note.

Next, we’ll move to my two favorite guitarists of all time (which I could’ve used as examples for probably over a hundred songs of lead mastery) starting with Eric Clapton. This recording is unique for a variety of reasons, but mostly because it features such an incredible all-star lineup called the Dirty Mac which features (get ready for it) John Lennon on rhythm guitar and vocals, Keith Richards on bass, and Mitch Mitchell on drums. And for you guitar nerds out there, Clapton rips his signature cherry red es-335 into a fender stack that conjures up serious undertones of Clapton’s biggest influencer, the great B.B. King. The tone is a little thin and snarly for Clapton during this stadium-playing Cream-era time of his guitar career, but I love it as a deviation from his usual sound that also informs his playing and almost shows his personality more in a lot of ways than his typical Marshall stack sound does. And Clapton is really at his best here soloing over the entire 4-minute song with all the soul and character that made countless guitar players in the late 60’s gush over. Just watch the video, these are all legends in rock music having fun and absolutely killing a great Beatles cover.

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My second favorite guitar player, Mick Taylor from The Rolling Stones, is rarely mentioned in debates of sensational lead players for very strange and inscrutable reasons. Simply listen to his lead work on Hide Your Love and you’ll get goosebumps at Mick’s ability to combine difficult sequences with endless amounts of taste and feel. This classic blues song lets Mick showcase his chops in the background during the entire song, and Jagger even shuts up every once in a while, to let him really steal the show. There’s this sense of control and expertise that comes across in this track that only a true master could convey, and I really think this represents unbeatable guitar work no matter who would try to challenge him.

The passionate, almost violent guitar sound from Jeff Beck’s Let Me Love You is unique and gutsy in all the best ways. Another very bluesy track from another English group, this track demonstrates how fighting with your guitar can feel like a bluesman at the crossroads who’s truly battling with the devil. The tone is unique, the playing is inflamed, and the notes are all creative and expressive in a manner that would make a lot of guitar players scratch their heads and think ‘how the hell did he do that?’.

Another angry song from a player who needs no introduction, Tony Iommi’s playing on the track Jack the Stripper / Fairies Wear Boots is genre defining and innovative to say the least. The song’s introduction almost has a jazzy feel; it’s free-flowing and loose, but the unity between guitarist, bassist, and drummer is so tight that the listener never feels lost and the track never seems directionless. Although this track isn’t one big soloing showcase like some of the others, I challenge any guitarist who thinks they know their chops to play along with this in perfect time and with the same refined rage that Iommi musters. It’s a killer track with a distorted metal tone that takes its roots from more bluesy and latin-flavored backgrounds, and it shows that heavy rock and metal sounds can come from fewer notes played with fervor rather than haste.

The last track ends this list like a sweet desert. Blue Sky by the Allman Brothers is a masterclass of taste and self-command. Two guitars trade solos that feel exactly like a warm summer sun, and the notes seem to radiate out from the guitarist’s souls rather than their fingers. Almost as if Jerry Garcia had grown up on a peach farm, the solos are melodic and don’t feel like standard pentatonic runs or played out blues riffs. Every note is purposeful and connects the phrases together with a real naturalness that somehow makes the listener feel like they’re in the middle of a field on a beautiful day no matter their setting or time of year. It’s a song that captures a vibe unlike any other, and the guitar playing is so perfect for the track that you can’t help but smile.

Obviously not an entirely exhaustive list as I’ve had to omit a few guitarists that certainly deserve your attention, as well, but I hope this gives the classic rock guitarist a wide range of sounds and playing styles to learn from and appreciate. Every guitarist mentioned in this list has other great tracks in their catalogue, and I strongly encourage you to invest yourself into their playing even more to discover further inventiveness that should provide countless hours of learning and inspiration. Cheers and enjoy!

YouTube Link: https://www.youtube.com/watch?v=JeFwaWFTGYU

Mick Taylor Photo: https://sfae.com/Artists/Dominique-Tarle/Mick-Taylor-Recording-in-the-Basement-Studio-Nellc

#guitar #paul kossoff #eric clapton #mick taylor #jeffbeck #toniiommi #allman brothers band #classic rock #guitar solo #masterclass

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bananaofswifts · 5 years ago

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Taylor Swift Conjures Stories Destined to Endear and Endure for Generations to Come on ‘folklore’ | Album Review

★ ★ ★ ★ ★

Something of a semi-career capstone, Taylor Swift’s seventh studio album Lover (2019) presented—in some form or another—all the various sounds she’d taken up across her previous six records. Usually when a recording artist arrives at a point of vocational reflection, a customary singles compilation is dutifully imparted. Not so for Swift—the decision to generate a new song cycle suggested that she still had artistic energy to burn off. And so, alongside any of the nostalgia that buzzed on Lover, an exploratory air could also be heard too.

In the wake of Lover’s initial rollout, Swift certainly kept busy: “The Man” (the final single from Lover) and the Miss Americana documentary debuted on January 27th and 31st respectively—each of them won critical acclaim. Not long after this double whammy of activity, the world found itself paralyzed by the effects of the COVID-19 pandemic. Suddenly, the touring reality for musicians, regardless of any pecking order, changed overnight. Many assumed that Swift—now unable to tour Lover as planned in the spring and summer of 2020—was going to embark on a minor break. They were wrong.

Swift was inspired to start scripting stock for her eighth studio affair folklore while in isolation. Enlisting a tight crew of collaborators that included an old friend (Jack Antonoff) and a new face (Aaron Dessner of The National), Swift and her colleagues managed to assemble the long player, albeit piecemeal, and observe social distancing guidelines—a masterful feat in and of itself. With an exception issued to “exile,” where she handsomely partners and writes with Bon Iver’s Justin Vernon, the rest of folklore is penned (and partially produced) by Swift with co-writing-production support courtesy of Dessner and Antonoff.

The unexpected announcement of folklore’s imminent arrival only one day before its July 24th release was a power move à la Beyoncé. By late Friday afternoon, the raves for folkore were piling up and one question was repeating itself among devotees and pundits: what was a comparable album to folklore in Swift’s established canon?

The only previous effort to come close would be Red (2012).

Swift’s fourth set was her last LP where she explicitly engaged with a guitar driven aesthetic while also prognosticating a much larger play for broader pop prominence. But if Red was an album defined by wide-eyed ambition, folklore brims with experience gained as a maturing woman. The groovy, piano-pop lilt of “the 1,” a radio ready number, opens Swift’s current offering as a lowkey flip on the vibe of “I Forgot That You Existed” from Lover. Yet with “cardigan,” an adult alternative stunner, following directly behind “the 1,” Swift evinces that folklore is in possession of treasures far richer sonically than what that introductory selection teases.

