Soundchecking “Jennifer Dances” & Foxy Lady
NOW in Portsmouth
Captured by Jason Herman on his phone.
Dimitri Vegas & Like Mike
If this doesn’t make you want to go to this mammoth of a festival in Belgium I don’t know what will. This is simply some of the wildest stage production in the world with the best DJs in the world.
Tour Dates + New Track
Axé Baba (Slight Return)
Amidst a land of hypnotic beats, catchy hooks, and majestic melodies exists the music of D.V.S* (aka Derek VanScoten). His 2013 release “Hit the Clouds Running” was the apex of his career to date, marrying forward thinking electronic bass, drums and sound design, with classy guitar tones and vocalists.
In 2009, the guitarist/ producer began releasing solo material and touring nationally. By 2012, D.V.S* had remixed Break Science and Talib Kweli, was featured on the Emancipator “Remixes” album, and had co-produced 2 tracks on Michal Menert’s album “Even If It Isn’t Right.” In 2013 his remix of The Beatles’ “Because” broke the top 5 on Hype Machine, and finally gained the producer international attention.
As a diverse performer, D.V.S* has spent considerable time on the road with electronic acts Big Gigantic, Beats Antique, Emancipator, Tycho, Cherub, EOTO, Lotus, Tipper, and Pantyraid. As a respected instrumentalist, he has played with a colorful variety of groups including the Boulder Philharmonic, DJ Logic, the Motet, and Devotchka.
Festival performance highlights include Lights All Night, Lightning in a Bottle, Wakarusa, Camp Bisco, Sonic Bloom, San Francisco Bicycle Day, SXSW, the Manifestation Celebration, and Gathering of the Vibes.
Label releases include Soulection, Loci, 1320 records, Pretty Lights Music, Gravitas Recordings, Cantora Records, Yoshi Toshi, Daly City, Electronic Music Magazine, and Dub Lab.
D.V.S* was one of 3 initial artists in the world to debut the Popular Science Award Winning “Guitar Wing” by Livid Instruments. He is also an active Ableton Artist in the production, performance, and educational fields.
Release My Head is a Jungle Rerub
Freestylers have their fingers on the pulse with this fresh rerub of Wankelmut & Emma Louise’s infectious single ‘My Head Is A Jungle.’ The track was heavily supported by BBC R1’s own Annie Mac and dubbed Pete Tong’s ‘Essential New Tune’ of 2014 and it’s continued to be a club favourite all Summer.
Showcasing their versatility as producers, and knowledge of real club music, they deliver a groove laden remix reminiscent of an early 90s club classic but with a modern day twist that would sound right on the dance floors of Ibiza.
Look out for Freestyler’s new release ‘Love My Bass / Skacid’ out on Sept 8 2014
Countdown to M.E.M.Fest Vol.1
By Randy Harris
Deep inside the heart of Memphis, yes, Memphis, Tennessee, the Home of the Blues, the Bluff City, there is a small, devoted group of underground bass music fans. The scene has gradually gained more and more traction over the past few years, culminating in last year’s inaugural installment of the Memphis Electronic Music Festival (M.E.M.Fest), hosted at the Levitt Shell with late night sets at Newby’s. 2013’s lineup featured headliners such as Zoogma, Spankalicious, Zebbler Encanti Experience, Soulacybin and Memphis favorites Gutta Kick, dBraker and Mixed Medium. Despite an unfortunate last minute cancellation from Liquid Stranger, due to travel issues, the weekend was an overwhelming success, and Memphis bass fans have been clamoring for more ever since.
The masterminds behind the Memphis bass music scene are local DJ favorite Nolan Leake (aka Gutta Kick) and lights and entertainment specialist Jodyland of Jody Land Entertainment and Crop Circle Productions. These two gentlemen and their respective organizations have put on multiple weekly, biweekly and monthly events around the Memphis metropolitan area, attracting talent from all over the U.S. and beyond and bringing in attendees from far and wide.
For M.E.M.Fest’s second installment, Leake and Jodyland have a brand new location in store and an already stellar Phase 1 and Phase 2 lineup announced, with a third phase on the way. The new location makes up the Broad Avenue District in Midtown Memphis, and the guys have already promised a vast array of visual artists, hula hoop workshops, fire spinners and vendors. Notable acts from the first two phases of the lineup include Archnemesis, Spankalicious, Cyberoptics, Arpetrio and Moniker, along with multiple Memphis favorites such as Gutta Kick, DJ Gutta Chick, Agori Tribe, Chinese Connection Dub Embassy, Mixed Medium, Defcon Engaged, dBraker, Gill-Yum and more!
M.E.M.Fest 2014 is an all ages event, with early bird tickets, VIP packages and backstage pass packages available, and benefiting the Hardwood Center. Hardwood is a non-profit organization that has provided support and education for children up to five years old with developmental disabilities, such as autism, Down syndrome, cerebral palsy and more, since 1957.
Check out the full Phase 1 and Phase 2 lineups below, and stay tuned for Phase 3 of this already stacked list of DJs, producers and bands, from all subgenres of bass music, coming at you soon. Also below are links to the event page, tickets and the Hardwood Center.
Live at Floyd Fest 2014
This is perhaps my favorite live video of Thievery Corporation other than the official DVD shot Live at 9:30 Club compilation. This new footage captures the group performing one of their staple live tracks, “Warning Shots”. The song is frequently placed at the end of the set for its high energy. This one is a must watch. Part of this was taken by a camera from a remote controlled drone.
Produced shot flown & cut by: Brian Liu/ToolboxDC & Andrew Labens.
live audio & mix by Gianmaria Conti.
Discusses His Philosophy on Music
Releases New Tour Dates
The Polish Ambassador has been killing it for quite some time known for his intense energy on the stage. Recently TPA took to his Facebook to discuss how one balances their career as an artist and how they foster a dynamic relationship with their fanbase.
It’s my belief that the measure of an artist’s success is a balancing act of artistic ability AND how much fans are saying “yes” to an artist’s ability. It’s hard to quantify that one has more weight than the other. Perhaps because it’s more of an unspoken agreement between fanbase and artist that guides and shapes the artistic project.
So wouldn’t it be proper to listen to the collective consciousness that is the fanbase of a particular project? Doesn’t it make sense that artists are essentially representatives of the collective populace they are making music for?
When I make music, it’s all coming from experiences with people like you that have shaped me and subsequently fuel the music. It feels completely relevant and important to put messages out that represent this music and your/our collective motions for change. Without these ideas this music would cease to exist!
I generate most of these ideas/conversations/messages through interactions I have with you guys. Walking around festivals and chatting with you, speaking and fielding questions on panels, reading your beautiful emails, discussing with festival and community organizers how best to evolve our culture and music scene.
In my opinion, the role of an artist and the role of artist supporter BOTH come with a great responsibility.
As a fan, challenge your artists to speak for the people they represent. You have supported them to have a platform to speak from. Ask them what moves them to create art. Find out if their motives are in alignment with your own. If they are not, there is an ocean of art out there waiting to be discovered, so much of it with messages that will deeply resonate with you.
It’s my belief we are entering an era where the message of the music is just as important as the waveform hitting your brain and body, if not more.
As always this is one person’s opinion and more of a discussion stimulator.
What do you think?
Fall 2014 Tour Dates
with Special Guests
Phish After-party in Vegas
Brooklyn Bowl Halloween Weekend
Polish up those bowling balls for Halloween night in Vegas with moe.! The band has planned a Big Lebowski-themed night at Brooklyn Bowl Vegas with very special guestsBill Payne of Little Feat on keys, along with vocalists/trombonists Jennifer Hartswick and Natalie Cressman. Don your bathrobe, your purple jumpsuit, or your Lebowski best, because we’re gonna roll up the rug and party, Dude-style! The show begins at midnight!
