Expanded Interview with Jesse Hensley
Recently we released an interview with Jesse Hensley of Big Something. Jesse had some time to kick-back briefly after a long string of tour dates and we decided to add some additional questions to the interview. Jesse also expounded upon some of his previous responses. Jesse and I will continue to work creatively in the future to bring you up to date on the Big Something as they continue to develop their sound & tour extensively.
Big Something is easily one of the top rising talents on the jam scene in the country and I don’t speak such words lightly. They could be the next big jamband, the ones to help carry the torch. This is jam music at its finest. The group moves your soul to uncharted sonic spaces that astronomers could only dream of discovering. Their newest release is their finest case of showmanship to date. Big Something is on pace to join the greats on the scene, charting territories only the best jam acts have embarked upon. Their most recent album to date is nothing short of exceptional. It takes you on a journey through a storm of synths, and menacing hard-rock riffs. The stadium-rock meets classic-rock drumming and sax lines will leave listeners gasping for air as they ascend to the soaring heights of magic that is their self-titled sophomore album.
Founder of LiveMusicDaily.com, Andrew McConnell, spoke with Jesse Hensley, Big Something’s lead guitarist, to discuss their most recent album, live performances, his musical influences, and more.
McConnell- You handled the studio aspect of producing this new album very well. You all didn’t compromise Big Something’s knack for instrumentation. How did you manage to make a good studio album, but not take away from showcasing the signature live sound of the Big Something?
Hensley- Well, we had been playing these songs well before we recorded them so we had a pretty good idea of the structures and what we didn’t want to compromise. Going in with John Custer our producer, is another huge aspect of the magic that happens in the studio environment. He is a brilliant dude as far as sonic engineering and knowing which sounds go where. He knows how to tickle your ear the right way. We were able to take this group of songs that we had been playing for probably two years or better, show him what we had and ask what artistic/production work he saw fitting for those songs.
We go into the studio, play the parts and we don’t think about it really hard, or at least I personally try not to. In the past recording sessions we have tracked things out separately. So usually when I am there doing my guitar parts, it’s just Nicky, John and I. There are no other underlying distractions to worry about. There isn’t anyone waiting for you to finish laying down your part so they can record, you can really focus on what you want to do. Personally, I went in for this last album and didn’t really think about it as hard, and the tracks turned out really great. I learned a lot in terms of what my guitar should sound like in the mix, not only in the studio, but live as well. I think we all have kind of been learning this individually or just constantly making efforts to be aware of sound and sonic space so to speak. John has a unique way of manipulating things in the mix. For example, you are playing the part you wrote, but Johnny knew what it was supposed to sound like in the mix to make the listener really appreciate the part that you are playing. He has a gift for making the sound more approachable to the listener.
A lot translates after we hear the recordings a few times as well. There are things that we didn’t even realize we were doing that stand out now. Those things tend to carry over into the live settings after we hear the final mixes for a while. We start to focus on those things more and it becomes something brand new all over again. A great example of this would be the closing track from the latest album entitled “Bright Lights.” I went in to do vocals one afternoon and had not recorded the last solo section on guitar yet. John randomly pick up a Brian May model from Burns of London (View Photo Here) and started flipping around the pickup switches. After he finished calibrating the thing, he handed it to me and told me to take a round at that solo with that guitar. In my head I was going, “hmm this is gonna be weird,” Plus I have never physically put my tree climbers on one of these guitars in my life so I didn’t know what to expect. We got the track down and I left the studio thinking, “welp we’ll change that next time I’m here,” welp, we didn’t. And now after hearing it like that I couldn’t imagine it being any different. John heard something in his head and we went with it. To me, that’s just amazing. So, I think it is a mixture between having the song ready to go and also having someone who can take the song and do something magical and mysterious with it. Overall, it has been a mutually beneficial experience. We all have certainly learned a lot from one another and have definitely learned a lot from John.
AM- Yea, I mean I would agree overall it was a very successful album. Jambands often fail to reach their potential on a studio recording. All the jams have directions and the lyrics are full of substance. It is accessible to a new listener; but don’t get me wrong it is by no means easy listening. I think that the hardest part perhaps for a jamband is making an accessible album that refuses to compromise performance.
JH- [Laughs] Oh yes I know exactly what you mean but like you said, it isn’t easy listening. There are some songs on that album that have over one hundred tracks going on inside them; that’s a lot of sonic movement. Custer has been doing this stuff for so long, he just instinctively knows where things go. He is quick, and when you are playing the parts in the studio you feel good about it. There is no question about it; you are thinking “that is the part.”
AM- As a guitarist I really enjoy your tone. You have a gritty space rock tone with a lot of vibratos and fast-paced playing at well calculated points in the song. Could you tell me about the guitar rig you use live and the one you used on the most recent album?
JH- For me, it’s kind of a new thing figuring out my tone for different sounds and emotions that I would like to express in my playing. I played acoustic guitar a lot with my dad growing up as well. He is a bluegrass musician so it was definitely more of a traditional style jamming with him. I never learned on an electric guitar until I was around 14 or 15. If I have a specific style of playing then it has been influenced greatly by the acoustic guitar.
I listened to Stevie Ray Vaughn a lot growing up, as well as many other amazing players. Stevie had a special way of playing the guitar because his personality came through in his music. I try to leave myself open for that I guess which can be hard sometimes because you’re trying to write a part and play it. After that part becomes comfortable and natural, it’s nice to be able to let that musical idea develop its own personality through improvising.
Now I play a Warmoth parts guitar. I’ve been playing it for about five years and it’s a semi hollow body. It doesn’t feedback like a hollow body, but it is not pingy like a solid body. The amp I am using is a 1967 bandmaster silver face, run through a Mojo cabinet. It’s kind of barebones, but I have this one pre-amp I use a lot called the BB plus made by Exotic. In the studio I use a pedal made by Matt Pharaoh out of Raleigh. I’ve never met him but I bought the pedal from a great pal of mine, Kim Shomaker of Shoemaker guitars in Burlington NC. It’s a gnarly fuzz tone but also has the Octavia effect built-in with a true bypass. I can’t really use that pedal live because it tends to get a little lost on stage but in the studio it has been one of those staples. I try to let personality come through in my tone by trying to not think too hard. Rather than sitting too long with way too many options, I try to make a decision quickly. If you have good equipment that you have grown attached to, and it feels like an extension of yourself and who you are, well then that’s your tone.
AM- Could you tell us a little bit about the Big Green Machine distortion? It certainly helps push the tone to new levels, but how did it give you some extra ideas to explore in the studio?
JH- Like I said it’s just a fuzz tone with an Octavia. I’ve had it for many years and it just has that personal vibe about it, even when the footswitch cuts in and out [Laughs].
AM- In general, the core of The Big Something is a hard rock act with sonic space sounds. There is an electronic ambience, but a game-changer in any band is having a killer saxophonist. How have you added Casey’s sax work into a band that is a hard rock act?