Across the remainder of its fifteen tracks—seventeen with “the lakes” if one procures the physical copy—folklore is an aural panorama of album oriented rock (“my tears ricochet”), chamber pop (“epiphany”) and acoustic country-folk (“invisible string”). All the content is beautifully outlined by Swift’s voice, an instrument that has always been pleasantly competent, but on folklore it displays a gracefulness and passion never heard before.

One can safely assume that this is owed to Swift paring down the production gloss wielded on 1989 (2014), Reputation (2017) and Lover—not that it drowned her out on those efforts. But, for the first time, it feels synchronal to Swift’s singing and she wisely retains enough of that production muscle to lend folklore a sense of widescreen majesty despite its obvious intimate slant. These creative choices demonstrate knowledge gained by Swift and she actions this expertise on four songs at the heart of the album: “mirrorball,” “seven,” “august,” and “this is me trying.” The quartet finds Swift moving even deeper into the cited chamber pop and country-folk atmospherics to winning effect; and this song strata additionally points to her true talent as a writer.

Although Swift’s embrace of social justice has been to her benefit topically, the politics of the personal remain her greatest asset and best form of communication with her public—“Hoax” is an undeniable highlight of this enduring skill to tell her own stories. However, where she once only skimmed the surface of touching on the tales of outsiders, Swift lets herself become a channel to share narratives that aren’t born of her. In an official statement, she describes the change in her writing mindset for folklore this way, “I found myself not only writing my own stories, but also writing about or from the perspective of people I’ve never met, people I’ve known, or those I wish I hadn’t.”

Swift takes this approach to the next level with “the last great american dynasty,” a fascinating account of the long since deceased St. Louis heiress Rebekah West Harkness—a misunderstood figure and firebrand of her day. Harkness was the former owner of a Rhode Island coastal home Swift purchased in 2013. Swift ties herself into the end of “the last great american dynasty,” in first-person, to forge a connection between Harkness’ journey as a complex woman and her own multitudes. She does the same (again via the first-person method) on similarly absorbing entries like “illicit affairs” and “mad woman,” where the line between Swift’s reality and the task of being an interpreter is blurred.

As a complete body of work, folklore is Swift’s most compelling and challenging record since Reputation. No longer a former “country starlet gone pop,” Swift is a woman with a singular vision moving forward to blaze new paths and create art that will resonate for years to come.

Notable Tracks: “cardigan” | “hoax” | “the last great american dynasty” | “mirrorball”

#taylor swift #review #folklore

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secretradiobrooklyn · 3 years ago

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Secret Radio | 7.24.21, 8.7.21 & etc.

“Better, Better, Back” Secret Radio | 7.24.21, 8.7.21 & etc. | Hear it here.

- Mort Garson - “Plantasia”

1. Jean-Pierre Djeukam - “Africa Iyo” - “Cameroon Garage Funk”

The main musician I think of from Cameroon is Beti-Beti, and this is a whole different thing. Endless props to Analog Africa for providing fiery track after track. This is the sweat from their newest collection!

2. Eyedress - “Jealous”

Paige hears something in this and when I unfocus my eyes I do too. (Literal?) high school skate kids gettin in their shallow feels. I will admit that the chorus “time-time” is killer.

3. Nahid Akthar & Tafo - “Takra We Gutt Bhar Le” (I think)

Nahid Akthar’s voice is so completely bewitching that the amazing arrangements almost sneak by. Tafo is the producer of this track I believe, and the narrative structure of the music is just so confident and encompassing. But then also: man, that VOICE. She’s right up there with Ros Serey Sothea in expressiveness and character.

4. Oruã - “Escola das Roas” - “Sem Bênção / Sem Crença”

My thanks to you, Marc, for pointing this band to us. I have fallen in love with this particular recording, it just gets more thoroughly better with every listen. Calvin Johnson mentioned this band in a recent K newsletter — they’re a Brazilian band who corresponded with Doug Martsch as mutual fans until at some point Doug decided his own band needed replacing and he brought them out as Built to Spill and also as Oruã. This track also has shades of Sonic Youth’s “Master-Dik,” one of my all-time ultra faves. It really hits me in the ’90s, and I rilly want to see how some of this music is performed live.

5. Jacques Dutronc - “Le Responsable”

I’m so thankful to have Jacques Dutronc in my life. His rock songs knock me into gear like nothing else — and the whole band has its own very specific flavor. It kicks!

6. Sleepy Kitty - “Alceste in Silverlake”

At very long last, there is a new Sleepy Kitty album on the way! It’s in line at the record plant as I type this. And this is a song from the perspective of a musician-seeking drummer in LA, crossed with the most brutally honest man in all of France.

7. Sakuran Zensen - “錯乱前戦ロッキンロール” (I Wanna Rock & Roll)

We only knew one song by this band (that we’ve played here) because the video was rad, but I looked to see what else was there and this song is just freakin great with me. The chords are really cool and his vocal delivery is just so over the top it’s impossible not to love. And the guitar solo is basically a full-on tonefest, which I appreciate more than a bunch of flying fingers. The video helps fill in the picture nicely too, I think, though I like the song while not looking at it even more.

https://www.youtube.com/watch?v=YPCqT3e89SU

- Mort Garson - “Concerto for Philodendron & Pothos”

8. Clothilde - “Fallait pas ècraser la queue du chat”

All hail the French instinct for chamber music instruments as pop instruments, and then as a kind of technicolor weirdness. The orchestration of this song is a work of art in itself, and that doesn’t even account for her self-harmonizing melody. If you haven’t already, picture a brunette bob and deep mascara.

9. Public Service Broadcasting - “Spitfire”

I can’t remember now how I found this music, though I think it might’ve been from Josh’s playlist? This is from 2012, but they have a new album coming out almost exactly a month from now. In Bound Stems Tim and I got really into interlacing snatches of other people’s words into the music we were making, and this is very congruent with that interest. I feel like this song passes tests as it goes.

10. Shocking Blue - “Send Me a Postcard”

I first heard of this band when I was learning everything I could about Nirvana, and I’d heard both versions of “Love Buzz” and knew they were both great, but we only recently caught this track. It’s the bridge between “White Rabbit” and “Territorial Pissings.”

11. Metak - “Tetrapak”

Our favorite Croatian band! Everything about this song is delightful. I feel like if this song was in English I’d probably cringe at the lyrics, but in this format I can only hear how much fun the song is to play. I am one-quarter Croatian, which means I can’t understand any of the lyrics either but I do see little ghosts of myself in the pictures of the band somehow. It’s weird.

12. Katerine - “Louxor J’adore”

-Anything I could say about this song is eclipsed by this excerpt:

https://www.youtube.com/watch?v=uD7QuV6f_MA

The performance to the cemetery knocks me out

13. Erkin Koray - “Seni Her Gördügümde”

Whenever we’re listening to Anatolian psych, the songs with the most creative ideas and satisfying riffs and great vocal passages are always Erkin Koray. The four-piece arrangements are so good, and then he doesn’t hesitate to step up with his guitar to narrate a passage. Also, I really like how Turkish rock sounds so Indian and also Arabic and also French.

