Tame Impala


Stream Mind Mischief (Live Versions)


539368_10151430157475777_235825039_n

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


Haywyre – Two Fold: Pt 1


10256817_10152313197293718_3375664115665187634_n

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

About 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).

4 Peaks Music Festival


Live in Bend, Oregon

June 21, 2014 | Day 2

Jason Charme Photography


Railroad Earth


a4 Peaks Music Festival 2014-59-2


Moonalice


4 Peaks Music Festival 2014-227

 


Poor Man’s Whiskey



The Brothers Comatose



Whitewater Ramble



The Brothers Comatose & Friends



Jed



Carolyn Wonderland



Tracorum


Phish’s 2014 Fall Tour Announced

FallTour2014
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


The McLovins | Concert Review


The McLovins

Newby’s, Memphis, TN

July 15, 2014


1410817_10152707960389057_1871847729_o

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.

Lotus


Releases Guilded Age


img_6894-3053373139-o

Michael Stein Photography

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.

Credits
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.

Stream Full Album

The California Honeydrops


“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

389150_10150386464056817_337112246_n

About Wick-It:

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.

Free Download

DC Concert Spotlight


THE DUAL ALBUM RELEASE SHOW

Moogatu w/ Ron Holloway and Nicky C and the RSB


10441947_695100603894321_7626051512235485250_n

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.


Moogatu

Exclusive Download



968942_522778941122834_1892591717_n

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

FREE DOWNLOAD

About Moogatu:
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.

Buy Tickets

 


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.

Kids Cover Phish

Some kids rockin’ a cover of Phish’s YEM.

Phish


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?
Right.
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.”
Thanks brah.

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.

Whoa.

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.

READ FULL REVIEW

Read the rest of this entry

The Chainsmokers


LiveMusicDaily | Interview

 with The Chainsmokers


1489283_686915398007520_56981355_n

The Chainsmokers have hit #1 on Dance Billboard Charts with their viral track Selfie, but what some may not know is that their viral hit only scratches the surface of their production skills and techniques. They have been releasing very solid remixes & originals prior to their international stardom, having gained the support of  such as Tiesto, Afrojack, Steve Aoki, and Nicky Romero among others. They are currently on tour in Europe hitting some of the most prestigious venues and festivals including TomorrowLand in Belgium. Alex Pall spoke with LiveMusicDaily’s founder, Andrew McConnell to discuss their rise to international acclaim, their philosophy on production, how they make themselves standout on the electronic music scene, and more.

You guys have been killing it in the live DJ scene in New York City and have obviously begun to make a name for yourselves around the country. With that in mind, how would you describe the evolution of your sound from the early club days to the present?

Alex: I mean, it’s just been a natural progression. Drew and I have just been working together, and you just find the artist that you are going to be and you use that and do your best to feel it out. And you do stuff you think is cool and interests you and get better along the way, obviously, and, you know, just grow as artists. Our vision of what we wanted to be hasn’t changed that much.

Tell us a little bit about song selection. You all definitely read a crowd well, but not all DJs change up their song selection very much. But you can totally read and take in a crowd, like at ULTRA this past spring, you played a set that fit a particular crowd. How do you gauge the crowd and make those game-time decisions? Also, what is your calculation for song selection at an inside club versus a big festival?

Alex: I mean, it’s hard to distinguish. Like you know they are different and you just feel it. A festival is like thousands of people there, usually just watching and it doesn’t necessarily have anything to do with the DJ, you know. Whereas, a club is a lot different. You have to distinguish while you are there. Festivals kinda have that vibe to it. They have big crowds and the energy. Yeah, they are just very different.It was incredible. I mean its ULTRA. I’m glad we had a lot of performing. And you know the opportunity came to us and it was exciting. It’s the biggest stage in the world. It was really exciting because it was fucking huge.

What is your philosophy in remixing a track? Where do you start from? What makes you want to remix a song?

Alex: For us, we definitely have to like the song. We don’t make songs we don’t believe in or don’t enjoy. With that said, you always want to be able to offer a song a, uh, different experience, I guess. You know, you don’t want to try to do the same thing as whatever is on it. And ya know, we work with different vocalists and bands, and that’s a big factor for us. We love when the top lines are unique and authentic but kinda stating obvious topics indirectly in a cool way. Also, money… (laughs).

There are a lot of solo DJs, but y’all work in tandem. Generally speaking, what is the production process like when you two collaborate together?