Then recover from Halloween with a bonus midnight moe. show, as the band moves over at the Hard Rock Cafe on the Strip on 11/1!
Pre-sale tickets are available this Thursday, 7/31 at 10AM EDT through moe.ticketing, followed by general on-sale starting Friday, 8/1 at 12pm PDT.
moe. Wetlands Soundboards
Jubel (Tube & Berger Remix)
Both Klingande and ‘Jubel’ are named after Swedish words due to Klingande’s love of the nation’s house music: ‘Jubel’ meaning joy, and ‘Klingande’ taken from the word for sounding.
Klingande was formed in December of 2012 by Cédric and Edgar, two 24-year-olds from Croix in northern France, after being united by their love of electronic artists such as Klangkarussell, Bakermat and Nico Pusch.
Cédric studied music theory as a child, but later became immersed in electronic music as a teenager; initially a DJ, he soon also began to work on his own original productions. Edgar first started playing the piano at the age of sixteen and was so enamoured that he spent four years studying the instrument. The pair first met at school at the age of ten, but reconnected late in 2012 when Cédric returned from a spell in London and made fresh contact with his old friend.
Klingande have spent much of the year touring throughout all over Europe. The second single to be released in mainland Europe is ‘Punga’, another track which features his distinctive house-meets-saxophone sound and also earned a huge online following.
Klingande is now represented by Cedric, who spend much of his time between stages, planes and his studio in Lille (FR). New singles and EP are coming this year, with some surprises.
Stay tuned, this is only the beginning!
Interview with John Skehan
by Andrew McConnell
Railroad Earth has proved itself to be one of the best modern electrified bluegrass acts on the touring circuit. The group offers lyrical mastery combined with their instrumental proficiency that thrives live in concert. They have performed at the most prestigious festivals and venues around the country, but have never lost sight of where it all began. John Skehan (mandolin) of Railroad Earth spoke with me on several topics about the current state of live music, traveling, song-writing and much more.
Andrew McConnell – Mainstream music may be dead, but live music certainly isn’t. You have been around the scene for quite some time. Why do you believe this phenomena of live music continues to exist today?
John Skehan - It seems to me that people in this world really make live music a part of their lifestyle. Festivals throughout the summer time and bands that will do multiple night runs in one town really cater to that because people plan their vacations and off time around it and kind of make it a pilgrimage. It is part of their life, it is not a casual thing such as “Oh ok I’ll go do this”. They are very much “I will be there all three nights, and then I will go to the next thing”. They are just that dedicated to it, and I think the music being improvised enables the fans feel like they are a part of something that is vibrant and happy and they are not just going to hear a band play a song the same way they heard it on the radio. They are there because they want to know why it’s going to change, what is happening, the bands are challenging themselves, doing something different, which really separates them from the older model, the mainstream.
AM: Just looking at the set lists you have in front of you. You’ve got the setlist from your show last year at this venue. You have written out the different key changes for different jams of each song. Could you tell us a little more about this element of change? Doesn’t it keep it interesting for you guys?
JS: Yes, a big part of it is us keeping ourselves on our toes and seeing how we can change and grow. An awareness too that there are people here who were here last time, but perhaps were also at the Thursday night show in Richmond who are coming tonight. So how do you mix it up and make it different for them, make it different for us, and also be aware of maybe some people who walked in for the very first time. They don’t care if it is something we have not heard in three weeks, they just want to hear something good. So you always want to put your best foot forward and keep things always changing.
A lot of you are multi-instrumentalists. How do you think think that helps expand the range of opportunities for your sound both live and in the studio composition process as well? This helps define your unique sound in many ways, you can even switch and play the Zuki.
JS: The guiding line behind all of it is what works best for the song. So you always start out with what Todd brings in, what instrumentation does the song want? Usually, there is no random “Oh let’s play random things just because we can.” Everything seems to work. If something has very obvious flavor to it, we got a secret weapon in Andy who can play penny whistle or Irish flute or two saxophones at once if it’s an R&B thing. It’s just what works, what seems to fit the nature of the song best. It gives a lot to choose from and therefore we can move from different genres, different types of tunes, and cover all bases.
You guys have a variety of songs, anything from “The Last of the Outlaws” which is more of a ballad of sorts and you’ve got more “jamgrass” based songs such as “Like A Buddah”. You’re able to change it up as a result of you guys being such diverse musicians.
JS: Yea, and I’ll use Andy as the example, because he plays everything. He maintains his identity no matter what instrument he is playing and the band, even though we mix things up, it maintains an identity. There is no cut and dry. Everybody, no matter what they are playing, their personality comes through it, and, therefore, the personality of the band still comes through.
RRE is more electrified than some other Bluegrass acts on tour. While some in the bluegrass realm may disagree, I think in the case of Railroad Earth specifically, there is a clear benefit to your more electrified style. Do you feel that this approach in some ways allows you to take bluegrass in a direction that it has not necessarily done before?
JS: I think that is the key thing to understand about bluegrass music. It was an innovation in the 40s, Bill Monroe did something that nobody had done before. We never set out by any means to be a bluegrass band. Back to the earliest days of, before we even knew it was a band, we were gathering, a couple of us together, writing new songs,
As I said before, it just seemed to want acoustic instruments. And the nature of the lyrics and the style of music like Black Bear, one of the first things he put together, and you listen to Todd start playing that part of the song, and I remember vividly working it out on his yard, and it was like a beautiful Indian summer day, unseasonably warm for October or November or whenever we were there– uh, and standing around outside working it out and we looked over at one point and sure enough about 30 yards away was this big black bear out at the edge of the woods stopped and kinda looked at us for a minute and went on its way and about its business (laughs).
Point of the story is that I can remember Tom bringing that song out and, sure, it sounded like it should be violin and mandolin and Andy playing guitar in an alternate tuning. But there was nothing about the song that said Hammond organ and Les Paul guitar. So we never set out to be a bluegrass band, it was just what the songs wanted. But we all came from such different backgrounds, and everybody largely from a rock and roll background as well, that it was very natural to plug in and say “Ok what can we do with this,” especially as we began touring, and, yeah we have drums so we’re going to amplify ourselves, and we are going to experiment. There was never any “Let’s try to take bluegrass and change it.” We were just doing what we were doing.
But this goes back to what I said before, that I really believe One Road was breaking boundaries, and he put together the band that became the Bluegrass Boys and was changing things up in country music, and I also kinda believe that while he was inventing bluegrass, he started to invent rock and roll a little bit and left it for somebody else to finish. You know, “The Prominence” and “Back Beat” and some of those songs, you can hear echoes of them in the second song Elvis Presley ever recorded, “Blue Moon Kentucky”. There was always a drive and a change to it. And it seemed to be a logical step. Why not take it into the rock and roll world but use the chamber ensemble nature of bluegrass music and the mandolin, violin, bass, acoustic guitar, all interlocked and weaved together and playing together very much like a string quartet or chamber ensemble.
AM: Tell me a little bit about the song“Grandfather Mountain.” I have had some personal experiences on Grandfather Mountain with friends and family in the Linville area, such incredible landscapes in the Blue Ridge Mountains. What inspired you to write the song?