14. WITCH - “Chifundo”

Zambian prog rock! I haven’t heard anything like this track anywhere else in Africa yet. The thing is, this version of prog includes the exact flavor that Yes totally lacks, and thus I really love listening to this track in a way most prog rock doesn’t hit me. The time switches and the lead part over the top are just so smooth!

15. Ezra Furman - “Psalm 151”

We’ve been listening to a lot of Ezra Furman’s music lately, and it’s only getting better and more engrossing with every listen. We toured with Ezra Furman’s band about 5 years ago and every night was a pleasure. They’re finishing up a new album, which makes this a great time to listen to the others. This entire album, “Transangelic Exodus,” is a masterpiece as far as we’re concerned, and I find myself thinking the whole time too about Tim Sandusky’s production. Tim’s such a home town for us, and to hear his full attention on this album is just such a pleasure.

16. Ralph Stanley - “White Light, White Heat”

It was one of my favorite musical influence moments ever when my dad’s bluegrass band, The Prozac Mtn Boys, played VU’s “What Goes On.” Knowing that there is a recording of one of my dad’s true banjo heroes playing “White Light White Heat” is just an endless blessing. And actually hearing it is even better.

17. Kim Jung Mi - “Ganadaramabasa”

I know basically nothing about this track except that she’s Korean and this is from 1973. She’s got a real Diana Ross thing going on, and her band has a real Supremes vibe too… but it doesn’t sound like one of their songs.

18. Penny Penny - “Yogo Yogo”

We just got this record recently, and based on this track I wouldn’t’ve necessarily pictured the remarkable-looking guy who actually made this music. This is from the album “Shaka Bundu.” I’m sure it’s been cranked up and sent through some great house remixes — how could this not be? — but I like how this tempo operates at its own pace. It’s so truly and thoroughly ’80s, very 20th century. In the 21st century this tempo is practically cerebral.

19. Baris Manço - “Binboganin Kizi”

More Anatolian action. It’s really interesting to me how Turkish stuff was always associated with psych music but I didn’t really know how except for the opium thing, and I now understand that it’s in the chord relationships, well, and a lot of the vocal melody and delivery. In that way, Turkish rock pretty much defines what psych music sounds like. Wow. And check out that keyboard solo, so next level!

20. The Velvet Underground - “Countess from Hong Kong”

People are always asking Beatles or Stones and the answer is Velvet Underground. (And the Beatles, and the Stones.) They were just operating along a different balance beam than those other guys — performing different tricks for a different audience. While the Beatles were defining pop music, the VU were destroying it… but then later, they reveal their deep affinity for Western music, even as they never drop in to the blues-centric reading of it. It’s truly punk. I guess they are to punk what the Beatles are to pop — the definition of pop is whatever flows to or from the Beatles; punk is whatever flows to or from the Velvet Underground. Certainly more than any single band in 1976 or 7 or whatever.

21. Bella Bellow - “Denyigban”

The piano phrase that kicks this song off is surprisingly close to the opening of Bound Stems’ “Appreciation Night.” We got that phrase from the demo mode of Radz’s keyboard, and it’s surreal to hear a high-overlap version in a song from Togo. Her voice is so clean in tone and pitch, and what’s strangest to me is that I register the instrumentation in an almost Disney mode — but then realize that’s because Disney will draw on Caribbean and African elements at times as they establish characters and settings. Such an elegant song though!

22. Rail Band - “Mouodilo”

One of the first insights that got us into WBFF was the realization that James Brown had even more fundamental influence on the music of the world than the Beatles did — certainly in Africa. Hearing how his delivery interrelates with so many bands from all across Africa is such a revelation. This track just keeps winding around you til you can’t hardly live without it.

- Asha Bhosle - “Salma Jarir Jhalak”

All I know about this is that it’s in Bangla and it’s from a movie.

23. Unknown - “Chemirocha” - from “Love Is Love”

Several years ago, when African records looked interesting but we literally didn’t know anything about them, we bought a record called Love Is Love, in part because it was a beautiful cover and in part because the music seemed mysterious and full of possibility. Now, when I go to look for it online, I see no sign — I think it’s just a really small pressing from a… pirate group, I guess one could say? But really I think just hardcore music lovers. Anyway, it has this song “Chemirocha” on it, and there’s a story about this song that is really probably just best to link to because it’s so amazing. I guarantee you will find the information in this article worth your read:

https://www.atlasobscura.com/articles/chemirocha-how-an-american-country-singer-became-a-kenyan-star

24. Sparks - “Do-Re-Mi”

We’ve known about Sparks, but we’re late to a close listen. We’ve been listening a lot in anticipation of — not the band bio pic but “Annette,” the new film by Carax, one of our favorite directors ever. For that matter: make sure to watch “Holy Motors” by Carax. It’s probably best if you watch “Lovers on a Bridge” before that, but if you have to go straight to “Holy Motors,” dive right in. It’s amazing.

Meanwhile: This take on the Mary Poppins classic is TOO MUCH — I can’t stop smiling at the end, when the bells start tolling over the crashing drums and crescendoing vocal waves as their third finale fades away. How can anyone make this song, the very definition of not-rock, rock so fully?

- Mort Garson - “Ode to an African Violet”

25. Bob Reuter’s Alley Ghost - “She Brought Me to the Wire”

I will forever be glad that we not only landed in a city where we could find out about the person and the works of Bob Reuter, but that we got to know and work with him. Bob Reuter was one of the definitions of St. Louis to us, and when he passed, so did some of that city. But also, he left music and photos and stories in Eleven and chapbooks that I truly hope last forever. He was the hard-living romantic that you hope lives in the heart of every hard-luck case… and in his one instance, it was true. Bless your soul, Bob Reuter.

photos by Bob Reuter from The Pageant and El Leñador

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onestowatch · 4 years ago

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Surfaces Is Bringing Their Happy Place to the Masses [Q&A]

Photo: Dan Franco

When Colin Padalecki met Forrest Frank on SoundCloud, back in 2016, they had no idea that their whimsical exchange of DMs would evolve into the brotherhood of a lifetime, an ever-growing discography, and a roster spot on one of the hottest independent record labels in the world—10K Projects.

Since then, the two friends have formed a genre-bending band called Surfaces and an audiovisual world of neo-soul, beach-pop, reggae, and gospel music. Or better yet, an imaginary happy place, right smack-dab in the middle of “The Lone Star State,” where the two Texans make masterful R&B music with spoken-word lyricism that elevates positive thinking for the soul.

All in all, the guys from Surfaces have been releasing music together for four years now. Thus, with each year comes a brand-new album from the hardworking duo. While Caribbean rhythms and heartwarming subject matter remain notable fixtures of their songwriting, another mainstay is the scenic artwork that’s accompanied every album release so far.