Alex: When it comes to production, Drew is a wizard. I’ve literally seen no one better at producing.  Coming up with melodies and really just making enjoyable music—it’s not very mechanical for him at all. For me, I think I bring a different sense to the partnership, like marketing, branding. Ya know, it’s weird how this all works and realizing how difficult it is to establish yourself and to do everything.  It’s really a crazy experience. And for us, the partnership really just comes down to balance. There are things in the relationship that just benefit us both.

What do you do to differentiate yourselves from other artists that are a part of this larger Electronic culture?

Alex: Yeah, it’s important to just be yourself, and hopefully we are unique. You know what I mean. For us, we wanna have our own sound, and we don’t try to do what everyone else is doing, but at the same time, we wanna reach as many people as possible with our music– good music. You know what I mean.

The Chromeo remix is really sick. What made that track one of y’all’s better works?

Alex: As producers, it was always about adding things to a song, making it fuller and bigger. But now that we have kinda understood that and pushed it off the beat, it feels like a perfect balance of that. And those lyrics are fucking dope.

“Selfie” hit #1 on the Billboard Dance charts. I gotta ask… Definitely not a typical Chainsmokers release, honestly I pictured you two making that somewhat as a satirical piece of social commentary about how much we take social media perhaps too seriously in this day and age. This certainly gives you more exposure to a larger audience outside just the EDM scene. What would you say to people who have only heard Selfie? What was the story? 

Alex: We had no idea it was going to blow up. We thought it was funny, and we wanted to put it out. And everyone was just really, like, into it. I can’t lie (laughs). And we both agree that it’s an annoying song. But it’s fun and it is entertaining. You’re right, and it isn’t our traditional sound, but it is consistent with our personalities as far as the fact that we are all involved in it. For people who haven’t heard any of our past stuff, we are going to try to do as much of that as possible and make sure our songs are more like the Chainsmokers sound, but in some way also touches some of the things that “Selfie” has, like the interactive factor or mobile factor, which we are still figuring out. And make sure it’s cool and we like it. The video is definitely a trip. And everyone has been so supportive. 



*Special thanks to Randy & Mitchell for edits

4 Peaks Music Festival


Live in Bend, Oregon

June 20-22, 2014

Jason Charme Photography


Dumpstaphunk


4 Peaks Music Festival 2014-806


Hot Buttered Rum


4 Peaks Music Festival 2014-303


The Congress


4 Peaks Music Festival 2014-200


Polecat


4 Peaks Music Festival 2014-66


Poor Man’s Whiskey – Allman Brothers Set


4 Peaks Music Festival 2014-565


The Coffis Brothers


4 Peaks Music Festival 2014-476


Whitewater Ramble


4 Peaks Music Festival 2014-1026

Johnny Winter | R.I.P.


Another One Joins the Great Gig in the Sky

By Randy Harris


Blues guitar legend Johnny Winter, born John Dawson Winter III in Beaumont, Texas, sadly passed away yesterday, July 16, in his hotel room in Zurich, Switzerland. Winter began his musical career at a very young age, appearing on a local children’s show, playing ukulele and singing Everly Brothers songs with his younger brother, Edgar Winter. His first record was released when Johnny was just 15 years old. His band, Johnny and the Jammers released “School Day Blues” on a record label in Houston. During the early-mid 1960s, Winter was vastly influenced by attending performances by blues greats such as Muddy Waters, B.B. King and Bobby Bland. His first album, The Progressive Blues Experiment, was released in 1968 on Sonobeat Records in Austin, Texas.

In late 1968, Winter was invited to sing and play a song with Mike Bloomfield and Al Kooper at the Fillmore East in New York City. He sang B.B. King’s “It’s My Own Fault” to thunderous applause, and fortunately, Columbia Records representatives happened to be in the audience. Winter was signed almost immediately and was signed to what was then the largest advance in the history of the recording industry ($600,000). In 1969, Winter released a second and third album, Johnny Winter and Second Winter, and played at several rock festivals, including the legendary Woodstock Music and Art Festival.

After fighting and recovering from an addiction to heroin in the early 1970s, Winter returned strong in 1973 and ended up thriving throughout the rest of the ‘70s. In 1977, Winter achieved his childhood dream of playing the blues with Muddy Waters, bringing him in the studio after Waters’ long-time label went out of business. Winter ended up producing three studio albums and one live album for Waters and played guitar on a few of the songs.