JH- I think that is on Brog, he has instinctively found his own way of doing that. He comes from a whole different background. Casey grew up playing music in school and learned a lot of great jazz, he’s is into everything. I don’t want to even start listing all the things he can do – it’s really is beyond me. His style of playing is not really based off of one particular type of music. He is a huge Grateful Dead fan and Phish fan, but also loves Tool and Rage Against the Machine. Not to mention he loves jazz and Afro-Beat music as well. He is an alto sax player at heart, which for me; I think the alto cuts a lot better in a rock situation tonally. His natural way of playing is great and we have all gelled well with it. It has expanded all of our ears and minds to new so many new things.
Pre-order “No Guts, No Glory” album
Spring Tour Dates Announced
moe.’s new studio album “No Guts, No Glory” is now available for pre-order! The album has a street date of May 27th, but you can order yours NOW! There are many versions, including a deluxe double LP that features three additional tracks! Plus, for a short time only through Sugar Hill Records, there are bundles that include a limited edition, signed giclee poster by Emek! (All Sugar Hill orders also include a free instant download of “Annihilation Blues,” the 2nd single off the album.)
You can also find the album in various formats through the following e-tailers, with more coming soon!
Spring Tour Dates
|APR 25 — APR 26||The Civic Theatre New Orleans, LA
510 O’Keefe Ave 504-272-0865ON SALE NOW!
Summer Camp 2014
|MAY 23 — MAY 25||Summer Camp Festival 2014 Chillicothe, IL
17189 N. Rt. 29EARLY BIRD TICKETS ON SALE 11/15 AT 10am cst!Each ticket will come with a code to download the new moe. album, slated to be released through Sugar Hill Records the same week as Summer Camp 2014!
|MAY 28||No Guts, No Glory Album Release Party at Stage 48 New York, NY
605 W 48th StGeneral Admission tickets (all ages) ON SALE NOW!VIP TICKETS (21+) HAVE SOLD OUT
NO TAPING or VIDEO TAPING ALLOWED FOR THIS SHOW
|MAY 30||Lupo’s Heartbreak Hotel Providence, RI
79 Washington St 401-331-5876pre-sale begins 3/27 at 10am through moe.ticketinggeneral on-sale begins 3/28 at 12pmRSVP
|MOE TICKETS VENUE TICKETS|
|MAY 31||Hampton Beach Casino Ballroom Hampton Beach, NH
169 Ocean Blvd 603-929-4100pre-sale begins 3/27 at 10am through moe.ticketinggeneral on-sale begins 3/28 at 10amRSVP
|MOE TICKETS VENUE TICKETS|
|JUN 13||Mishawaka Amphitheatre Bellevue, CO
13714 Poudre Canyon Highway 970-482-4420pre-sale allotment sold out, Insiders’ Pre-Sale starts April 16, 9:00 AM and
public on-sale begins 4/19!
|JUN 14||LOHI Music Festival Denver, CO
moe. to headline – 2 full sets! Tickets on sale now!RSVP
|JUN 15||The Crossroads Kansas City, MO
417 E 18th St 785-749-3434on sale now!With Special Guests The Pimps of Joytime
|MOE TICKETS VENUE TICKETS|
|Read the rest of this entry|
Announces Ohio Tour Dates
Lead guitarist from Phish, Trey Anastasio has added yet another day to his upcoming TAB tour. The Trey Anastasio Band will jump back out on the road this May for a quick set of shows in Ohio before closing the weekend at the Summer Camp Music Festival. On Friday, May 23rd, TAB will play The House of Blues in Cleveland followed by a return to the Taft Theatre in Cincinnati on Saturday, May 24th. Tickets for these two shows will be available through a real-time pre-sale beginning this Thursday, April 17th at Noon ET at http://treytickets.tix.musictoday.com/.
Live in Louisville, KY
April 6, 2014
with Rob Compa of Dopapod
Here is a special treat from Sunday April 6th of one of our favorite electronic-jam-rock acts on the tour circuit. This choice cut sees the group sharing the stage with Rob Compa from Dopapod on guitar. Let chill-melodic grooves take you away as you give your ears a special treat from Papadosio’s 8th year anniversary show in Louisville, KY. A Dopapod & Papadosio combination in any form is always amazing, we can’t wait for this to happen again in the near future.
Download the whole show HERE
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Live at Crystal Ballroom
April 8, 2014 | Portland, OR
Photos by Jason Charme | Written by Walter McCorkle
Over the past 6 months, it has become abundantly clear that both the Rose City and the Pacific Northwest are no strangers to the Appalachian string music called bluegrass. Harboring in acts on a regular basis and producing several of their own hometown, bluegrass-inspired bands (check out Fruition), Portland has more than hollowed out a niche for grassheads. All months of the year, you can expect to find a great act either in the darker corners of the city (The Goodfoot, Wonder Ballroom) or the bright lights of downtown (Crystal Ballroom, The Arlene Schnitzer Concert Hall). This past Wednesday night was no exception with Yonder Mountain String Band bringing in a full house to the Crystal Ballroom, returning to Portland for the first time since 2010.
I do not often harp on the crowd that any particular band, city, or venue tends to bring in, but this particular evening the personage was outstanding. Their was an aura of positivity floating about the ballroom and an overall kinship that could be felt throughout the crowded dance floor. I’m still not sure what caused this feeling, but I am going to go ahead and give the credit to YMSB because they hands-down rocked the house. The band opened up the night with a fast paced “High on a Hilltop,” chronicling a long lost lover. After setting up and settling in, they fired off a few bumpin’ songs in a row “Criminal”, “Maid of the Canyon” and “Left Me in a Hole”. These songs lead to the major turning point of the show where the band really got steaming.
Yonder Mountain Invited Philip Brezina of the opening band The Brothers Comatose to sit in on fiddle. Yonder buckled down and started showcasing their amazing talent with the addition of the fiddle for a stellar jammed out “No Expectations.” Next up after Philip left the stage was “Loved You Enough” that featured a more banjo-driven jam (Dave Johnston). This is a good time to mention that Yonder Mountain utilizes each band member with utmost respect. After seeing them a few times in the South and again on this night in Portland, it finally hit me that there isn’t just one front man for this band although some might say it is Jeff Austin. Each member is uniquely talented on both their instruments and their stage presence with each musician offering leading vocals throughout the show. With that said, it was singer-songwriter and acoustic guitarist Adam Aijala who serenaded the crowd with a “Lonesome Letter” that beckoned more toward the country side of bluegrass. The band heated things back up with a cover of “My Walking Shoes Don’t Fit Me Anymore” that epitomized hill country grass. For the final push to the end of the first set, the band invited one more guest to the stage. The newly “local” transplant to Portland, Allie Kral of the band Cornmeal, graced the stage with her fierce fiddle sawing. She joined the band for one heck of a hoedown that took the form of “Raleigh & Spencer > Funtime > Game of Thrones > Raleigh & Spencer.” In this transformative set of songs and segues, there were moments of speed and agility, points of sleepy melodies, plenty of foot stomping, and a whole lot of fiddle shredding. The immensity of energy that the band closed out the first set with had my legs turned to jello, but my body begging for more.