Each time that Padalecki creates an official album cover for Surfaces, it’s as if he’s giving their supporters a behind-the-scenes look at the way in which they find inspiration before a songwriting camp. In many instances, the artwork that he designs serves as a catalyst for the band’s recording sessions, because it sets the mood. His graphic illustrations of sunsets, beaches, and waterfronts augment the heartfelt stories that have been told for the duration of four albums now by his bandmate, Frank, whose lyrics and jazz-rap cadences always seem to carry a positive undertone.

The meaning behind his uplifting words stem from a spiritual assertion that was instilled in him from a young age by his family. In fact, his band’s biggest hit to date was influenced by his faith. “When I think of the lyrics [from “Sunday Best”]... for me, personally, the only way I’ve been able to find that kind of complete stress-free lifestyle is through my relationship with God,” shares Frank. Of all the songs that have been penned by Surfaces over the past five years, none of the releases contain a single ounce of vulgarity in them. This is a very unique distinction for a secular band—especially one that is part of a record label that’s been home to some of the most popular rappers of the SoundCloud rap era.

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But nevertheless, their working relationship with their record label has actually enhanced their creativity. Because the company’s CEO has created a healthy environment for artistic expression, regardless of the genres his artists belong to. “I feel like Elliot [Grainge] runs a really tight family kind of shop. He doesn’t have a lot of artists on his roster, but he has a personal relationship with all of us and the other people we work with like Molly, Sam, and our managers. So, [signing with 10K Projects] just made sense,” shares Padalecki. “Elliot gave us full creative control, which is truly a blessing when it comes to something like a record deal. At any moment in time, we could just ask him to meet us for lunch and he cares enough about us on a personal level to go do that. He trusts in our decisions when it comes to song making, album choices, and everything. They’ve been nothing but supportive and we’ve been nothing but grateful for 10K, it’s almost like a family.”

Indeed, a stress-free creative space, cathartic chorus lines, and the full support of 10K Projects have proven to be key components in a winning formula that’s yielded multi-platinum successes for Surfaces. So, as the old adage goes: If it ain’t broke, don’t fix it. Which means when it comes to dropping new music, the guys are sticking to what works.

When they made their best-selling album to date, Where The Light Is, they recorded the tracks during the day, while the sun was out at Frank’s boat house to perfectly capture a positive and happy mood. Catching a vibe in a sunny environment has proven to be tried-and-true method for the band and a blueprint that Colin Padalecki wanted to follow during the making of their latest album, Pacifico.

“We rented a house in Malibu for about a half a month. It was kind of like this creative camp that we set up and we pretty much woke up every single day in this really gorgeous house with this really gorgeous view of the beach line of Malibu and the sunset peaking over the mountains every single day,” says the multi-instrumentalist. “It was just nice to not have to worry about anything with Forrest, his wife, and our creative collaborator Conrad [Public Library Commute]. Nothing felt forced… we were just trying to capture the essence of that trip. The whole album pretty much describes that vacation of ours. And we just tried to capture all aspects of it through sonics.”

On April 9, Surfaces introduced their fourth studio album to the world with the lead single called “Wave of You.” It’s a vibey beach-pop track that explores the depths of a romantic relationship through the eyes of Frank. It also displays his willingness to expose his own real-life experiences. “I think it’s really powerful. A relationship can be so powerful and when you’re really drawn to someone it’s like the tide pulling you into the wave. It’s awesome, but it’s also really fragile and dangerous,” says Frank.

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Upon the release of two follow-up singles to “Wave of You,” Surfaces officially dropped Pacifico on June 25. The new album arrives on the heels of one of the most challenging time periods this world has ever seen. In the wake of a global pandemic, a little bit of sunshine is exactly what the the world needs. Pacifico, fittingly, is a breath of fresh air for their supporters and a fitting soundtrack for the beginning of summer after nearly a year-and-a-half of worldwide shutdowns.

One of the main aspects of this album that displays the band’s growth as musicians are the amount of artist features present. Before the release of Pacifico, the only collaboration they ever published was “Learn To Fly” with Elton John. Their collaborative effort with the Rock & Roll Hall of Famer was an absolute banger, but it was never officially featured on an album by Surfaces. Instead, it was published as a one-off single. But this time around, the group teamed up with four collaborators: Public Library Commute, Salam Ilese, Xavier Omär and Quinn XCII.

Their contributions to Pacifico have added a whole new element to this delightful collection of sun-soaked music. In fact, the story of how they ended up recording their collaboration with Omär in person is almost as compelling as the story of how the co-founders met each other. “We’d been huge fans [of Xavier Omär] ever since the SoundCloud days. We had a second verse open [for “Come Around”]. So, we DM’d him and said, ‘Yo what’s up! We’re huge fans!’ He said he was a big fan of ours too. So, we told him that we’d love to link up and talk about music because we have a song that he might like,” recounts Frank. “Then he said, ‘Oh cool, but the only thing is, I don’t live in L.A., I live in San Antonio.’ And we were like, ‘Yo, Colin lives in San Antonio (laughs)! So, we basically drove down the street and recorded with him.” It’s a fond memory of their first encounter with one of their favorite musicians… and it’s strikingly similar to the way that Padalecki met Frank on SoundCloud about five years prior.

“Hearing (Omar Xavier’s) melodies recorded at my house brought me back to my high school days of listening to Middle of Things,” says Padalecki. “It had a huge impact on me in high school. So, him coming over and hanging out with us like friends, getting lunch with us, and then getting to the music later was really special.” While collaborative efforts like “Come Around” and “On Time” have certainly added a new dimension to the songwriting and emotional depth of Surfaces, fans can rest assured that their trademark penchant for feel great grooves remain true all throughout Pacifico.

In just five years, the duo behind Surfaces has traveled all over the country. The last time they took the show on the road was during the “Warm Winter Tour” back in 2019. This August, they’ll hit the road again for a North American tour called the aptly titled “Good 2 Be Back Tour.” To the masses they’re a homegrown duo that never fails to bring light and positivity to the forefront of their music. But internally… they’re just two friends having the time of their lives. And why wouldn’t they be? It’s not every day that pop icons like Justin Bieber partake in a “Sunday Best” dance craze dedicated to you by your fans on TikTok.

More importantly, it’s not every day a pop-rock band comes along and reminds us of Bill Withers, Hall & Oates, Beach Boys and Chance the Rapper all in one breath. “That’s pretty good (laughs). I like that,” confesses Frank when the unique comparison was brought to his attention. With the release of Pacifico, Surfaces is now four albums deep into a promising career in music. And to think, it all started with a litany of recording sessions at Padalecki’s college house in Texas. It appears as though the guys from Surfaces are just as good at building songs as they are at giving form to the happy place from which all of their songs originate.