Winter went on to have an extremely lucrative career, spanning over 45 years since his first album. He was on the cover of the first issue of Guitar World magazine in 1980, and in 1988, he was inducted into the Blues Foundation Hall of Fame. His final discography includes 18 studio albums, 17 live albums and numerous compilations. Johnny Winter’s contributions to the blues and rock & roll are etched into the fingers of every guitarist out there today, and he will continue to inspire up-and-coming musicians as one of the all-time greats for many years to come. Rest in peace Johnny Winter.

Archnemesis


Announces “Waffle House Regulars Club Fall Tour 2014″


Archnemesis - July 2014 - by South Carolina Portrait Photographer Sean Rayford

Since its inception in 2009, the Archnemesis sound has been in a constant state of evolution. With musical beginnings firmly established through a strict regimen of classical training on the cello and piano, eventually jazz theory and composition crept in, and more instruments like bass, drums and guitar were discovered and learned. The culmination of this vast musical knowledge ultimately shaped the Archnemesis sound before propelling it through a variety of analog stratospheres and into the digital realm of electronic music production. With a sound based primarily in, but not limited to, “electro hip-hop soul”, Archnemesis continues to evolve musically and socially by encompassing all styles and genres of music while simultaneously welcoming in all the fans that follow those genres.

Through extensive national touring, Archnemesis has created a steadily growing fan base aptly dubbed the “Nemesis Army”, and strives to create an un-biased community both online and at live shows where anyone can express themselves without discrimination. Also, by using music as a platform for outreach, Archnemesis is constantly generating new and innovative ideas to foster a community and encourage change.

When not touring, Archnemesis has managed to compile an extensive catalogue of EP’s, LP’s remixes and collaborations. Beginning with the 2010 release of the EP Diamonds and Glass, the full-length albums People’s Radio and Every Man For Himself were both well received by fans and critics alike. The remixes of Kendrick Lamar’s “Backseat Freestyle” and The xx’s “Do You Mind” both charted on The Hype Machine and saw extensive play from DJ’s across the country. A fourth EP, Follow Me, was released in July of 2013, and it took an even bigger step towards truly defining the Archnemesis sound. With the newest EP Free For All, released in January of 2014, the move towards solidifying the Archnemesis sound was completed.
With an unequaled afro and amazing light show, every Archnemesis encounter is a full sensory experience, one that is highly charged and delicious. This energetic live approach has been brought to such acclaimed festivals as The Hangout Music Festival, Lights All Night, Camp Bisco, Electric Forest and SnowGlobe, as well as theatres and clubs across the country. With momentum building and no signs of slowing down, Archnemesis continues to create an amazing live experience at clubs and festivals while steadily growing the ever-faithful “Nemesis Army” and working towards positive change.


Tour Dates


10513346_10202651481984813_1351808261766108974_n

Hey Army! The Appetizer portion of the “Waffle House Regulars Club Fall Tour 2014″ is served! Many more dates are coming soon so keep checking back for the main course! Damn it! Now I’m hungry…..#WHRC - Archnemesis


The New Deal


The Fillmore in Silver Spring, MD

July 12th, 2014


1794819_10152040922705098_1270791638_n

About the New Deal:

theNEWDEAL is back

Two years after the end of a successful fourteen-year run of over 1000 live shows, theNEWDEAL is announcing today a return to American festival stages in the summer of 2014.

“It feels like the right time for us to be playing together again”, says bassist Dan Kurtz. “theNEWDEAL needed some time to find some new musical inspiration and get some perspective on what is important about what, and how, we play together”.

“We just needed a break to go do other things”, adds keyboardist Jamie Shields. “When the thing you love begins to feel only like work, it’s time to step away”.

Darren Shearer, theNEWDEAL’s original drummer, has decided not to continue in this next phase of the band’s career. In his place, Dan and Jamie are excited to welcome Toronto-based drummer Joel Stouffer. Joel is one of only two drummers who has ever managed to fill Darren’s shoes in the past, having played brilliantly with the band when Darren broke his hand in 2011. Joel has spent the last seven years touring the world with Dan in Electropop band Dragonette.

theNEWDEAL first began in Toronto in 1999, and came up through the American Jam scene in the decade that followed. Since the theNEWDEAL’s beginning, it has been hard to categorize this band, which shows in the wide range of artists that they have played with (Everyone from Herbie Hancock to the Roots, from Moby to Fatboy Slim). A long-time staple of the Jam scene, theNEWDEAL’s improvisational interpretation of Electro House, Trance, Breakbeat and Drum & Bass has brought traditionally electronic music to the live music scene, adding a “human element” and vibrance that can sometimes get lost in the sea of computerized perfection.