JS: We have played music on that mountain a couple times and the summer before, prior to working on this album, we kinda stepped in as hosts and headliners of the Music on the Mountain Top Festival. It’s just a stunningly beautiful sight for a festival. It’s just great. And some months later Todd showed up. I believe he started writing the song while we were there, probably very quietly and maybe in his own head, ya know, because I had no idea. I hadn’t heard anything about it, like “Hey this would be a great idea for a song,” and some months later he showed up and said, “Oh I’m working on this song about Grandfather Mountain, the festival down in Boone,” you know, and in Todd’s way, he told you something that obviously, you know you have a relationship with, you know the sights and the place, but he took it and made something very personal about it. Took it from a perspective that, you know, might not immediately occur to anybody else in terms of writing it from the Mountain’s perspective, looking at it as the oldest thing on the planet.
AM: A lot of your songs are about life, struggle, celebration, family, friends and your experiences on the road? How does life on the road help you grow and evolve as a musician and as a band?
JS: Well it had an awful lot to do with the band learning how to be a band, especially in the beginning. We were honestly, during the early years, on the road a lot more than we are now. We have found the same logical schedule now. Well not always logical– there are sections of the year that are absolutely nuts (laughs). Early on we would go on for 8 weeks at a time, and all 7 of us at that point sitting in a little van, you know, cramped for hours, driving over night, you know endlessly, just doing crazy crazy stuff. But a lot of that brought a ton of unusual life experiences, and lots of people we have met along the way and musically first off helped us learn what this is, this band and this music, which I think still continues to grow and change.
it’s also, I think, being on the road is a whole lot of everything all at once, which is what life is too. And it does put you in this place of things that really suck one minute, and then you turn a corner and you go “How did I get here? This is beautiful. We just met the most wonderful people and they did the nicest thing for us,” and you couldn’t have seen it coming, you know. So it keeps you in that kind of state of flux.
There’s a lot of songs that have come out of it. Elko, which wound up on the live album, because we used to stop back in our endless, endless tours out on the west coast, and that was one of the first 24 hour stops out in California, and we’d end up in Elko at this cheap casino hotel, and a lot of mayhem would ensue (laughs). Yeah, just people we have met over the years and have turned up in songs — everything from Grandfather Mountain to last night, we played at the end of the set a song Todd wrote called “RV,” and it was essentially inspired by Phil and Stacy, our tour manager and merch lady, his wife. And when we first met them they had just bought an RV and were contemplating retiring and said “Can we follow you guys around?” and we said “Sure why not?” and now they work for us, or work with us I should say. And that’s about them and their RV and one day packing up and saying “To hell with it.” That is something we have been blessed with along the way. A lot of people have reached out, sometimes with very, very touching stories about difficult life events and things and have told us how much the music has helped them, which I just can’t say how humbling that is and how that makes you step back from yourself for a minute.
* A special thanks to Perry and John for the interview and Randy for edits.
On the Radar
Rising Atlanta Space Rock Outfit
Copious Jones is an original rock band from Atlanta, Ga, consisting of 3 friends from music school who joined creative forces with 2 respected veterans from the local jazz/Latin scene. This incredible group balances a wide-variety of styles with melodic and meaningful lyrics to create a unique and ever-evolving musical experience. In June 2013, just 3 years after forming, Copious Jones signed with Kevon Glickman and international industry powerhouse, Blingnot Media. This partnership has already secured the band a spot in the 10th Annual Mountain Jam Festival, as well as the 8th Annual Bear Creek Music Festival, and opened the doors to a whole new realm of possibilities which Copious Jones is exploring with their sights set high.
Audience members of all generations and walks of life can be found in the mix of fans at a Copious Jones show. Since the band’s inception in 2010, these guys have quickly gone from being unrecognized on the local dive-bar scene to playing regularly in some of Atlanta’s most reputable venues and headlining local and regional festivals. They’ve also begun making appearances at national festivals and look forward to playing New York’s, Mountain Jam this coming June, as well as Florida’s, Bear Creek, in November.
Every passing day adds a little more to the amazing story of these talented musicians. Though still a relatively young band, they have decades of combined musical experience and have already attracted attention from many notable figures in the music industry such as: Chuck Leavell (The Allman Brothers, The Rolling Stones), Rob Barraco (Phil Lesh & Friends, Dark Star Orchestra) and Paul Diaz, owner of Tree Sound Studios (Elton John, Dave Matthews, Collective Soul).
2014 will find Copious Jones either in the studio creating music, or on the road solidifying and expanding their very-rapidly growing fan-base. Truly an experience, this band embodies the spirit so-often forgotten in popular music these days.
If you were to Google the name ARAABMUZIK, you would discover a lot video’s showing this music producer hammering on an MPC as if he was Travis Barker on the drums. With his fast rhythmic touches on the machine – while donning a New Era fitted, some might call it poetry in motion, others might say it’s suicide on an MPC, but for the this producer it’s just another day on the job.Born Abraham Orellana in Providence, RI, the middle child of two other siblings, he grew up with an affection to music starting at a very young age. “I’ve been drumming since the age of 3. When I was around 10, I started getting into keyboard and producing my own music.” Half Dominican and Guatemalan, he confesses that his Hispanic heritage has influenced his music to a degree. With his mom being a one-time professional singer he’s been around melodies and beats his entire life, however; growing up in Providence… it’s natural to assume Hip-Hop not having much of an influence in the city, considering that’s it sprawled so far away in New England. “There’s definitely a lot of Hip-Hop here. You’ll find a lot of local rap groups, solo artists out here that are trying make it, it’s just the fact that we’re not on the map like that just yet.”
Having found much success working with Dipset members Cam’Ron, Duke Da God, Hell Rell and others, he’s also shopped beats to Young Jeezy, Ludacris, Cassidy, Gucci Man, Young Dro and Fabolous.With his rapid beat making techniques, it’s easy to understand why it’s getting him on shows from state to state because it’s amazing to see. “I’ve been getting booked buy clubs lately to do shows performing on my MPC live. It’s something different and unique, and it puts me in a position to be a trendsetter, but on the other hand – it’s allowing other producers in the crowd to hear my sound and see what I’m doing but I don’t think you can really duplicate what I’m doing.” Putting a name on how to define his music and style is a daunting task, but under the fabric of his beats still lies a blueprint from the influences of Dr. Dre, Swizz Beats, Alchemist, Just Blaze, Scram Jones, Pete Rock, 9th Wonder, Hi-Tek, DJ Khalil and Heatmakers.
These famous producers vicariously helped in perfecting his craft to the point now that it’s a full time job. “When I first started making beats, I went from the keyboard to a software program and to an MPC. My motivation at that time was just for the fact that I wanted to hear and make my own music. All my old beats on the keyboard where like a good 3-4 minutes long and as I got better, so did the beats.” Not really needing much for motivation when making a new beat is natural. “I’m not the type that needs to smoke a blunt or have a drink to be creative. “I just sit down and think of what I’m going to do or how I’m going to do it. It doesn’t take long… no more than ten minutes for me to complete a beat. It’s always like 10-15 minutes the most and then I’m done.”
As his talents continue to move him forward, don’t ever think leaving his hometown is in the plans. “Growing up in Providence, I was blessed because I didn’t have to go through a lot of the things that other people that I know in places like Boston and New York had to go through. I was raised by both my mom and my pops and their still together this day. Besides, it doesn’t matter where I’m from just so
long as the people keep liking my beats – that’s all that matters.”
D-Town folks, Scoremore & Banjos to Beats present AraabMUZIK live at Trees on August 14th. (Buy Tickets)
Releases Look But Don’t Touch
Branx has made his way onto the scene with support from artists such as Gramatik for his jazzy future funk grooves. This sound offers hard hitting dance beats of the present fused with elements of 80s disco.