Pacifico is available everywhere you can stream it.

#surfaces #pacifico #interview #pop #rock #soul #album reviews

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chorusfm · 11 months ago

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Bleachers – Bleachers

The atmospheric rise of Jack Antonoff continues on the latest full-length record by Bleachers. The same man that kicked his career off with Steel Train, showcased his songwriting prowess with fun., re-established himself as a solo artist with Bleachers, and along the way became a Grammy winning producer, Antonoff is certainly no stranger to the bright lights. The pressure seemed to be on this ultra-talented artist on Bleachers (his first album on Dirty Hit), and yet Antonoff delivers in more ways than one in his most fully realized record to date. With a sound that feels like a modern take on Bruce Springsteen, paired with the atmospheric elements found in the brooding synths of The 1975 and The Midnight, Bleachers does the near-impossible task of paying homage to where he came from while simultaneously moving the needle forward in his artistic growth. Jack Antonoff is a man of many talents, and they are all on full display on the fourth studio album from Bleachers. The records kicks off with “I Am Right On Time” as Antonoff opens with, “We were just kids / It wasn’t over when it ended / Our ballroom bliss / Counterfeit under extended / I knew your touch / I knew your weather / We were the same, faith is change / Read our doctrine,” all over some cool guitar-laced riffing by none other than Bartees Strange. Bartees Strange also gets some producer credits on this introductory song that perfectly sets the table for everything that comes after. Lead single, “Modern Girl” explodes out of the gates with a vibrant saxophone sound before Antonoff confidently croons, “Friday night, killer queens / Hop a train, on the scene / All the band, is in the wild / Don’t you dare touch the dial / We dressed up like a heart attack for ya / We dressed up like a heart attack.” The song is rich with Bruce Springsteen vibes paired with that Steel Train charm that made me a fan of Jack Antonoff in the first place. While most of the LP is a bit subdued in its delivery, “Modern Girl” is a burst of sunshine on a cloudy day that is sure to leave you in a better mood after wrapping your ears around it. The mid-tempo “Jesus Is Dead” relies largely on a great bass line throughout the track, while Antonoff continues to remain captivating in his vocal delivery. However, the album really starts to get into its desired vibe with “Me Before You.” The song is reminiscent of the synth-pop Bruce Springsteen classic, “Secret Garden,” and yet Bleachers would never be satisfied with just simply paying homage to “The Boss.” Instead, they use this stylistic choice to lend a wall of sound that echoes off the speakers with spiraling saxophone notes and intricate guitar parts. The exploratory sound continues on “Alma Matter” that has Antonoff remembering, “2003, sad all the time / Point the headlights, flicker dear / Drive by the old house, go for a beer / We’re on the green or the movie theater / You’re a movie to me, the way you move around me,” while delivering the pre-chorus in a crisp falsetto. What the band does best on this trio of songs is cement themselves into going towards a clear direction for the rest of the record in a logical way. ”Tiny Moves” is a synth-driven song that relies on Antonoff’s charm as he sings confidently on the second verse of, “Call it American football chic / Breaking your neck for no reason / The little brush right down the avenue / A tiny twist of faith will come and shake you / You can believe.” The storytelling in Antonoff’s lyrics remains top notch and brings the audience in to connecting with the material. “Isimo” features a brilliant, well-constructed chorus as Antonoff triumphantly declares, “But you were just a kid when they told you / You’d been born to bleed, little soldier / With your magnet heart and sentimental boulder / Oh, it pulled you down / But look at you you made it out.” It’s truly a marvel to watch his confidence swoon on songs like these that continue his ascent as an artist. ”Woke Up Today” is an acoustic-guitar based song that unfolds with great… https://chorus.fm/reviews/bleachers-bleachers/

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d6official · 5 years ago

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DAY6: ‘We’ve Always Wanted to Go to India’

The South Korean rock band open about their songwriting process, their aspirations for future records, the definition of authenticity in a world that often dismisses artistry in K-pop and India

I caught up with DAY6 a few months ago via Skype–I’m told the quintet are in the middle of shooting new content for their fans and are dressed in their looks for a video, so it has to be an audio call. I can’t see them and they can’t see me, so of course there’s a lot of giggling, whispering, and moments of ominous silence that then have us all breaking into laughter together. It’s awkward, hilarious and everything you’d imagine a call with DAY6 to be.

It’s towards the end of the year so there’s a lot going on in the band’s schedule, but they’re an unstoppable force, flying across the globe to complete performances in the U.S. and in Australia. It’s a pretty rare thing to have all five members be able to join in on a single call, so I’m happy to hear all their voices greet me. “We’ve just been on tour and we’re having a good tour so far,” says vocalist and guitarist Jae. “Everyone’s been really welcoming in their countries and really just turning up for us, so we’re happy.”

DAY6 debuted in September 2015 with leader and guitarist Sungjin, bassist Young K, guitarist Jae, keyboardist Wonpil and drummer Dowoon. All members are trained vocalists, with Young K also doubling as main rapper, and every member contributes to songwriting and production. (The group did have a sixth member, a keyboardist named Junhyeok, but he left in 2016.) Young K also leads the songwriting process, with lyrical contribution in every single track on most of DAY6’s albums.

The beauty of DAY6’s artistry lies in how versatile they are able to make each track within a single album–in one moment you’re listening to a stadium anthem that’s reminiscent of a young U2, and in the next there’s a segue into Killers-esque post-punk revival. If you’ve been a long-time fan, you probably already know this thanks to their genius ‘Every DAY6’ project through 2017, which saw the band release two songs on the sixth day of almost every month. The result? An expansive, experimentative discography which built two powerful albums– Sunrise and Moonrise–with B-sides that shine just as much as a lead single. Jae explains that there usually isn’t a set idea when they begin an album–a lot of the music is born through songwriting sessions with various producers, where each member gets to go explore any genre they want on their own. It’s a power they’re exercising more and more, especially all through the Book of Us series. “We didn’t really discuss a direction when we started,” Jae says. “Everyone just kind of did what we wanted, which is why the album is a jumble of this and that from everywhere.” In fact songs have a tendency to switch genres in between verses–a great example of this is DAY6’s 2017 single “I Wait.”

The group also credit the genius of JYP Entertainment producer Hong Jisang as a key factor in their creative process. “I think definitely one of our main influences is probably gonna be one of our main producers and that’s Hong Jisang,” says Jae when I ask the band about their musical influences. “He’s a writer that works with us very frequently. For most of our title tracks–actually all of them I think so far. But yeah, he’s definitely one of the main influences because he’s always been kind of our mentor since the beginning of our debut dates… even before that. So he’s been teaching us about songwriting, you know, tracking or melody writing. We have a little bit of a flow just because we’ve grown so close to him as a group.”