During set break at the Crystal Ballroom, you can always count on the masses trekking back down from the third floor to head outside for a breath of fresh air. As I joined the crowd to head down, we were met on the second floor lobby by an impromptu fully acoustic set by the Brothers Comatose. Such a pleasant surprise to keep folks occupied and in the mood. I stood and enjoyed a tune or two, and soon enough the word had spread and the second floor was swarming with curious fans. The fun lasted for a while, but unfortunately due to the inability to move through the stairwell any longer, the brothers packed it up and business went back to usual.
After I snaked my way up a little closer to the stage during the break, the lights dimmed and Yonder took the stage again and opened up the second set with “Only a Northern Song.” This Beatles cover takes on a unique personality when repurposed into a bluegrass tune. Next up, the band dug back into the archives and pulled out a tune from their earlier album Elevation called “Half Moon Rising.” Not only is this a great piece of music, it also served as a great connection to my Southern heritage with such lyrics as “There’s a half moon rising in the southeastern skies tonight.” As we eased into the second set, the crowd was still yearning for a little more energy that they were left with at the end of the first set. And YMSB delivered with a fiery “My Gal” that revealed the honky tonkin’ foot stompers in the crowd. Jeff Austin was feeling the energy too, as he was rockin’ and reelin’ a jaw-dropping mandolin jam. After the crowd settled, so did the band as they cranked out a few more even paced and downtempo songs (“Polly Put the Kettle On, Pass This Way, To See You Coming ‘Round the Bend”). By no means does this imply that these songs were not good, but they became overshadowed by the unreal end to this set and show.
Yonder got the crowd boiling again with the popular “Steep Grade, Sharp Curves” that offered a glimpse of each musicians’ instrument as the band switched off between each other during the jam. And now for the pièce de résistance, fiddle virtuoso Allie Kral rejoined YMSB for the closing double decker “King Ebeneezer” sandwich that translates to “On the Run > Angel > King Ebeneezer > Angel > On the Run.” My, oh, my. It’s hard to describe in words the epicness of this segue of songs, let alone just one of the songs alone. There were tastes of solos from each musician, fiddle and mandolin duels, slow lulls and quick expansions, lights abound, and sustained crowd enthusiasm. I think the best way to highlight the brightest moment of this closing jam is to directly quote my notes from the show, “Unfuckingbelievable fiddle solo and the music just doesn’t stop!”
Needless to say, the show up to this point was already climbing up my top shows list, and Yonder Mountain still hadn’t encored. The boys took the stage again, and addressed the crowd with a heartfelt dedication to friend and fellow musician from the band Brown Bird, David Lamb, who recently passed after a lengthy battle with leukemia. Clearly sensing the crowd’s love for the fiddle invited Philip Brezina back on the stage to perform “Crazy” which ran smoothly into “Boatman.” The interesting transition here was when Allie Kral (who partially stole the show) took up her fiddle for “Boatman.” Allie Kral obviously made her mark on the band as well because they invited her to join them for Yonder’s next show in Eugene, OR. This night in Portland has gone down in my books as one of the great shows I have been lucky enough to witness, and has Yonder Mountain String Band back on my radar. I think it is safe to say that the other patrons on this night were itching for more bluegrass, and the tone was set for the upcoming Northwest String Summit this summer. I will be doing my best to see these guys any time they are around, and I will be keeping my ears open for any notion of Allie Kral’s fiddle back on the stage.
Yonder Mountain String Band
04/08/14 (Tue) Crystal Ballroom – Portland, OR
Set 1: High On A Hilltop, Criminal, Maid Of The Canyon, Left Me In A Hole, No Expectations^, Loved You Enough, Lonesome Letter, Walking Shoes, Raleigh & Spencer*> Funtime*> Game Of Thrones*> Raleigh & Spencer*
Set 2: Only A Northern Song, Half Moon Rising, My Gal, Polly Put The Kettle On, Pass This Way, To See You Coming Round The Bend, Steep Grade Sharp Curves, On The Run*> Angel*> King Ebeneezer*> Angel*> On The Run* E: Crazy^> Boatman*
Notes: (1) ^ = Philip Brezina from the Brothers Comatose on Fiddle
(2) * = Allie Kral (of Cornmeal) on Fiddle
Juwee, FxFarmer and Bobby Kudlicz: the three headz from the south of Germany, who launched the project Funkanomics in late 2006, have since then been touring extensively in the club scene. They have taken their beat contoured live experience and mixed it with their own funked up style in their productions. A sound that is designed for the dance floor and made up of beautiful crunchy bass lines, coupled with pumping grooves. A merger that works and once it starts can´t be stopped.
In their sets the “Funkos” impress by presenting their sound on four turntables plus a very own live set including breakbeat with influences from hiphop, funk, dope beats, reggae and electronica. They go against the grain of conventional djing so smoothly, that you only have to listen to it once and its inside your head. As a result the crowd is instantly whipped to a frenzy with an imaginative and more approach to dance not confined to one genre.
The HOT Sh*t, Episode 122 – Mar.12.2014
Yet another great installation of Pretty Light’s live on Sirius XM’s Electric Area. This particular mix begins with sonic ambience to get you feelin’ fine on this beautiful Sunday morning. Pretty Lights is always pushing the envelope, a person who has a constant vision to broaden his realm of musical possibilities. This motivational, creative drive and curiosity has driven Pretty Lights to take electronic music where all too many are shy to venture. With his latest A Color Map of the Sun release, PL has proven himself to be one of the most ambitious and well-rounded producers in the game by using only analog samples. Big ups to PL for always getting things fresh.
About Pretty Lights:
On July 2, 2013, not one but two new Pretty Lights albums were released: A Color Map of the Sun and its essential companion, Live Studio Sessions From A Color Map of the Sun. The first PL efforts to be sold commercially after a series of acclaimed free-download albums and EPs, the Color Map project represents a turning point in Pretty Lights mastermind Derek Vincent Smith’s artistic growth. A self-professed “sample collage” artist, Smith decided it was time to create his own. “Before, I’d combine 25 samples into one song,” he explains. “This time, I was going to create my own original sources, retaining the timbre that spans the great musical era of the last century – from modern classical and jazz, to ‘60s soul and beyond.” (Continue Reading)
Confirms World Premiere of New Documentary Film
April 19th @ Nashville Film Festival
One of the most versatile and iconic banjo players on the scene will be premiering his full-length documentary next Saturday on April 19th at the Nashville Film Festival.The documentary, How to Write a Banjo Concerto (Argot Pictures), is sure to be of interest to bluegrass aficionados, fusion enthusiasts, and fans of the jam scene. Bela is a fan favorite & a “musician’s musician”, an all around all-star, leading us to believe this will be one of the best music documentaries of the year.
The film is Directed by Sascha Paladino and Béla Fleck, the film is a revealing look at the renowned banjo player’s creative process and relationships, including lifelong friend and colleague Edgar Meyer, his hero Earl Scruggs (making one of his last on-camera appearances and to whom the concerto is dedicated), wife Abigail Washburn, mentor Tony Trischka, Chris Thile, Chick Corea, his namesake Béla Bartok, the individual players in the orchestra and more.
“The fact that I had no qualifications whatsoever as a classical composer didn’t seem to bother the symphony, and honestly it bothered me only a little,” adds Fleck. “I’ve always enjoyed dreaming up challenging scenarios, and then digging deep and working obsessively to attempt to pull them off.”