Born a young man, yet a relic in the eyes of time, the first of a new breed is among us. Cold as ice, smooth as the Great Lakes, silent as a viper as it slips through the desert sand, mango enthusiast BRANX is a tidal wave of silk and passion sweeping the dance floor. Prepare your self.
Last Time Played | Whipping Post | 15 Years Ago Today
Will it return tonight in Charlotte ?
This morning I ran across a post on Facebook by David Lemontonic & Hilton Thomas. I agree that Phish isn’t well known for sit-ins, but it goes without saying there have been some memorable sit-ins such as: Kid Rock, Jay-Z, Jimmy Herring and Carlos Santana amongst many others. -Andrew M
David & Hilton:
You may have heard that Mike Gordon of Phish sat in with Gov’t Mule on bass in Charlotte last night. After the concert I got to thinking that because Mule does not have a concert booked for Friday night, it seems very plausible that Mule’s front man and lead guitarist, Warren Haynes, might join Phish for a song at PNC Music Pavilion in the Queen City this evening. In fact, after the encore last night in Charlotte, Haynes told the crowd “I’ll see y’all REAAAL soon.”
Coincidence? I doubt it.
This got me thinking, What could they play in Charlotte tomorrow with Warren sitting in? Jesus Just Left Chicago? maybe.. Funky Bitch? maybe.. WHIPPING POST??… well guess what?
Afterall, Haynes has toured with the Allman Brothers regularly for quite some time now. It only makes since that he may perform the song with them. Moreover, it was exactly 15 years ago today that Phish covered the Allman Brothers’ classic, Whipping Post.
It has been circulated that Warren is playing a benefit in Asheville, but some speculation leads us to believe that his 2:00 event may not prevent him from joining Phish tonight in Charlotte. Asheville is roughly two hours from Charlotte.
Another observation brought from in forum discussion…
DMB plays their last gig for a month or so tomorrow night just outside DC , Dave’s from Virginia (and obviously has same mgmt. company as Phish if that means anything). If he was ever going to sit in with Phish again, Merriweather Post Pavilion Night 2 is about the best possible opportunity for that. -Pebbles&marbles
New Album Hits #1 | First Time in his Career
By Mitchell Parrish
I’m an enormous “Weird” Al Yankovic fan. Always have been. I remember using Napster to download “That’s your Horoscope”, “Albuquerque,” “The Night Santa Went Crazy” and many more of his favorites. I even went out and bought “Running With Scissors” as a 12 year old to feel like I was “supporting ” an artist I love.
Yes, I said artist. “Weird” Al is indeed an artist– and an amazing one at that. His ability to transform pop smash hits into equally catchy parodies is unparalleled. And the longevity of his career is approaching Grateful Dead status– well maybe not quite that level, but hey he’s got a number 1 album for the first time in his 30 year career. The release of “Mandatory Fun” proved once again that Weird Al is the king of musical comedy.
Prior to the release, Weird Al tried something new: he released one music video of his songs every day for eight days. He was hopeful that one or two of them would go viral for a day and help boost album sales and get his name out. Well it worked. All of his videos blew up, with total views over 60 million. Rolling Stone magazine was all over it, as were countless other influential music sites and zines. He told RS: “Things burn really quickly, things tend to go viral for a day, and I figure, ‘Well, ok, I’ll let each of my videos go viral for day,'” Yankovic said. “Nowadays everybody’s trying to figure out what works, and I’m not like every other artist. I’m a special case and there’s really no precedent. So I’m just trying to see what works and this seemed like a fun thing to try.”
Perhaps my favorite is “Word Crimes”, the parody of the “almost rape-y” (Al’s words) song “Blurred Lines.” Al is particularly proud of the fact that he turned this racy hit into a song that could be used in a 2nd grade classroom as a part of a “hip” grammar excercize.
“Foil”, the parody of Lorde’s hit “Royals” is also genius. The video makes you feel like you are watching an infomercial trying way to hard to convince you to buy their aluminum foil.
Make sure you watch at least a few of these videos. Whether you are an avid pop music fanatic, or think that Pharrell needs to learn what a “change” is in a song, you will enjoy “Mandatory Fun.”
Vinyl Only Stage Added to Electric Zoo Festival
By Randy Harris
With the resurgence of vinyl, its commercial potential has spread far and wide over the past few years. Organizations such as Record Store Day fight to keep vinyl alive and roaring, and so far, they have had great success. The vinylmania always seems to be the most potent in the electronic music scene. “Old school” DJs are always complaining about sync buttons and digital DJs, constantly harping that real DJs use two turntables, a mixer and a crate of vinyl records. Many of these proper innovators of the dance music scene have extremely valid points. Today, it is easier than ever to become a DJ. All you need is a laptop and DJ computer software. DJs are not the only people who complain about the lack of vinyl in the scene either. Many attendees and listeners have also voiced their opinions that the scene has lost some of its potency and meaning since the vinyl days.
Electric Zoo Festival in New York City has announced a development that will certainly appease the vinyl lovers: an entire stage devoted solely to vinyl mixing. The vinyl only idea was first presented unofficially at this year’s inaugural Mysteryland USA Festival, and Electric Zoo will be giving the concept its first official test the last weekend in August. Featuring an entirely separate lineup from the rest of the festival, this stage will allow for the continued resurgence of the vinyl record and hopefully refuel a comeback in vinyl mixing among the dance music scene. After a rough end to last year’s festival, we are certainly glad to see the return of Electric Zoo to Randall’s Island with a renewed sense of strength, safety and innovation.
Fan Gets Out of a Speeding Ticket
Posted by UM fan Max Young this morning on Facebook….classic police encounter.
Cop: “Do you have any idea how fast you were going son?”
Me: “Sorry officer…I have no clue.”
Cop: “Quite a bit faster than the speed limit. Any reason why you’re going so fast this early in the morning?”
Me: “Well, do you want the truth?”
Me: “I was listening to a song that got really intense and I didn’t realize my foot was getting as heavy as the music.”
Cop: “Right…and what were you listening to?”
Me: “Uh…well…you ever hear of Umphrey’s McGee?”
Me: “…guess not –”
Cop: “THAT’S MY FAVORITE BAND!! What song and what show!?”
Me: “….wait — WHAT?!”
Cop: “What were you listening to??”
Me: “Penn’s Peak–
Cop: “HIGGINS JAM?!”
Me: “Dude….what is happening right now….YES!!”
Cop: “Wow. I guess I understand then…I was at that show — easily my favorite Higgins jam. I’d talk tunes all morning but it’s probably better I get goin — do me a favor and if you want to speed to these guys, do so at the gig, not on the road. Drive SLOW and safely and have a nice day!”
Me: “….wow, thank you?”
Cop on his way back to the car: \mm/
Free Download off Forthcoming Album
For those of you who enjoy good ole gritty Southern Rock, Nicky C is definitely for you. Do you enjoy the Drive by Truckers, the Black Crowes, the Allman Brothers ? (I hope everyone answers yes to all of these). In all sincerity, this is some great work from a strong power trio, a new band seeking to make its mark on the local music scene. This track exudes their rising and growing talent on the scene. ,It Takes A Woman comes off their forthcoming album, Much Obliged, which was recorded, mixed, and mastered by Kenny Eaton at Mystery Ton Studios.Moogatu and Nicky C and the RSB will each be celebrating the release of their debut albums with a Dual Album Release Party, Saturday August 2nd at 10 p.m., at Jammin Java, 227 Maple Ave E Vienna, VA 22180. Special Guest appearance by Washington D.C. local and saxophone legend,Ron Holloway.