“Just one of the reasons why we try any kind of genre or any music is because people do have different tastes in music,” explains Young K. “So if they like at least one of them, then it’s a success for us. Another reason is because we do get to play almost all of them, almost all [their songs] at the concert. So, we do have a chance to show it to the MyDays and the crowd and you get a chance to have fun with it. And I guess it’s just what we aim for as a group.” They’ve stood strong and stuck to their guns when it comes to this process of songwriting and it’s the fuel that expands their creative process, ensuring they don’t stick to one particular sound or vibe.

I remember back in 2016 when DAY6 began to get more popular, a lot of the attention around them was built of curiosity. As the first band under JYP Entertainment and the one of the first in the third generation of K-pop, both fans and industry professionals were curious to see where the Hallyu Wave would take them. The idea of an ‘idol rock band’ was new to the thousands of fans who had discovered K-pop after the 2016 boom of the genre, and DAY6 didn’t fit any existing stereotype–idol or band. They still don’t, and it’s a powerful statement.

This particular artistic evolution that we’ve seen with DAY6 isn’t easy to achieve in the K-pop idol-sphere of it all; our discussion about artistry in the glittering world of idol culture brings us to the topic of what it’s like to exist as what people believe to be a ‘traditional’ band in the middle of the ‘boy band narrative.’ I ask because it’s something I see often even in India–there’s this idea of authenticity always being tied to the more ‘conventional’ format of a band: artists with their instruments are deemed more ‘legit’ than pop acts. There is an unfortunate tendency among the general public to dismiss artistry created by pop stars and K-pop idols. DAY6 walk the line between the two worlds, and their path to finding that balance often demands a seesaw from one side to another. Have they ever faced a dismissal of their artistry because they’re idols who are also a band?

“That’s a very deep question,” says Sungjin. There’s a long pause as he gathers his words and then continues, “I personally haven’t seen that big of a difference. We, as a team that emphasizes on writing songs and writing music to appeal to other people, feel that everyone who writes songs or does music has the same objective and goal, therefore [artistry] is the same thing [for every musician.] So we’re not trying to focus on those kinds of factors but just try to focus instead on our music and our creation process so that we could become more authentic artists that appeal to more people.”

And what is DAY6’s definition of authenticity?

“When the person who’s creating the music legitimately feels like it’s good music,” says Sungjin firmly.

Right now the authenticity in their songwriting comes from the ordinary. Lead lyricist Young K explains the members draw from everyday experiences and conversations to write songs that are relatable, raw and honest. “Lyrics wise, I could say, we got very cleaned up and very neat. During the times of Every DAY6 project, we were out of time all the time throughout the year,” he says with a laugh. “So, it gave me the lesson of like, always being prepared to write lyrics so that I could pick out a way to find motivation or inspiration. I don’t wait for that inspiration, I gotta always go look for it. For example during everyday conversation, if there’s something or if there’s a word if there’s a phrase that I like, I write it down on my phone.” He pauses for a moment and then sheepishly admits, “To be really honest, I haven’t been doing that for months now. I need to get back on it.” He also says rather than listening to new music, skimming through lyrics is always his go-to move when it comes to evolving his style of storytelling. “So I guess it’s just continuous experiences that helped me to grow and, like you said, evolve.”

I ask the band which of their songs they would recommend to a new listener to help them understand DAY6’s artistry, and there’s a collective hum as they contemplate. “That’s a really difficult question,” says Wonpil. “Maybe ‘You Were Beautiful?’” The rest of the band agree wholeheartedly, and feel the 2017 rock ballad does a great job of summing up who DAY6 are. It’s certainly a fantastic example of the band’s powerful songwriting and their uncanny ability to to delve into topics that are at times a little too real, a little too familiar.

DAY6’s complex Book of Us series of albums have dealt mainly with the various levels of human interactions, emotions and relationships, each volume diving deeper into the complexities of what makes us who we are. The ‘Us’ in the titles can refer to DAY6 themselves, the relationship between them and their fandom MyDay as well as various other relationships the members might have in their lives. It’s also a general reference to the relationships we as human beings cultivate in our lives. The first album in the series The Book of Us: Gravity was one of their brightest releases, exploring youth and young love. The Book of Us: Entropy was a little heavier, a little more mature, exploring the beginning and end of relationships and how it changes a person.

The band’s upcoming release of The Book of Us: The Demon is perhaps their most anticipated release yet. Set to drop tomorrow, May 11th, the eight-track EP already hints at a slightly darker route than its predecessors with its title, promising a deeper look into the core meaning of the series. The teaser for the lead single “Zombie” which dropped on May 8th shows the band wandering dazed through crowds while the track itself seems to build on angsty alt rock. DAY6 also dropped an album sampler that hints The Demon cruises through pop rock (“Day and Night”), blues (“Tick Tock”), post-punk revival (“Stop”), acoustic pop (“Afraid”) and more.

In true DAY6 style however, the tracks can change direction in-between, crossing genres from one verse to another. It’s all a surprise right up until we hear the record, which is one of the best things about listening to a new release from this band. While I’m not told any specifics, I’m assured that DAY6 plan to go bigger than ever before when it comes to future releases. “We want to go to space!” exclaims Dowoon and the band agree enthusiastically. How does space translate sonically? “We want to go for a larger scale of music,” he explains. It’s about dreaming bigger and looking at ways to elevate DAY6’s musicianship. Jae adds, “Yeah, maybe going from just one acoustic guitar to like a full brass band or something.” We discuss possibilities of DAY6 working with an orchestra someday and it’s a pretty fantastic vision.

Speaking of future plans, I decide to put them on the spot and ask about when we’re getting an India tour. “Whenever you guys call us, we are definitely there!” Jae assures me immediately. Young K and Wonpil explain they are familiar with Bollywood and eager to learn more about it. “I am aware it’s huge there. And recently Katy Perry did something with Bollywood?” asks Young K. We realize he’s referring to the pop diva’s massive November concert in Mumbai with Dua Lipa and he shares that it’s one of the reasons DAY6 are more eager to check out India’s concert scene. “Yeah, I actually heard it from my friend. They were telling me, ‘Yo, you should go to India’ and like wherever it is, we always want to go. If there are people who are willing to listen to us and enjoy with us at the concert, we want to go.” Jae adds, “You guys have a lot of people and for us it’s a new culture and we are always interested in going to different places and seeing new things, trying different foods… naturally the food! So yes, we’ve always wanted to go to India, so call us!”

We spend the rest of our allotted time together talking planning a show in India for 2020 and although COVID-19 has postponed these plans for now, it’s something the band believe needs to happen. “We definitely wanna see you guys,” says Young K. “It’s always great to go to new places. Until the time that we meet, we want you guys to stay healthy and happy.”