Béla and the 90-piece Nashville Symphony Orchestra world premiered The Impostor concerto to a sold out audience in September, 2011.
About Béla Fleck
Bela Fleck has won 15 Grammy Awards and has been nominated in more categories than any other artist in Grammy history. He remains a powerfully creative force in bluegrass, jazz, pop, rock and world beat. In 2009, he produced the award-winning documentary, Throw Down Your Heart, where he journeyed across Africa to understand the origins of the banjo. The Impostor album is currently available through Deutsche Grammophon/Mercury Classics.
The Impostor performances:
April 12 – Peoria, IL Peoria Civic Center w/ Peoria Symphony Orchestra
May 3 – Columbia, SC Roger’s Center w/ South Carolina Philharmonic
June 20 – Telluride Bluegrass Festival w/ Colorado Symphony
Aug 1 & 2 – Santa Cruz, CA Cabrillo Festival of Contemporary Music
Sept 13 – Portland, OR Arlene Schnitzer Concert Hall w/ Oregon Symphony
Sept 26 – Lenoir, NC w/ Western Piedmont Symphony
The West Coast Mix For Redbull
Love is in the air when Brodinski starts talking about music. Making music, playing music, sharing music, finding music, promoting music… it’s all about L-U-V, as The Shangri-La’s used to say. Ever since young Louis Rogé decided to flunk university and turn Brodinksi into a full time operation, it was his passion for unearthing and creating exciting new tunes that drove him forward. No surprise then, when Brodi unveils his newest enterprise, it turns out to be another amorously inspired scheme: the aptly named Bromance is a music label devoted ‘people we love’, according to its main creator and A&R man.
Brodinski: “I’ve always loved collaborating with other people, ‘cause I get bored too easily. When working together, my head gets fed all the time, new ideas come flying from all directions. The more projects I’m involved in, the better! With Bromance I’m taking that feeling to the next level”.
Indeed, evidence of Brodi’s knack for joining forces with friends and allies can be found in previous releases such as Peanuts Club (together with Noob, on Turbo) and Eurostarr (with Mumdance, on Southern Friend), and The Krays, his alliance with Yuksek. Also, last year Brodi teamed up with his pal DJ Orgasmic for the hiphop- and rap inspired A-side of his free mixtape The Best Of Everything.
One of Bromance’s first offerings will be another, similarly flavoured freebie:Stoned Beats Vol. 1, dedicated to the blunted rhythms and juiced up rhymes of southern hiphop, shopped and skrewed by Gucci Vump – more on them later…
The debut physical release of Bromance is a split EP between Brodinski and fellow French producer plus current touring partner Gesaffelstein. ‘He’s such a nice guy! I love him, we connect personally and musically on so many levels – and, importantly, we’re not just friends, but also fans of each other. We push each other in the right direction’.
Exactly the amiable spirit Bromance vouches for. ‘It’s all about giving love to people’, says Brodinski. ‘That’s what you do when you make a living from your passion’.
Ever since Brodi was the new kid on the block – the freshest thing coming from France since Pernod on the rocks, as they say – championed at a tender age by such heavyweights as Busy P., 2manydjs, Tiga (who baptised him ‘the dj’s dj’) and Erol Alkan, he made it his mission to share a healthy obsession with quality dance music with as much people possible. With the newest instalment in the Fabric Live-series under his belt, he made an important step fulfilling that wish.
‘I’ve always wanted to do a mix for Fabric, and apparently they wanted me too!’, he laughs.
‘It’s been an emotional ride. First, because I was granted the chance to dedicate it to my late friend Mehdi, and second because I really wanted to make a statement. To push my ideas and vision of what I love in current music, and take risks while doing it. It’s my firm belief that a good DJ is at its best when he or she is not doing what people expect’.
‘I am a DJ first, always have been, always will’, continues the new label boss. ‘I’m not a musician. That’s why I teamed up with Guillaume from The Shoes for Gucci Vump’.
Aha, Gucci Vump! Another, much whispered about Brodi-collaboration that will soon see the light of day on Bromance.
Yep, Brodi means serious business with his new venture. ‘I realise the record label business is in a messy state right now. But I want to build something solid, something that people won’t give up on after two weeks. I’ve got a lot of passion to pour into this thing’.
It’s going to be a fine romance, as Frank Sinatra used to say. A fine bromance, my friend this is!
“Real Hip Hop” (Prod. Phoniks)
Single off “Dephacation” dropping May 6th
Here’s the new single “Real Hip Hop” off the upcoming Awon & Dephlow collaborative LP, “Dephacation”, produced by Phoniks. The album will be our first release together since 2013′s critically acclaimed “Return to the Golden Era”. It will drop digitally through Bandcamp on May 6th with the vinyl coming by Sergent Records shortly after. Pre-order links for vinyl will be available soon and supplies will be limited so keep a look out for that.
This song embodies the sound of Dephacation, which will forever serve as an example of how to sh!t on rappers who lack the skill to compete.
SAUDADE DEBUTS AT #1
ON THE ITUNES ELECTRONIC CHART
NEW YORK SHOW ADDED TO TOUR
(April 9, 2014 – Los Angeles, CA)- Thievery Corporation’s new bossa nova album, Saudade, debuted at #1 on the iTunes Electronic chart this week. In celebration, the band have just added a New York date to their tour – an evening summertime show at Pier 97 on August 15th. A full tour itinerary, including a return to Red Rocks Amphitheatre, is available below.
Thievery Corporation’s first record devoted entirely to the Brazilian-born genre has been met with critical acclaim and overwhelming respect for the band’s talents, domestically and abroad. NPR’s First Listen debuted the album and said, “In contrast to what often grabs attention in electronic music, it’s calm, serene, uncluttered and defiantly warm.” The Australian called it “Brilliant,” while Salon.com said “the music is versatile: It’s sad, smooth tone could be listened to while lounging or commuting, but its steady rhythmic beat could easily translate to the dance floor.” The Guardian said “they take a suprisingly organic approach, tweaking bossa’s twitchy guitar rhythms with shimmering backdrops and the odd electro beat. Sumptous.” The Daily Mirror gave Saudade 4 stars.
THIEVERY CORPORATION ON TOUR
April 27 Kingston Downs, GA Counterpoint Music Festival
April 29 Austin, TX Stubb’s
April 30 Dallas, TX House of Blues
May 1 Houston, TX House of Blues
May 3 New Orleans, LA Sugar Mill (w/ Galactic)
May 10 Upper Darby, PA Tower Theatre (w/ Polica and Break Science)
June 10 Las Vegas, NV Brooklyn Bowl
June 11 Las Vegas, NV Brooklyn Bowl
June 13 Morrison, CO Red Rocks Amphitheater
June 14 Aspen, CO Belly Up Aspen
June 17 Athens, Greece Water Square
June 18 Thessaloniki, Greece Babylonia
June 20 Cluj, Romania Electric Castle Festival
July 25 Floyd, VA Floydfest
August 10 Squamish, BC Squamish Valley Music Festival
August 15 New York, NY Pier 97
A Golden Era Of Hip Hop – Vol.1
This is the first instalment of Krafty Kuts New Podcast Series. If you like what you hear and want to own it, subscribe to the Krafty Kuts Podcast on Itunes HERE
Krafty Kuts roots are deeply entrenched in Hip Hop, this mix has been 15 years in the making and it features not just a collection of music that has inspired Krafty Kuts in his career, but exclusive interviews from Hip Hop legends such as DJ Cashmoney, Z-Trip & DJ Numark.