Bass Invades A City Near You
We live in an age where there is exponential growth in the music festival biz, so it should come as no surprise that there is mammoth festival of epic proportions for you EDM fans is on the way this fall. Sure similar events have taken place before such as EDC and numerous similar throw downs. I am curious to see as to how tis one will play out. Fans can catch Flux Pavilion, Adventure Club, Zeds Dead, and many others.
Live in Chicago
FirstMerit Bank Pavilion at Northerly Island
July 18-20, 2014
By Elliot Fisher:
Phish’s three night run at Chicago’s Northerly Island proved that the band has evolved throughout the tour. While some people complained of a lack of deep exploration and solos throughout the second sets, I witnessed a different Phish than I experienced in New York. All four were very high energy and very excited to be in Chicago and with this excitement they all worked very well together to bring a different sound than at Randall’s.
Friday night highlights included a “555” opener (a good sign for the Fuego lovers), “Reba” in the first set and first set closer “Squirming Coil.” In this particular version Mike made Trey laugh when he gave out some ultra high-pitched notes in the chorus, but all laughter aside, it concluded when Page wooed the crowd with an emotional piano solo as the other three members quietly left the stage. Second set highlights included the first “Mango Song” of the tour, “Piper” > “Halley’s Comet” and a remarkable “Wombat.” Fishman laid a steady methodical beat, which allowed the others to slow the song down into a Type 2 jam. As the “Wombat” slows, and the groove deepens with all four members contributing equally and off each other, Mike drops a bomb as the Chicago skyline seems to stop to witness this first ever work with the song. Just as they begin to hypnotize, in addition to some great light work by Kuroda, Trey ups the tempo and takes the song in a different direction. The near 12-minute version produced Friday night is a definite must hear. In addition to the “Wombat” highlight, Friday July 18th was also long time Phish artist Jim Pollock’s 50th birthday.
A buzz surrounded Saturday’s show and as “Wingsuit” began in the first set, coinciding with a pink sunset to the west over the skyline (“Paint the Sky…”), we were about to get an incendiarynight of music ahead. “Wingsuit” in particular is a song of epic proportions because of its slow and gradual buildup. A powerful “Free” and meditative “Roggae” were also exceptional. “Run Like an Antelope” closed the first set as Fishman provided the additional lyrics of “Istanbul Not Constantinople.” A monstrous “Carini” opened the second set and joined an incredible “Fuego.” This second set was great as more combined jamming was installed instead of simply relying on Trey’s guitar work. “Twist” and the very rewarding “Harry Hood” included very pleasing and surprising “Fuego” teases – almost as if Trey was adding fire to the two songs. The delightful three song encore included “Grind,” tour debut of “Bug” and a powerful “Suzy Greenburg.” The second night in Chicago saw yet another powerful “Fuego”. While some complain that the song has been overplayed, it is still a song that has taken a new life of its own this tour, and I mean that in a good way.
Sunday’s show included the rare “Tela” and to summarize the togetherness of the band throughout the weekend, all members accompanied Fishman on the drums during “Scent of a Mule.” The delightful second set included some great transitions and a remarkable 14-minute “Wedge” that further solidifies the bands combined improvisational work. “Mikes>Ghost>Wedge>Weekapaug” with an enjoyable “Ghost” tease kept the second set rolling. Sunday’s show second set is a highlight of the entire weekend as the band played great versions of all the songs, but be sure to listen to the astounding, methodical, and almost meditative groove in Chicago’s “Wedge.”
Phish approached Chicago with a more group focus as seen in “Wombat” and “The Wedge” in particular as well as the physical demonstration during “Scent of a Mule.” Be sure to listen to these, but the entire run deserves at least one full listen as well. Until Charlotte, enjoy the music!
The songs that stand out the most to me are the ones where all four members are tightly interwoven in improvisation. Trey did not steal the show with a particular solo, nor did a song exceed 25 minutes, but combined together they did prove that they can still create music differently and with a different style than before.
To Release a Live Album on August 19th
Recorded at Isis Music Hall in Asheville, NC
Town Mountain is my favorite new bluegrass act I’ve come across in quite some time. This is some true instrumentation mixed with authentic tales of life. This is honest, real, organic music. So glad these guys are preserving the art.
Town Mountain’s hard drivin’ bluegrass sound, tight harmonies, and stellar in-house songwriting have become the band’s trademark. They light up the stage with their honky tonk edge and barroom swagger, featuring a Jimmy Martin-style bounce and confidence that is countered at times by a laid-back John Hartford-esque groove. Town Mountain includes Robert Greer on vocals and guitar, Jesse Langlais on banjo and vocals, Bobby Britt on fiddle, Phil Barker on mandolin and vocals, and Nick DiSebastian on bass.
They are set to release their first official live album, Town Mountain: Live At The Isis, on August 19th, 2014.The concert was recorded in their hometown of Asheville, NC at Isis Music Hall. The album features live versions of previously released studio material including crowd favorites “Lawdog,” “Tarheel Boys” and the fiddle tune “Four Miles.” Amidst the original songs are a couple of lively Town Mountain-tweaked covers such as “The Race Is On” and “Orange Blossom Special.” The audio was mixed by Scott Vestal, acclaimed banjoist with the Sam Bush Band, who also mixed their 2012 release, Leave The Bottle. As for the future, stay tuned for a new upcoming studio album due next spring filled with more original Town Mountain songs.
This summer they perform at Rockygrass and Targhee Bluegrass Festival,along with several shows in the Northwest before a plethora of dates in northeast, the southern appalachian region, and the midwest. In the fall the band will be appearing at the Bristol Rhythm and Roots Reunion, Watermelon Park Festival, IBMA’s World of Bluegrass Festival, 34th Annual Georgia MarbleFest and a host of other shows.
The band has been having an exciting year so far and have traveled far and wide including some notable appearances in 2014 at Wintergrass, Suwannee Springfest, Durango Bluegrass MeltDown, Music City Roots, MerleFest, Lake Eden Arts Festival, Graves Mountain Festival, Best of Bluegrass, California Bluegrass Association Father’s Day Festival, Bean Blossom Bluegrass Festival, The Grey Fox Music Festival as well as a recent show at City Winery in Chicago supporting Ralph Stanley and his Clinch Mountain Boys.
Town Mountain is in it for the long haul… check out out where they’ll be travelin’ to this year and keep an eye on TownMountain.net for further dates and updates from the road on Facebook and Twitter.