By Riddhi Chakraborty

#day6 #t: article #t: interview #200510 #rolling stone india

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texastheband · 4 years ago

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Texas V Wu-Tang Clan

Interview by Steven Daly Photography by Peter Robathan Taken from The Face - December 1997

It’s the pop story of ’97, the most unlikely end to a weird year: TEXAS collaborating with the WU-TANG CLAN. First, a Scottish rock band on the verge of slip-sliding away into a tasteful obscurity was reborn via a slew of hit singles and a glut of stylish imagery. Now, in New York, their Brit-cool meets hip hop in a mutually beneficial deal. For everyone concerned, it’s all they need to get on…

Sharleen Spiteri took the call in her front hall. "Yo, Peach," growled a strange voice over transatlantic wires. The gentleman caller was none other than Ol’ Dirty Bastard, court jester of New York hip hop dynasty the Wu-Tang Clan. Apparently Mr Bastard fancied working with Spiteri and her band, Texas. It all started in August, with one of Texas’ managers discussing Land Rovers with someone called Power in New York, who turned out to be the manager of the Clan. A video of Texas’ "Say What You Want" was dispatched, and prodigiously gifted Wu-Tang chieftain RZA signed on to do a re-recording of the single for a prospective single project. Original rapper OI’ Dirty Bastard was replaced by Method Man, the next Clan member with a solo album scheduled.

The hook-up with the Wu-Tang Clan is the perfect climax to a year that’s seen Texas rise from a tumbleweed-strewn grave to grab the pole position in British Pop. A year in which Glasgow’s Sharleen Spiteri has stared out, defiantly remade and remodelled, from every magazine cover and TV show. From a media point-of-view, Texas’ – Spiteri’s – reconfiguring of music and fashion has been the year’s dream ticket. Ever since Bryan Ferry took the innovative step of getting Anthony Proce in to design Roxy Music’s wardrobe in the early seventies, successive phases of pop’s history have thrown up performers who use the fashion photographers, stylists and designers du jour to present The Package. It is these performers who most often capture the youthful mood of their time: that’s why you can see the vulgar glamour of the Seventies in the cut of Ferry’s sleazy lounge-lizard jib; the naive aspiration of the early Eighties in the box-suited and pixie-booted "style" of Spandau Ballet; and the onset of the late-Eighties mixing and matching of different cultures in Neneh Cherry’s Buffalo Stance. When we look back at 1997 we will see in Texas’ sound and vision a new mix, all to do with living the high life but keeping it real. Catwalk and street, the designer and the understated, Prada and Nike; the slick and the cred. Ten years’ gone Scottish guitar outfit and this season’s bright young labels (in both senses). The setting too, has helped. Fashion, again, is big cultural business. Clever pop stars (Goldie! Liam!) want to be seen by the runway and hanging out at fashion parties; young designers yearn to be visible on the stage or the podium (viz. Antonio Berardi’s autumn London show at Brixton Academy). Factor in a paucity of self-motivating, button-pressing, songwriting, photogenic women in British music, and you have a ready-made media phenomenon.

Sharleen Spiteri is holding court at a New York restaurant with a gang of Calvin Klein employees who’ve just accompanied her to the VH-1 Fashion Awards. The annual ceremony is a mutually convenient arrangement, a TV cluster-fuck where the music and fashion industries exchange credibility and cachet. Texas are contemplating just such an exchange themselves, having recently been given the OK by CK. (Tommy Hilfiger has also made overtures.) Spiteri is to have an audience with Klein himself; she’s already been bribed with a trunkful of CK merch, including the streaked black dress – "inspired by [the artist] Brice Marden" – she’s wearing tonight.

Someone suggests that Texas would be perfect for Fashionably Loud, an MTV special where models strut on stage as the hot bands of the moment rock out. "Forget it," quips Spiteri. "there’s only room for one star up where we play." If Spiteri were to join Kate Moss and Christy Turlington on the Calvin Klein payroll it would not, as she sees it, detract from Texas’ music. "Fashion and music have always been connected, and now more than ever," says the singer. "You couldn’t have one without the other. If there’s shit music at a runway show it just doesn’t work."

Meanwhile, there’s the songs. With "White On Blonde", Texas’ fourth album, the music takes care of itself. Radio-friendly unit-shifters abound, helped on their way by producers Mike hedges (manic Street Preachers) and Manchester’s Grand Central. The singles have been, in sequence, nu-soul fresh ("Say What You Want"), springy pop ("Halo"), Motown-sunny ("Black Eyed Boy") and winter warming ("Put Your Arms Around Me"). The B-side remixers have covered all bases in these dance-savvy late Nineties, ranging from of-the-moment talents like the Ballistic Brothers and Trailerman to old stand-bys like Andy Weatherall and 808 State. Texas, patently, lost their dancefloor cherry by cherry-picking the brightest and the best.

Of course, while the singles have all enjoyed heavy airplay and gone top ten, and while "White on Blonde" has sold two million copies (more than its two predecessors put together), the remixes haven’t necessarily helped those sales. As the go-faster stripes of credibility on the solid saloon car, though, they’ve still been essential to The Package; all part of the thoroughly modern mix.

So now, the Wu-Tang Clan. To many, though, this latest development could smack of opportunism. One group are renegade roughnecks who mythologise themselves in epic hip hop anthems; the others are fastidiously tasteful Scots with an eye for perfectly modern consensus-pop. The Wu-Tang Clan are certainly among the aesthetically correct names that Texas always drop in interviews, but can there possibly be a legitimate connection between the two? "A lot of the Wu-Tang backing tracks have the feel of soundtracks, and we’ve always gone for a cinematic sound," says Johnny McElhone, Spiteri’s genial songwriting partner and bass player. "And I’ve always liked Al Green, and they use a lot of Willie Mitchell, Al Green, that whole Hi Records sound, and make it modern. And Marvin Gaye: Method Man, in that duet with Mary J. Blige, used ‘You’re All I Need To Get By."

Having dominated the charts in Europe this year, Texas are now, logically, turning their attention to America: the country that has always inspired them, whether it’s the dusty, pseudo-roots sound of their first three albums, or the iconic-soul and post-soul sounds of Memphis and Staten Island that they give props to now; the place where success has always eluded them. Yet given the commercial momentum of "White on Blonde", their approach to the Wu-Tang Clan is surely not driven by desperation. They are, then, viewing the collaboration with a combination of fan-like wonder and disbelief.

"Method Man is just a wicked, wicked rapper," enthuses Spiteri. "I can’t wait to hear the combination of my vocals and his – I‘m really excited about it. I have a kind of sweet, virginal thing going on, and he’s got this dirty sex vibe. It could be the perfect marriage."