Hip Hop was the first music to truly touch Krafty Kuts soul, theres not a day that goes by that he doesn’t listen to it. This mix pays homage to the music that has inspired his life, lead his career and touched his soul. A Special big thank you to Chris Bishop (Stereo:Type) for engineering this mix, couldn’t have done it without ya buddy !!
View the full tracklist HERE
Your Ghost | Official Music Video
Your Ghost is the first video from Michal Menert’s vinyl EP “Elements” available for pre-order at http://superbestrecords.co
The song is dedicated to the memory of Tad Menert, who passed away in 2010.
SUPERBEST is a team of artists and friends that was founded to address the rapidly changing musical landscape. Standing in defiance of conventional production methods, SUPERBEST strives to build unique relationships between musicians and their fans. Through innovative uses of physical content and integrated multimedia, SUPERBEST will continue to challenge the way we interact with music and build artistic communities.
Directed and Edited by Daniel Goldhaber (http://danielgoldhaber.com)
Cinematography by Drew Levin (https://vimeo.com/90551238)
Produced by Graham Livesay
Assistant Director – Gwyneth Glissmann
Additional Cinematography by Isaac Sokol
Titles by Surrealux (http://surrealux.com)
Your Ghost Remix by Late Night Radio
“Mad Talkin’ Man” off New Album
Rod Melacon’s latest release, “Parish Lines” is a truly unique work that seamlessly combines the best sounds of the south. The sound lies in classic-roots-rock foundation that combines sounds of Bayou including swamp country blues and rock with a twist of country. Each track maintains a strong unique identity. This mad talkin’ cajun cowboy breaks down the barriers of the norm in hopes of offering uninhibited raw rock n roll guitar riffs & poetic prowess. This is the finest rockabilly to hit our ears in quite some time. Do yourself a favor and check out an exclusive stream of the track “Mad Talkin’ Man” off his newest release.
ROD‘s sound is pure & honest — a reflection of his respect for classic country & folk; a mix of Johnny Cash and Bruce Springsteen with the swagger of Elvis. The Buddy Holly-like, “Cushing Avenue” conveys the simple innocence of home town memories. The Springsteen/Terrence Malick-inspired, “Duck Festival Queen.” expertly tells the tale of love and murder while “Curve Lounge,” replaces the steel guitar with resonate, lonesome slide guitars and a spare simple arrangement. The hard rocking “Wanna Go For A Ride” plays like Jeff Beck and Duane Eddy meet Elvis. It’s like a session summit of great rockabilly and blues on some obscure night in the early 50′s Sun Studios in Memphis with Sam Phillips peering out from the control booth with an approving Cheshire grin.
* A very special thanks to Michelle at MAD ink PR
MØ – Don’t Wanna Dance (Goldroom Remix)
Brand new remix for MØ is out today and I think it turned out quite special! I really hope you like it, and if you do, please take a second to share it with your friends. I don’t wanna dance with nobody but YOU.-Goldroom’
Born from the simplicity of emotive choruses and lush electronic ornaments, Goldroom has transformed into a fascinating tale of modern music culture; a nostalgic romance of tropical textures and soulful rhythms.
After the success of his first stand-out single ‘Fifteen’ which found itself with over 300,000 plays on Soundcloud, the top spot on the Hype Machine charts, features on Pitchfork, Spinner, MTV, and spins on BBC Radio 1, few can say that they had a debut year quite like Goldroom had. Add to that, tours across Asia, Europe, South America, Central America, Australia, and of course around the USA and Canada, has meant the good word of Goldroom is spreading hard and fast.
The follow up original single, ‘Sweetness Alive’ featuring the luscious vocals of SLL (formerly Saint Lou Lou), set the stage for the recent debut of Goldroom’s live band performance at SXSW Festival in Austin, Texas in March. His astounding remixes of buzz-worthy acts such as Niki & The Dove, Atlas Genius, Alpine, Poolside, and Gigamesh, has given Goldroom even more of a household name as an established remixer, DJ and composer in his own right. Most notably, his remix for Niki & The Dove has been streamed more than 10 million times on YouTube and has been supported by the likes of The Magician, Aeroplane, Alex Metric and more.
All of this placed Goldroom in great standing for this year’s sophomore EP, ‘Embrace’. Released worldwide in September, the first week of its release saw the title track reach record heights for Goldroom, with over half a million streams across Soundcloud and You Tube, and premiere features on Pitchfork, MTV and Spotify. It immediately shot to #3 on Hype Machine and #1 on Twitter Emerging Charts. Now, with over 2 million (and growing) plays of the EP on Soundcloud, and hitting #2 most played on Australian national radio station, triple j, Goldroom is seeing the year off with a bang. Combining these numbers with a massive 30 date North American tour, sell-out hometown show at The Troubadour in LA, and DJ sets across London and Europe, there is reason to be on the lookout for even more from one of this year’s biggest success stories, both on the road and in the studio.
With a full-length album in the works, you can rest assured that this remarkable tale will find you on a steady hunt for the dance floor.
Upcoming Tour Dates
Apr 12: Chicago @ Primary Night Club (DJ Set)
Apr 25: Monterrey, Mexico @ Classico (DJ Set)
Apr 26: Mexico City @ Mono (DJ Set)
May 30: San Francisco @ The Independent (LIVE)
May 31: Los Angeles @ El Rey (LIVE)
June 21: Delaware @ Firefly Music Festival (LIVE)
June 26: Washington DC @ U Street Music Hall (LIVE)
June 27: New York @ The Bowery Ballroom (LIVE)
June 28: Boston @ The Sinclair (LIVE)
Announces 2014 Line-Up
We are excited to announce the official 2014 MDBP lineup, including who will be joining the MDBP in each city. Check out the full roster of artists playing at the block party this summer above and visit www.maddecentblockparty.com to view each individual city lineup (lineups will vary according to each location).
Get more bang for you buck! Our MDBP 2014 Ticket + Mix CD + Limited Edition Zine + More Presale Bundle is available NOW. Go to www.maddecentblockparty.com to purchase yours today while supplies last.
(Bundles will vary in price according to each location, free shipping available for US residents only)
Included in this MDBP 2014 Presale Bundle is:
• Paid entry to the 2014 Mad Decent Block Party!!!