Town Mountain on Tour 2014
7/24 Thu – Avogadro’s Number – Rockygrass Kickoff Party – Ft. Collins, CO
7/25 Fri – The Walnut Room – Denver, CO *w/ Whetherman
7/26 Sat – 42nd RockyGrass Festival – Lyons, CO
8/01 Fri – Pickin’ In Parsons Bluegrass Festival – Parsons, WV
8/02 Sat – Mt Vernon Nights- Workhouse Arts Center at Lorton – Lorton, VA
8/08 Fri – The 27th Annual Targhee Bluegrass Festival – Alta, WY
8/09-10 Sat-Sun – Blue Waters Bluegrass Festival – Spokane, WA
8/12 Tue – Republic Brewing Company – Republic, WA
8/13 Wed – Tractor Tavern – Seattle, WA
8/15 Fri – The Nelson Odeon – Cazenovia, NY
8/16 Sat – Riverlink Park Summer Concert Series 2014- Amsterdam, NY
8/17 Sun – Club Passim – Cambridge, MA
8/21 Thu – Cosmic Charlie’s – Lexington, KY
8/22 Fri – Isis Music Hall – Asheville, NC
8/29 Fri – Zanzabar – Louisville, KY
8/30 Sat – Red, White and Bluegrass At Holiday World – Santa Claus, IN
9/04 Thu – 8 x 10 – Baltimore, MD
9/05 Fri – Historic Blairstown Theater – Blairstown, NJ
9/12-13 Fri-Sat – Pickin’ in the Pines Bluegrass & Acoustic Music Festival – Flagstaff, AZ
9/20 Sat – Bristol Rhythm and Roots Reunion Bristol, TN
9/26 Fri – Watermelon Park Festival- Berryville, VA
9/27 Sat – Music Box Supper Club – Cleveland, OH
9/28 Sun – Rinky Dinks Roadhouse – Amity, PA
10/03 Fri – IBMA’s Wide Open Bluegrass – Raleigh, NC
10/04 Sat – 34th Annual Georgia MarbleFest – Marble, CO
10/15 Wed – Station Inn- Nashville, TN
10/16 Thu – The Southgate House Revival – Revival Room – Newport KY
10/17 Fri – Stoney Point Jamboree – Paris, KY
10/18 Sat – Historic Cowee School Concert Series – Franklin NC
10/23 Thu – Ashland Coffee and Tea – Ashland, VA
10/24 Fri – Gypsy Sally’s – Washington DC
11/6-7 Thu-Fri – Riverhawk Music Festival – Brooksville, FL
11/14 Fri – Randy Wood Guitars – Bloomingdale, GA
Stream Mind Mischief (Live Versions)
Tame Impala is one of my favorite bands, they are genuine, authentic, and have their own sound psychedelic space rock that will blow your mind. They also remind me of the some of the best bands in the history of music including Pink Floyd and the Beatles. Here is a great Live Version of “Mind Mischief” of their 2012 release, Lonerism.
About Tame Impala:
Tame Impala is the movement in Orion’s nebula and the slime from a snail journeying across a footpath. To humans however, Tame Impala is more of a ‘music ensemble’, but its various other forms should not be disregarded (colour that humans can see is only a small part of the electromagnetic spectrum, the rest is just as important to other things!)
Tame Impala make psychedelic hypno-groove melodic rock music. It’s intended for moving one’s body to, and it’s intended for keeping still and observing other forms of movement. It’s bombastic but it’s swirling, think of the shoulder bones of a giant striding feline creature through some kind of tunnel. If Tame Impala’s music reminds you of what you’d want to put on when you next visit your mind’s engine room then they’re happy. If not, whatever, it’s just music. Put it on when the sun next shines. Basically it’s all about the feeling
Tame Impala are Kevin Parker, Dom Simper and Jay Watson. Kevin and Dom have been musical companions for a good 9 years, having met at music class in high school at age 13, sometime after Kevin had began honing his primitive self recording skills as a way of putting tune to his newly learned drum beats. They found Jay sometime last year in rural Western Australia and admired his groovebrain and corresponding wrist movement. By stroke of luck he was moving to Perth with another band and this allowed them to jam.
The Tame Impala sound is one equally informed by The Beatles as it is beat poetry, by Turkish prog as it is by Turkish delight, and by English folk as much as homeless folk, and it’s a breathe of fresh air that reeks of all of these at times and none at others.
Anyway, the band still enjoy recording music at home and getting up on the roof when weather permits. With the songs-vat (the apparatus used for storing songs) showing weakness and beginning to split at the seams, it’s lucky they have secured a recording deal. An EP of home recordings is due out sometime soon. (Read More)
Tame Impala ‘Live Versions’ is out now.iTunes Audio Google Play Amazon MP3
Haywyre – Two Fold: Pt 1
Bringing you some solid work from Haywyre that was released a few months back, titled Two Fold: Part One. For those of you who may have missed it, this is well worth checking out.
We are defined by our actions and thoughts, but also by what we don’t do and think. Similarly, silence defines music just as much as sound itself. This relationship between absence and presence that characterizes our life is the philosophical foundation of Two Fold: Part One.These tracks explore duality through simplicity and complexity, organic and synthetic, energetic and calm.- Haywyre
Haywyre consists of Martin Vogt, who has been studying piano since the age of six. His interest in the production of various genres of electronic music and piano instrumentals began growing when he lived in Austria; there, he was exposed to jazz and hip-hop for the first time. Shortly after moving back to the U.S. in 2008, Haywyre was created. Now, his mission can be defined by providing his listeners with music that presents variety, originality, and ideas stemming from his jazz and classical knowledge base. The most general description to Martin’s sound can be described as memorable melodies and (jazz / classically influenced) chord progressions in the context of progressive electronic music.
Synthetic and organic elements combine in works inspired by artists such as Noisia, Flying Lotus, KOAN Sound, Hans Zimmer, Clint Mansell, Austin Peralta, and Abdullah Ibrahim. His main compositional tool is the piano; countless nights are spent drafting harmonic and melodic outlines by improvising. For live performances, Haywyre also includes his akai mpk 88 to perform the melodies while triggering the stems to the rest of the pieces. His guitar work can also be heard in many tracks (and sometimes other instruments, such as the Duduk, as well). So far, he has mastered every release himself (except the Draw The Line EP).
There’s a reason Phish’s Summer trek only takes the band as far west as Commerce City, CO (where Phish will wrap things up with a trio of Labor Day weekend shows). The band will kick off a 12-date Fall tour that will take them to seven cities in the west beginning October 17 with its first-ever show at Matthew Knight Arena in Eugene, OR. Phish will play two consecutive nights at Santa Barbara Bowl (October 21 & 22), a venue Phish first played as openers for Santana in 1992, and its first show at Los Angeles’ Forum since Valentine’s Day 2003. The tour will conclude with Phish’s first shows at the MGM Grand in Las Vegas. The three-night stand begins on Halloween night.
An online ticket request period for the Fall Tour is currently underway at http://tickets.phish.com/and will end Sunday, August 3 at midnight ET. Tickets will go on sale to the general public beginning August 7. For complete ticketing details, please visit phish.com/tours
PHISH 2014 FALL TOUR
10/17 Matthew Knight Arena, Eugene, OR
10/18 Key Arena, Seattle, WA
10/21 Santa Barbara Bowl, Santa Barbara, CA
10/22 Santa Barbara Bowl, Santa Barbara, CA
10/24 The Forum, Los Angeles, CA
10/25 Sleep Train Amphitheatre, San Diego, CA
10/27 Bill Graham Civic Auditorium, San Francisco, CA
10/28 Bill Graham Civic Auditorium, San Francisco, CA
10/29 Bill Graham Civic Auditorium, San Francisco, CA
10/31 MGM Grand, Las Vegas, NV
11/01 MGM Grand, Las Vegas, NV
Old Man Gets Down to Mike’s Song
Newby’s, Memphis, TN
July 15, 2014
By Randy Harris
In a somewhat last minute booking, The McLovins made a stop in Memphis last week on their way up to Ohio for an eventful Tuesday night at Newby’s. With an intimate, primarily local audience, the band proceeded to weave their way through a versatile collection of originals and cover tunes. While the core of the band consists of Jake Huffman (drums), Jason Ott (bass), Justin Berger (guitar) and Atticus Kelly (keyboards), the McLovins brought along a three-part horn section with them to the Bluff City, consisting of trombone, trumpet and saxophone. While the horns added a certain flavor to the show, I felt that the venue was not quite big enough for the full band’s sound. Since it was a last minute booking on a Tuesday, Newby’s had the band play on their “bar side” instead of their “theater side,” so the horns tended to be a bit overbearing. They were solid musicians, however, picking out strong staccato notes and contributing to the stage presence. They also stepped off the stage for a few songs here and there to let the core quartet strut their stuff. Despite the size of the bar side, Newby’s always offers a one-of-a-kind musical experience. It is one of my favorite places in Memphis to see music. It just feels comfortable, homey and inviting, with a wide variety of regulars.