It’s a Saturday night in Manhattan, and ten storeys above Times Square, Sharleen Spiteri sits on the floor of a recording studio, tinkering with her latest high-tech gadget, a Philips computer about the size of a TV remote. Across the street, three ten-foot high electronic ticker-tapes provide testimony to Monday’s stockmarket crash. No matter how much Spiteri plays with her new toy, there’s still that nagging worry: what if the Wu-Tang Clan won’t show? They’re supposed to be on a tour bus returning from a gig in Washington, DC today, but these, after all, are the original masters of disaster. The crew whose normal modus operandi seems to be chaos. The band that recently quit a national tour because only five of the nine members could be relied upon to turn up.

The studio has been booked since six, so Spiteri and McElhone breathe signs of relief when RZA and his posse finally roll in around ten. Among the dozen-strong throng, they’re surprised to see Wu-Tang member Reakwon, a stout fellow with a Mercedes cap and a Fort Knox of gold dental work. Several cigars are hollowed out, their contents replaced with weed; bottles of Cristal champagne and Hennessy are passed around as the air grows thick with smoke.

Half an hour later, method Man makes his entrance. Stooped over, he looks deceptively short – maybe only six-four in his Hilfiger fleece hoodie. "I’m John-John," he tells Sharleen, referring to his alias, Johnny Blaze. Pulling out the big blunt from behind his ear, Method Man considers the job at hand. "She got a nice voice," drawls the laconic giant. "This band not exactly my type of listening material, but they going in the right direction, if you ask me, by fucking with us. I’m waiting for RZA to put down a beat, hear how the vocals sound melded with the track before I come with ideas. I’m one of those guys."

As his friends get on with the serious business of partying, RZA goes to work, feeding a succession of sample-laden discs into a sampler. He has a diffident, genius-at-work charisma about him as he sits with his back to the room, keyboard at side. With a flick of his prodigiously ringed hand he reaches out and conjures up a brutal bassline. The speakers pulse violently. RZA takes a sip of Hennessy. "Record this, right here!" he tells the bewildered-looking engineer.

RZA has decided to dispense with the original master tapes, shipped over from Britain. He wants a completely new version, recorded rough-and-ready without the standard safety net of a time-code. This convention-trashing, wildstyle approach to recording elicits some consternation from the studio’s engineer, a central-casting white guy who warns RZA: "You won’t be able to synch to this, you know." RZA waves him away and turns to Johnny McElhone. "This riff is in E," McElhone tells RZA. "Maybe we should try it in the original key, D." "What are you saying? I understand no keys," says RZA. "You want me to sing the whole song straight through?" asks Spiteri, trying to divine RZA’s intentions. He orders the lights turned down, and offers Sharleen some herbal inspiration. She politely declines and walks to the vocal booth. "What’s her name? Sheree?" asks RZA as Spiteri warms up. The engineer wants to know if he should maybe start recording. "Always record everything!" exclaims RZA. "Ready, get set, go! Play and record, play and record!" Spiteri rattles of a perfect new version of ‘Say What You Want’, grooving along by herself and passionately acting out every word, even the ones borrowed from Marvin Gaye’s ‘Sexual Healing". Now it’s time for Method Man, who at this point is so herbally inspired that he can hardly open his eyes. He jumps up and lopes around the main room, running off his newly written rhymes and clutching a bottle of Crystal. Method walks up to the mic and opens his mouth, and that treacly baritone sets a typically morbid scene: "Fifteen men on a dead man’s chest…" The Texas duo just look at each other, shaking their heads in awe.

The hours and the rhymes pass. Around 6am, things are starting to get a little weird. As Method Man snoozes on the sofa, RZA bounces off the walls, dancing like a dervish. "These are the new rhythms," he yells. "These are the new dances from Africa. I learned them when I was there last week!" McElhone and Spiteri crack up. The engineer probably wishes he were in Africa right now; he further draws RZA’s ire by making a mistake as he runs off some rough cassettes. As everyone says goodbye, RZA decides that he’s taking the studio’s sampler – he already has two of the $3,500 items, but at this point it’s all about the wind-up. The engineer, though, having last seen the end of his tether a good few hours ago, has had enough. By the commencement of office hours that morning, the rest of the session will have been cancelled and the band and Clan banned from this studio.

After a few frantic phone calls later that morning, a studio is found that is prepared to let the Wu-Tang Clan through the door. With one precondition: only two of them are allowed in the studio. Now it’s midnight, and four-fifths of Texas watch a trio of RZA-hired session men go through their paces. They shift effortlessly through a handful of soul and funk styles, and the Scots mutter approval. These are the kind of players that are so good they can get away with wearing questionable knitwear.

Soon, another couple of Wus pop in. Then another couple. In the control room RZA orders up a bottle of Hennessy and talks about hearing "Say What You Want" for the first time. "I didn’t fully understand the sound of it," admits the soft-spoken maestro. "It was obviously a popular song, a radio song, and my sound is the total opposite. But I thought that the artist had something, so I thought: "Let’s take her and rock her to my beat."

"Sweet soul, that’s what her stuff sounded like to me. Smooth. It reminded me of the Seventies: in those days, they did songs that would fit anywhere. If you went to a club getting high it would fit; if you was cleaning up your house it would fit. That’s when you’ve got a real great song right there." Whether or not "Say What You Want" is a great song, it’s not quite coming together tonight. Despite the best offers of the studio management, a full complement of Wu posse members ended up in the house. As the night drags on the trio of musicians don’t get with the track, and by eight the following morning there is little in the way of usable material. But everyone stays upbeat. Texas will work on the track in Glasgow, and send it back to RZA to finish, along with a new song based around one of his samples. After vowing to stay in touch, everyone stumbles out into the Manhattan morning light together, the Scots with an American name, and the Clan without a tartan.

From a distance the collaboration will continue. But it’s only a different kind of distance. Culturally, creatively, the gap between the Wu-Tang Clan and the old twang clan is considerable. Yet so it goes, this cross-cultural exchange programme. Whether it’s The Stones copping blues movies, Bowie digging the Philadelphia Sound, Lisa Stansfield getting soulful with Barry White, Sting getting doleful with Puff Daddy… Whether it’s Todd Terry reviving Everything But The Girl or Armand Van Helden making Sneaker Pimps the unwitting jumpstarters of speed garage, naked opportunism and risk-taking innovation have always been confused. Now, with genres blurred and tricknology proceeding apace, anything is possible and everything is permitted. Perhaps it is this, the sheer unlikeliness, that makes the Texas-Wu experiment the most illuminating collaboration of the year. Whether it works or not.

"If you play her stuff in a club, everybody be dancing, but it’s a clear room and you can see everybody’s face," RZA reflects on the departing Sharleen Spiteri. "But if you play mine, the room is smoky." And perhaps it is here, among the clouds and the clarity, between the smoke and the mirrors, where a new sound and vision lies.

Text originally posted on texasindemand.com

#article #whiteonblonde #wob #the face #the faculty #wutangclan #wu-tang clan #saywhatyouwant #texas #texasband #texas band #texastheband #texas the band #sharleenspiteri #sharleen spiteri

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