• Limited Edition Mad Decent Block Party Zine
• Exclusive Diplo Mix CD
• Mad Decent Patch
• Mad Decent Block Party 2014 Die-Cut Sticker
• Limited Edition Mad Decent X PizzaSlime Collab Stickers
• Free shipping on the MDBP Mix CD + Zine + More (U.S. residents only)
Line-up & Dates
7/26 Ft. Lauderdale, VL @ Revolution Live
7/27 Atlanta, GA @ Masquerade Music Park
8/1 Washington, D.C. @ Merriweather Post Pavillion
8/2 Norfolk, VA @ Scope Plaza
8/8 Philadelphia, PA @ Festival Pier at Penn’s Landing
8/9 Brooklyn, NY @ MCU Park @ Cony Island
8/10 Boston, MA @ Blue Hills Bank Pavilion
8/15 Toronoto, ON @ Fort York Garrison Commons
8/16 Detroit, MI @ Meadow Brook Music Vestival
8/17 Las Vegas, NV @ Encore Beach Club
8/22 Denver, CO @ Fiddler’s Green Amphitheatre
8/23 Nashville, TN @ 12th Avenue North
8/29 New Orleans, LA @ Mardi Gras World
8/30 New Braunfels, TX @ Whitewater Amphitheatre
8/31 Dallas, TX @ Club Zouk Outside Lot
9/5 Calgary, AB @ Shaw Millennium Park
9/12 Phoenix, AZ @ Rawhide
9/13 Los Angeles, CA @ LA Center Studios
9/14 San Diego,CA @ LED
9/19 Berkeley, CA @ Greek Theatre – UC Berkeley
9/20 Eugene, OR @ Cuthbert Amphitheatre
9/21 Vancouver, BC @ Westjet Concert Stage at the PNE Amphitheatre
New Jet Life Remix
Rockin’ the motto “Summer Time All The Time” Viceroy has been crushing originals & remixes since his inception on the scene. Synths of the future and healthy servings of funk have defined this rising stars sound. Reminiscent of a memorable trip the Caribbean, Viceroy is the captain on this fanastic summer funk voyage. Today we feature his latest remix of the Nelly classic “Ride With Me” off the album Country Grammar which was released in 2000. This one is a blast from the past redone for yours ears in 2014.
Stream the new Dynasty EP
KOAN Sound is an electronic music production duo from Bristol, United Kingdom. The duo consists of Will Weeks and Jim Bastow. The name is taken from the word kōan. A track from the Max Out EP is titled “One Hand Clap” – a reference to a well-known kōan with the implied answer of silence, an element used in their music to draw extreme contrast.
The duo cite bands such as Rage Against the Machine and Incubus as early influences. In 2005 the duo began to explore electronic music through artists such as The Prodigy and Noisia. They initially gained recognition as Dubstep producers, with earlier popular tracks including “Akira”. Some of their many types of music includes glitch hop, neuro hop, and moombhacore.
The duo have since released music on various labels including Inspected and OWSLA, and have worked with a number of other artists, including producer Asa and singer Ed Sheeran.
On 23 May 2011, KOAN Sound released the Max Out EP. The release was seen by many as a turning point in their production, gradually moving away from the dubstep template of their earlier music and displaying a wider range of styles.
Tour Dates with MINNESOTA
Announces 35 Dates with Michael Franti
Special announcement! We will be joining our very good friends Michael Franti and Spearhead, Brett Dennen & Trevor Hall this Summer for Soulshine – Music. Yoga. Tour. 35 cities. 4 bands. 2 DJs and 1 ridiculously awesome yoga jam! Check out this special message from the man with the plan & stay tuned for more exciting announcements in the days to come…-SOJA
Over the course of the past few years, SOJA has sold more than 200,000 albums, headlined large theaters in more than 20 countries around the world, generated over 40 million+ YouTube views, amassed over 2 million Facebook fans, and attracted an almost Grateful Dead-like international fanbase that grows with each tour, with caravans of diehards following them from city to city.
Most impressive of all, they’ve accomplished all this on their own. This 8-piece band has spent the past year and a half grinding it out from venue to venue, playing more than 360 dates, including headlining sold-out tours of North and South America, as well as opening for O.A.R. and sharing stages with everyone from Dave Matthews Band to Matisyahu.
With Strength To Survive, the band makes an impassioned call for unity and change with universally relatable songs about faith, hope and love… ❖
Santa Barbara Bowl / Santa Barbara, CA
Greek Theater / Los Angeles, CA
Greek Theater / Berkeley, CA
Open Air Theatre / San Diego, CA
PNE Amphitheatre / Vancouver, BC
Marymoor Park / Seattle, WA
Les Schwab Amphitheatre / Bend, OR
Edgefield / Portland, OR
Big Sky Brewery / Missoula, MT
Sun Valley Center / Sun Valley, ID
USANA Amphitheatre / Salt Lake City, UT
The Downs at Santa Fe / Santa Fe, NM
Red Rocks Amphitheatre / Denver, CO
Crossroads / Kansas City, MO
First Merit Bank Pavilion at Northerly Island / Chicago, IL
Simon Estes Amphitheatre / Des Moines, IA
Farm Bureau Insurance Lawn at White Lawn River State Park / Indianapolis, IN
Echobeach @ Molson Canadian Amphitheatre / Toronto, ON
Stone Pony Summer Stage / Asbury Park, NJ
Bank of America Pavilion / Boston, MA
Bank of New Hampshire Pavilion / Gilford, NH
JBL River Stage at Pier 97 / New York, NY
Skyline Stage at The Mann Center for Performing Arts / Philadelphia, PA
Battleship Park / Wilmington, NC
nTelos Pavilion / Portsmouth, VA
Uptown Amphitheatre at The Music Factory / Charlotte, NC
Masquerade Music Park / Atlanta, GA
The Woods at Fontanel / Nashville, TN
Empresarios & Ephniko on Tour
Get ready for an exciting new partnership of red hot Latin Alternative music, Washington, DC’s own Empresarios team up with Colombian born Ephniko. Together this Latin Dream Team will tour up and down the east coast together and release a string of tunes, remixes and exclusives for the fans. First up is a tribute to Hector Lavoe, a big influence on both Ephniko and the Empresarios. Get your free download and make it out to one of these upcoming shows:
Wednesday April 9th – Tropicalia – Washington, DC
Thursday April 10th – Thirsty Moose – Portsmouth, NH
Friday April 11th – D’antigua Lounge – Queens, NY
Saturday April 12th – The Depot – York, PA (Empresarios only)
Saturday April 12th – North Beach Bandshell – Miami Beach, FL (Ephniko Only)
Panic En La Playa Tres
The HOME TEAM has established the magical Panic en la Playa tradition for three years and it seems as though this annual event will only get better over time. Below are choice cut highlights from Panic en la Playa Tres over the course of their four night run at the Hard Rock Hotel & Casino in Punta Cana, Dominican Republic.
Download the performances at LiveWidespreadPanic.com
About Widespread Panic
27 years ago this week, a singer everyone called J.B., a bass-playing future journalism school dropout and a guitarist nicknamed Panic for his bouts with anxiety went looking for a drummer for their next gig.
After striking out with the usual suspects around Athens, Georgia, the three friends made an eleventh-hour call to a high-school band mate of the guitar player living in Atlanta, thinking he might still have his kit handy.
A few days later, Todd Nance rolled up to the house at 320 King Avenue shared by John Bell, Michael Houser and David Schools in an old, beat-up white Maverick, his drums crammed into the back. After a night of rehearsing, the new quartet hopped onstage together for the first time the next day at the old Mad Hatter Ballroom to play a short set that opened with the Buffalo Springfield classic “For What It’s Worth.” Widespread Panic was born.