While I’ve known about The McLovins for a while now, this was my first live experience with the band, so you can imagine how pumped I was when I saw the last minute addition to the Newby’s calendar. The first thing I noticed about The McLovins was their technical ability. It was truly refreshing to see such a young band with such tight technical chops. They seemed to hold themselves and play with maturity, while still opening up with energy. Also, the variety of the setlist shows a lot of potential. From vocal tunes to instrumental, rock and blues to jazz, and slow songs to upbeat dance tracks, The McLovins are gradually becoming a force to be reckoned with.
The band worked their way through a couple of tracks off their latest full length album, Beautiful Lights, released this past January, including a compelling take on the ballad “Yankee Rose,” as well as a few from their older albums, such as groovy, laid back pop tune “Cohesive” off of 2012’s Who Knows. They also brought out all of the tunes from their new EP, Funk No. Uno, which was released later on this year somewhat under the radar. It’s a great collection of funky dance songs, and the band rocked them all live. They also played a surprisingly high volume of cover tunes, spanning from the Grateful Dead’s “Scarlet Begonias” and “Shakedown Street” to Lettuce’s “Do It Like You do” to King Harvest’s “Dancing in the Moonlight” and even The Sugarhill Gang’s “Rapper’s Delight.” They also covered The Band, Little Feat and more, with incredible poise and maturity.
All in all, The McLovins put on a great show. Led by Huffman’s soulful vocals, Berger’s speedy guitar solos, Kelly’s melodic keys and Ott’s funky bass, the band presented an impressive performance on a beautiful Tuesday night in Memphis. It’s great to see such a young band keeping the jazz and funk factors alive. I cannot wait to see what comes next from this talented group of musicians.
Releases Guilded Age
Lotus is a Philadelphia-based band that has accrued a large following on the live music circuit since 1999. While many refer to them as an “electronic jam band”, their music continues to defy genres. Today marks the release of their new album “Gilded Age.” I encourage everyone to give this record a listen. Lotus successfully combines the smooth, ethereal style of 2014 rock and roll with classic guitar riffs and driving rhythms. The track “Let Me In” jumped out at me right away.
Lotus’ description of their newest album:
When Mark Twain coined the term “The Gilded Age” he was describing the Reconstruction Era’s thin veneer that masked substantial social struggle. Nostalgia is like the gilded age of memory. It’s easy for the mind to increase the former glory, the perfect sheen, the once timelessness of present-day ruins.
On this album we wanted to occupy that powerful place of the human mind, the mental eye that can see erosion and cracks and envision a palace. We focused primarily on simple organic instruments: drum, bass, guitar, piano, percussion, played live in a room. The overall mood is one of reflective happiness, the joy of the impermanent, nostalgia of halcyon days.
Remixes from four superb down-tempo electronic producers take the nostalgia into deeper realms. The place where the brain starts reflecting on reflections and mixing together dreams and realities. Welcome to the Gilded Age.
Mike Greenfield – drums
Luke Miller – guitar, piano, organ
Jesse Miller – bass
Chuck Morris – percussion
Mike Rempel – guitar
All tracks recorded and mixed by Jonathon Low at Miner Street Studio (Philadelphia) except The Oaks recorded at Firebrand Studio (St. Louis) by Brian Scheffer. Mastered by Alan Douches West West Side Music.
“Up Above My Head”/”People Get Ready”
Jam in the Van
The California Honeydrops – “Up Above My Head” / “People Get Ready” Live in New Orleans with Jam in the Van. Subscribe to Jam in the Van! (HERE).
About California Honeydrops:
The California Honeydrops don’t just play music—they throw parties. Drawing on diverse musical influences from Bay Area R&B, funk, Southern soul, Delta blues, and New Orleans second-line, the Honeydrops bring vibrant energy and infectious dance-party vibes to their live shows. They’ve taken the party all over the world: on their nine European tours, to featured slots at such premiere festivals as Monterey Jazz, High Sierra, and Outside Lands, and performances in 2013 supporting B.B. King, Dr. John, Buddy Guy, and Allen Toussaint. Whether in those high-profile performances or in more intimate venues where the band itself can leave the stage and get down on the dance floor, the California Honeydrops’ shared vision and purpose remain: to make the audience dance and sing.
The Honeydrops have come a long way since guitarist and trumpeter Lech Wierzynkski and drummer Ben Malament started busking in an Oakland BART station, but the band has stayed true to that organic, street-level feel. With the additions of Johnny Bones on tenor sax and clarinet, Lorenzo Loera on keyboards, and Beau Bradbury on bass, they’ve built a powerful full-band sound to support Wierzynski’s vocals.
Listening to Lech sing, it can be a surprise that he was born in Warsaw, Poland, and raised by Polish political refugees. He learned his vocal stylings from contraband American recordings of Sam Cooke, Ray Charles, and Louis Armstrong, and later at Oberlin College and on the club circuit in Oakland, California. Bringing all those influences together with the rest of the band’s diverse experiences into a unified musical vision, the California Honeydrops expect to play parties for a long time. (Read More)
Artists: The California Honeydrops
Director of Photography: Dave Yeaman
Camera Operator: Chris Shashaty
Recording Engineer: Jacob LaCally
Post Production by: Joel Moody
Created & Produced by Jam in the Van, LLC
Music by: The California Honeydrops
Wick-it the Instigator is a multi-genre DJ and producer known as a breath of fresh air in an otherwise over-crowded EDM scene. His SoundCloud page is one of the top 200 most active pages on the entire site, garnering more then 40,000 followers and over 7 MILLION plays. Impressive numbers like these, which recently landed him at #5 on Billboard’s Next Big Sound chart, aren’t just a testament to his top-notch production skills, but also his keen ability to build and harness a highly interactive online fan base (1,500+ Facebook Fans added weekly). In 2012, Microsoft recognized that direct audience connection and chose Wick-it to produce a song for their Windows 8/Angry Birds: Star Wars commercial that they blasted to millions of prime-time viewers. With successful headline tours supplemented by huge sets at major festivals, it’s obvious his talent and success extend far beyond the studio.
THE DUAL ALBUM RELEASE SHOW
Moogatu w/ Ron Holloway and Nicky C and the RSB
Local rock bands Moogatu and Nicky C and the RSB will each be celebrating the release of their debut albums, Meat and Much Obliged, with a Dual Album Release Party, Saturday August 2nd at 10 p.m., at Jammin Java, 227 Maple Ave E Vienna, VA 22180. Special Guest appearance by Washington D.C. local and saxophone legend,Ron Holloway.