Within the year, Domingo “Sunny” Ortiz, a drummer new in town from Austin, Texas, began turning up at their regular Monday night gigs at the Uptown Lounge and never left. As weekly gigs morphed into regional tours, the band began to forge a sound unto themselves, a combination of Houser’s unorthodox guitar playing, Bell’s coarse growl, Nance’s rock-steady drumming, Schools’ lead bass playing, Ortiz’s multi-textured percussion coupled with a collective commitment to playing original songs from the outset and a willingness to walk the improvisational high wire night after night.
Landslide Records came calling and Space Wrangler, Widespread Panic’s debut album, dropped in September 1988, the first copies of which were hand-delivered to the band by Col. Bruce Hampton, an area shaman, bandleader and early mentor. Former Dixie Dreg T Lavitz manned the keyboards for the band’s self-titled follow-up released on Capricorn Records in July 1991, but it really wasn’t until John “Jojo” Hermann – a native New Yorker-turned-Mississippian equally snapped by the likes of Professor Longhair and Terry Adams – claimed the chair the following spring that the band felt like a true ensemble. With a new songwriter, vocalist and worthy onstage foil in Hermann in the fold, the band’s lineup was set.
Over the next two decades, Widespread Panic released nine more studio albums and sold more than three million records, building a loyal following on the road beginning in dingy dive bars across the South and eventually headlining nearly every major U.S. music festival and selling out some of the world’s most prestigious venues. No artist has more sold-out concerts at Colorado’s Red Rocks Amphitheater, and their headlining appearance at the New Orleans Jazz & Heritage Festival set the single-day attendance record. The celebration for their first live album, Light Fuse, Get Away, drew more than 100,000 fans for a free show in downtown Athens and is still considered one of the largest CD-release parties in music history.
By 2002, the band was one of America’s best and most sought-after rock acts, but rock ‘n roll fairytales inevitably take a tragic turn. Michael Houser, Panic’s founding guitarist and inscrutable core, developed pancreatic cancer. The guitarist remained rooted at stage right until a few weeks before his death, delivering a spine-tingling, tear-jerking performance for the band’s headlining spot at the inaugural Bonnaroo Arts & Music Festival. Eight weeks after leaving the road, Houser was gone, taking with him a unique musical signature that fans affectionately dubbed The Lingering Lead. An era was over.
At the behest of their late guitarist, the remaining band members returned to the road, enlisting several friends to share the stage and help heal the void left by the irreplaceable Houser. It wasn’t until the summer of 2006 – when John Bell placed a call to an old friend to see if he might be interested in joining the band – that the wheels were put in motion for a new chapter in Widespread Panic’s history to begin.
Jimmy Herring was no stranger to Widespread Panic when he got the call inviting him to join the band. A veteran of the Atlanta music scene, Jimmy first crossed paths with the band in the late ‘80s as the lead guitarist for Colonel Bruce Hampton and the Aquarium Rescue Unit.
From the first flurry of notes at his very first show with the band – the opening night of a four-show run at Radio City Music Hall that kicked off the band’s 2006 fall tour – Herring has re-energized Widespread Panic in the best way possible: by restoring a signature guitar sound to their music, returning a sense of balance to their ensemble and enabling the band to continue to incite, amaze and move people closer to joy.
Nothing gold can stay, and no band understands that lesson better than Widespread Panic, but with Herring now in his seventh year in the fold and the band fresh off an ten-month hiatus and ready to roll, there’s a palpable sense of renewed purpose and commitment and a rejuvenated enthusiasm within the band.
That vibe – the feeling that anything can and may happen – is back with Widespread Panic. And it feels good.- Official Bio
LIVE at Ultra Music Festival Miami
March 28, 2014
The New York Times may have called him the “new face of electronic dance music” in a 2011 profile, but Ryan Raddon, known as Kaskade, has been in the trenches of the EDM scene as an original recording artist and in-demand DJ for more than a decade.
The GRAMMY-nominated artist, who is gearing up to release his eighth studio album, Atmosphere on September 10th, has scored twelve Top 10 hits on Billboard’s Hot Dance Airplay Chart; created chart-topping remixes for everyone from Lady Gaga to Beyoncé; appeared at all the major summer festivals, including Lollapolooza and Coachella; and performed nearly 200 headlining shows a year for the last 10 years. In the process he’s become known as an EDM innovator opening the doors for the likes of Deadmau5, Tiesto, Skrillex and more, and laying the groundwork for a titanic musical and cultural shift: a post-rock electronic music revolution that has captured the imagination of a new generation of fans across North America.
With a catalog of original songs that celebrate love, friendship, and the music itself, Kaskade is also one of the most beloved dance artists in the world, inviting fans into his daily life via Twitter, constantly sharing new music via Soundcloud, and crafting live shows with the fan experience in mind. He was the fan-voted winner of the 2011 “America’s Best DJ” title, presented by Pioneer Pro DJ and DJ Times. The former skateboarder has been known to show up at gigs in flip-flops, but that no way indicates how seriously he takes his music: “The first thing I think about when I make music is the melody and the lyrics,” he says. “Production styles come and go, but good songs can stand the test of time.” His 2011 double-album Fire & Ice debuted at No. 1 on the Billboard Dance/Electronic Albums chart, and earned him his first GRAMMY nomination.
While he cut his teeth in nightclubs, today Kaskade’s live show is arena-sized; a jaw-dropping spectacle that finds him performing in front of massive LED screens broadcasting evocative images synced with the music in meaning and tone, while strobelights scan the crowd. “I’m trying to create an environment where you can lose yourself in these really big, grand, euphoric moments,” he says. “And to do that, there has to be a certain intensity. We’re barraged with so much information in modern-day culture. I want people to forget their worries and cares and be able to come together and celebrate life by hearing these songs that they love, with words that have touched them in a certain way. That’s what I’m trying to do at each and every show.”
Kaskade’s belief in the power of dance music to uplift thousands at once has had a significant effect on the U.S. scene. His groundbreaking double residency in Las Vegas at the Encore Beach Club (which had not even been built when he signed on) and Marquee elevated the city’s status as a premiere club- going destination on par with London, Berlin, and Ibiza. His ability to attract thousands of people to mid- week shows in the middle of the country, as well as on the coasts, is another testament to his popularity. Last year, he became the first DJ to ever perform at Los Angeles’ iconic Staples Center, which he also sold out.
After conquering Las Vegas, arenas, a demanding 55-date solo tour (2012′s Freaks of Nature), and even going back to the nightclub culture that birthed him on the very special Redux Tour (on which he revisited the 200-capacity rooms he had played as a developing DJ), Kaskade is back with his eighth and most personal album yet, ATMOSPHERE. Resisting the trend of enlisting pop stars for one-off in- studio features — straining for potential radio hits — the DJ and producer instead turned to friends, previous artistic partners and like-minded creators in his inner-circle to help bring the record to life. And, yet, while the album very much tracks his career, he continues to make career firsts.
For instance, the DJ and producer adds singing to his repertoire, as he sings for the first time on the title cut, a musical autobiography that tracks his career to this point: “All my life I’ve been a star / Holding a light up in the dark / While I tried to keep clear / Of all the waves in your atmosphere.”
“ATMOSPHERE is very much a reflection on what I’ve already done,” he says. “I didn’t feel the need to reach outward. This is just me quietly making the record I wanted to make. Or maybe not so quietly.”
“The song, itself, is very personal,” he says. “It’s about being true and honest about who you are and having that work out, and not feeling the effects of the things around you. For me, that’s the story of my music career. But it might mean something different to someone else.” Kaskade invited fans to participate in the video shoot. From their effusive singing-alongs, in a makeshift photo booth, it’s clear they found their own bits of truth in the self-affirming song.
Indeed, the 13-track collection has its grand festival moments like emotive opener “Last Chance,” or anthemic party celebration “Feelin The Night.” But it also has unexpected, vulnerable passages that showcase Kaskade as an artist in an entirely new way.
The minimalist “Floating,” featuring one of Kaskade’s favorite vocalists Haley, uses only voice and pads to paint its picture. “I just thought about being in water, looking up at the stars,” says Kaskade. “That’s what I wanted to convey.” The longing love song “Something Something” (with two-piece band Zip Zip Through The Night) swells its heart to full with strings, ambling drums and vocals in perfect harmony.
A series of instrumentals capture the solitude of airline travel, as well as the vibe of the places Kaskade was traveling between: “SFO to ORD,” for example, is an uncanny intersection of San Francisco and Chicago’s house music heritages, both of which are important to Kaskade’s evolution (he was once a resident of both cities).
Brave, true, and arrestingly beautiful, ATMOSPHERE is Kaskade’s most vivid self-portrait to date; a manifestation of the places, people, sounds, and ideas that have shaped him to this point, and point to a future inevitably filled with more special moments, from the intimate to the epic.
01. Kaskade & Thomas Sagstad vs. Morning Parade – Under The Stars (Ultra 2014 Intro Edit)
02. Galantis – You
03. Kaskade & Project 46 – Last Chance (Extended Mix)
04. Kaskade & Project 46 – Last Chance (Clockwork Remix)
05. Laidback Luke & Swedish House Mafia – Leave The World Behind (Cobra Effect Boot)
06. Kaskade vs. R3hab & Deorro – Turn It Down Flashlight (Ultra 2014 Mash)
07. Kaskade vs. Stefan Dabruck – Knowing Fire (Ultra 2014 Mash)
08. Kaskade vs. Digital LAB & MITS – Here We Go How It Is (Ultra 2014 Mash)
09. Alvaro & Glow In The Dark – Charged
10. Kaskade vs. Lucky Date & Moby – Angel Delay (Ultra 2014 Mash)
11. Kaskade vs. Patric La Funk & DBN – Please Say You Will Quick Quack (Ultra 2014 Mash)
12. Kaskade & Zip Zip Through The Night – Somehting Something Champs (Kaskade Mash Up)
13. Lana Del Rey – Young And Beautiful (Kaskade Remix)
14. Kaskade – Atmosphere
15. Kaskade – Atmosphere (GTA Remix)
16. Tom Star – Rocket
17. Kaskade – Eyes
The Godfather of House Music Dies at age 59
Yesterday one of the most influential figures in electronic House music passed away at the age of 59. An official press release is expected to be released later today, online sources have reported that Type II Diabetes likely played a role in the house godfather’s untimely death. We will be sure to you updated once more information is released. LiveMusicDaily sends our condolences to his family, friends, and fans for this tragic loss.
About Frankie Knuckles:
Few figures in contemporary music have influenced their respective fields the way Frankie Knuckles has revolutionized dance music.As one of the most renowned DJs in the world, Frankie Knuckles is still packing dance floors with his unique style for almost 30 years. Legions of admirers during his travels penned Frankies nickname The Godfather of House the press picked up on it and made it stick.
He has played a pivotal role in the creation and evolution of house music, which has become the dominant staple of dance clubs throughout the world. It was this celebrity and his constant fundraising for some of his favorite charities dealing with aids, homelessness, and education of our youth, that garnered him one of the most prestigious honors by the City Of Chicago.
On August 25th 2004, the Mayor of Chicago proclaimed the date Frankie Knuckles day, and a street naming Frankie Knuckles Way .As a Producer and Re-Mixer, Knuckles lent his talents to some of R&B and Pop musics elite. Artists such as Mary J. Blige, Sounds of Blackness, Michael Jackson, Janet Jackson, Diana Ross, Luther Vandross, Michael Bolton and Toni Braxton. Frankies production and mixing career was officially recognized by the music industry in 1997.
He became the first recipient of a Grammy for Remixer of The Year and has served as a Governor and Trustee, for the NYC Chapter of The National Academy of Recording Arts & Sciences.As an artist enjoying the success of two Virgin Records releases, Beyond The Mix and Welcome To The Real World . The first album included The Whistle Song which is most memorable as the Lipton Ice Tea commercial in the mid 90’s.
In 2001 Definity Records released the single Keep on Movin by Frankie Knuckles featuring vocalist Nicki Richards. The new song opened his Mix album Motivation and was the beginning of the collaboration between Knuckles and Richards 2004 A New Reality release. Billboard Magazine writes in the Album Reviews noteworthy section Knuckles strings together an inspirational and spiritual collection of gospel-infused club songs .
With critical acclaim from nearly every Electronic Dance and Club Culture magazine through out North America and Europe. Definity strategic crossover plan launched with a visibility campaign in Major Chains for Black History Month in February. Reviews in Vibe, Ebony, Black Beat, Essence, and BET made this Motivation album the first Def Mix Productions release to garner recognition with mainstream Afro American press.
Knuckles was back in the USA mainstream with his positive message. The launch of his Motivation world tour put Knuckles message again in the forefront on an International level and Knuckles realizes post 9/11 was a New Reality for him. In 2003 Knuckles released an exclusive mix album for Armani AX which also renewed his positive Message, and introduced the forthcoming studio album.He started digging through the vaults and writing, and came up with his first studio album to release in 7 years.
A New Reality released April 2004 in the USA, UK, Italy, Australia, and Japan simultaneously, and continues to receive media attention. Knuckles Launches his A New Reality” Tour on the heals of his Bac N da Day success around the globe. Bac N da Day is the first collaboration in 20 years with long time friend, House legend and co writer Jamie Principle. His second single Matter of Time features Nicki Richards, who is one of the most sought after vocalists in the USA. She works with everyone from Janet Jackson to Stevie Wonder. A breath of fresh air, Nicki is featured on half the album and is backed by some of the most amazing vocalists the business has to offer. She also sings with Will Downing who sings backing vocals for her on What’s Goin On .
Knuckles continues to use his celebrity and much of his spare time providing entertainment for various AIDS charity events. He supports anything that has to do with children, noted as saying I cannot stand to hear a child cry of want, hunger, or a lack of love . He has let his services for many past organizations, including Meals on Wheels, GMHC, Pediatric AIDS, and most recently Harvey Milk School.