The idea for Orca actually came after I overheard two people have a pretty heated argument. It was a man and a woman, I imagine a couple. I heard the man say, “you can’t just always walk away! People don’t do that to each other. You work things out. The other options after you leave may not be better than what you have.” It was something along those lines. I had been at the beach that weekend and had the ocean on mind. I got this image stick in my head of folks shoving quarters into those viewers they have on the boardwalk, the ones that are like little pay telescopes, that kinda look like faces, so you can try to see dolphins and such out in the water. So, I got this image of people watching this Orca whale out at sea yelling back and forth. The people are the man in the argument, and the Orca the woman. As she swims away everybody, from behind their viewers is yelling at her, “you can’t just swim away!” And she turns around and comes back to argue. Of course she’s a deadly whale, so she attacks in the only way she knows haha. – Brian Raubacher
Moogatu has planted the first seeds for a unique blend of funky, shreddy progressive rock just outside of the nation’s capital in bucolic northern Virginia. Soaring dual lead guitars and a pulsing rhythm section bring the quintet’s inviting songcraft and creative improvisations to an audience that grows at every club and festival. Moogatu is carving its niche with high energy sets that keep people grooving long into the night. Moogatu is: Brian Raubacher (guitar, vocals) Chris Lee (guitar), Steve Jacyna (drums), Brian Zupruk (bass)
Moogatu has shared bills with: moe., EOTO, Ron Holloway, Dopapod, Keller Williams, Tea Leaf Green, Steve Kimock, The Werks, Kung Fu, Conspirator, The Pimps of Joytime, Zoogma, Larry Keel & Natural Bridge, Perpetual Groove, DrFameus, New Riders of the Purple Sage, Melvin Seals, The Mantras, Papadosio, Boombox, Jimkata, Tiny Boxes, Former Champions, Silo Effect, The Shack Band, Pigeons Playing Ping Pong, Freedom Enterprise and Galaxy Dynamite.
Nicky C and the RSB
Nicky C & The RSB is an up and coming rock n’ roll band from the Washington, DC-area. Formed in February 2013 by singer and bassist Nicky C, drummer Justin Ehrlich, and guitarist Josh Stansfield, they established a following by playing feel good original music.
Live at Randall’s Island
NIGHT 3 | Recap
By Greg Peeler
I’m not unhappy I didn’t go the first two nights.
It’s not like I don’t hate missing shows, even missing a weak show drives me bananas in a very visceral way. But after five shows on the road, I was frankly Ok with not having to deal with New York City all weekend, and we had just made the command decision to add the final leg of tour to the itinerary, which to me was a very fine trade for skipping two shows.
I listened at home Friday and Saturday and at least Saturday sounded like a decent second set, internet hype to the side, I wasn’t blown away, it was energetic, but still very in the box stuff.
To me, Phish still hadn’t really gotten into their rhythm.
They were playing really well, and every show had something incredible to recommend it, but trying to integrate a whole disk of new material and a sudden, some might say, unnatural, stepping away from beloved cover tunes, had led to some awkward moments.
But they had yet to play a Sunday show this tour, SPAC had ended on a Saturday.
And we never miss a Sunday show, right my brothers and sisters?
So, we got up at a reasonable hour and schlepped out way through Sunday traffic up 95 to New York City. This is never a pleasant experience, and I hoped my instincts were spot on. My constant touring and life companion was making noise that they were due for a “Soul Shakedown” night. Not to say they were going to play the song, but that’s her code for “A show that takes it to the next level”.
Sunday shows, do ya hear me people?
On the way up, a helpful friend texted me that they had moved start time back to 7:15; “Oh, awesome” we thought, “We got another fifteen minutes.” Seemed pretty good when we got there at like 7. So we take our time and grab a drink before heading to the venue.Turns out my buddy is a doofus and neglected to tell me the actual message is “Phish will start PROMPTLY at 7:15 because it’s going to get really nasty up here not too long after 11.”
So they fire up Sand as I’m buying tickets. I knew they were going to play Sand; dammit, was waiting on it all tour. Apparently, this was the first Sand opener ever too, which I found surprising, but later research confirmed.
The band slid into Winterqueen, which I was happy to hear because it afforded a chance for one last bathroom break and allowed us to find a spot without missing much. I’m shocked to say it, but I’m warming up to this tune. (warming…Winterqueen, yes, the terrible punning was intended, stop throwing pins at me) It still has a lot of the TAB flavor that runs throughout Fuego’s veins, but they do play it really pretty.
We settled into a good spot behind the second towers that afforded good sound and plenty of room for this fat kid to get down. The sound there was really LOUD. Even from the very back where we came in you could hear everything clear as day; another point to Randall’s Island in the win column. Looking around, I noticed there wasn’t much of a crowd there. Not compared to some of the numbers I had heard reported for Saturday.
Silly people, you don’t miss the Sunday show.
With impeccable timing they swung right into Reba as soon as we had found and marked out our landing spot, and, from there, it was no looking back. Reba is so beautiful and so intense, and when they play it well, as they have both versions this summer, it is a powerhouse. Third song in here, and we are already at peak performance. As far as I was concerned, they had already equaled the hyped up show from Saturday.
I will again here mourn the recent movement of the first set of a Phish show into mostly filler sprinkled with a “crowd pleasing” song or two. I noted at SPAC you can pretty well walk in at setbreak most nights and not be any worse for the wear. Sure, I got Mcgrupp for the first time since Superball in Philly, and there’s the occasional noteworthy musical moment like the extended, but still firmly type 1, Gin from Friday night, but really they’re mailing it in a lot.
Sand to open and Reba in the three hole is not mailing it in.
They have been mailing Birdies in during 3.0 though. But I was still feeling so good from Reba that I let it go. It’s interesting that they’ve abandoned this one and now it seems to reside early in the first set, much like other former improv monsters left for dead like Tube and Halley’s. It was short and sweet, and I was ok with it because I was feeling really good.
They brought it down to the 2014 debut of Water In The Sky, surprising when you consider two shows had already had serious impact from rain thus far in the tour. It’s always fun to pop the Everglades line, and my lady digs this tune and when she’s content it surely makes my show easier.
I like the placement of Possum smack in the middle of the set, and they’ve restrained themselves with it since they mocked us with it in Chicago last year (perhaps admitting the infernet complainers had a point after all?), so it’s to better effect now. You know what’s to even better effect? Letting Page take a sweet solo in the middle. The blood is up and pumping and they drop more old school on us with a decent upbeat Jim. I don’t expect much from Jim in 3.0 unless it’s in the middle of set 2 (My brain still recoils at the thought of what the BGCC Jim did to it last year) and this one didn’t stray too far from the norm, but did yield some sprightly moments. First set was doing pretty well at this point from where I was; very little BS and some nice pocket jamming.
One of my friends tried to mock Bouncin, but I was hearing none of it. I like Bouncin, always have, and don’t care if you don’t. I think it’s four minutes of pure pop sugar confection and it has served as the bridge between huge jams so much I always give it a pass.
Yeah, the bridge between jams, like into this really tasty Maze. Normally, with Maze, you get a ripping organ solo and Trey’s solo doesn’t match up, or Page isn’t as on point and Trey destroys his solo. But today they were playing so intensely, they both managed to blast it into hyperdrive. A really intense Maze that isn’t gonna get the love it deserves with everything else that went down on that field, but I for one was fully invested. SOAM to end this thing, I’m fine with that, let’s do it. I thought the one from SPAC was pretty good so let’s try round two.
About time they REALLY let one of these go. A lot of 3.0 Melts reach for that dark and dangerous place where everything is about to come flying apart but holds together through that one string of sanity, but they never quite make it. The closest they’ve come is the bizarre SPAC 2013 take that deconstructs itself through the wormhole and never really does make it back. This one combines that disjointedness with the dark, frightening, King Crimson-like screaming monster from Deer Creek 97. They took this thing to Mars but they had such total command over what they were doing up there that it never lost focus. Fierce angularity, jarring twists and turns, thick gooey space sludge, is that somebody moaning in the middle, oh god I don’t know, this is just nuts, holding on for dear life folks I dunno if we’re gonna make it…am I gonna end up in that loony bin that is sitting behind the concert fields…
Then they pull it all back to those three lifeline chords and we’re out. Made it. Whew.
THAT is a capper to a first set.
Best first set of 2014? Not much competition really, but, ah yeah, ya think so?
Grinning ear to ear, unrepentant sweaty mess . They are locked the hell IN.
And that’s just the appetizer.