Free Download

Phish | Interview


Live on Letterman


Page McConnell and Trey Anastasio talk “Fuego,” their history with Dave, their love of Colorado and more in this exclusive Live On Letterman interview. Check back on LiveMusicDaily later today for a review by Greg Peeler of the epic Night 3 of Phish at Randall’s Island.


10462824_10202614056125200_5995349675293250332_n

Phish


Concert Recap

Randall’s Island

July 11 & 12, 2014


By Elliot Fisher:
After a spectacular run at SPAC the previous weekend, Phish headed to the Big Apple for three nights at Randall’s Island. In addition to three nights of music, there was a plethora of tents and booths for attendees to check out including a Relix Magazine booth, Phish Dry Goods, Ben and Jerry’s, and a Phish archive of old merchandise called “Step into the Freezer.”

On Friday, Phish begin without hesitation and threw the Island into a flurry with a “Moma Dance” opener. Continuing to warm the crowd up did not take long and half way through the first set a very welcoming “Bathtub Gin” arrived, definitely a set highlight (see video above). Ending at just under 18 minutes long, BG could have easily been played in the second set, but instead occurred just as the sun began to set and the full moon rose over the crowd. We all know the power it has and this particular version, in addition to the transition from day to night, remains a highlight for me. It was very airy, almost like it was floating on the clouds, and the patterned layers from the quartet produced dream-like sounds. This Gin said, “Welcome to Randall’s. We are glad you are here” Arriving towards the end of the first set, “Waiting All Night” was very well placed to bring us all back to down before the set closer “Stash.”

As “Steam” opened the second set, I had very high hopes for the jam but the boys never found a solid groove and ended it short. They did deliver a powerful 18-plus minute “Down with Disease” that began with a lot of energy and ended dark and spooky, a real treat for sure. The remainder of the second set rocked with “Golden Age” following DWD. The first time this cover has been played all tour was an unexpected gem. In addition to DWD and “Golden Age,” “Fuego” proved to be another powerful jam coming in under 11 minutes. I believe “Fuego” is a compositional masterpiece. It is a song that reminds me of the other complicated songs like “Fluffhead”, “Divided Sky”, and “Harry Hood.” These four songs have varying time signatures, complicated beats and change quickly, and have long and expecting jams. I will always enjoy “Fuego” into the second set with wide-open arms in addition to the reasons listed above and how exciting the boys become when playing the tune.

“Character Zero” concluded Friday night’s show and everyone was satisfied and ecstatic for the music from the night. As is usually the case, Friday’sshow had fewer in attendance but nonetheless Phish proved they are ready to play no matter who shows up.

Saturday’s show saw almost twice as many people present for Phish. With a packed island, plenty of craft beer and food, Phish kicked off the night with a welcoming “AC/DC Bag” followed by “46 days”. This long first set included with “Devotion to a Dream”, where Trey had some nice riff jams which was followed by a well-placed “Free”. As the sun began to set in the song the crowd went wild for “Free”. Mike laid down some loud bassheat allowing everyone to develop a deep groove which saw some nice complimentary nuances from Trey Anastasio. The 7-minute version of “Free” was a highlight for me as well as “Back On The Train”, which is always a fun and funky dance tune. Page did a wonderful job with “Halfway to the Moon” and all four put on a show with “The Line”. Coming in at 10 minutes “Run like an Antelope” was a nice reminder of how long the first set was, and foreshadowed the song selection for the second set.

Second set highlights included a particularly jammy intro for “Punch You in the Eye”, a scary and mean “Carini”, and a 15-plus minute “Ghost” that had many ascending crescendos. The “Ghost” provided the sort of type 3.0 jam that begs you to close your eyes (Sorry CK5!) and just listen to the intricacies of the music. Without question, your body moves to the music. “Ghost” settled down near the end, and Page added some nice organ notes to keep it all going. “Wingsuit” was very well placed to slow down the dancing before a crazy “Rock and Roll”. Trey’s guitar work in “Rock and Roll” and Page’s nice singing abilities were my favorite part about Saturday’s show, as well as the set closer of “Harry Hood”. Phish looked very excited and happy to have delivered such a long and varied show to the massive audience.

But they were not done yet: “Tube”, “Joy”, and “First Tube”, a tri-fecta if you will, closed the show . The place erupted with the first notes of “Tube” and again with “First Tube”. See you phreaks this summer, they’re just getting started.

Viceroy


New Track from the King of SummerTime


578456_466858483337252_1614399072_n (1)
“The Life” really encompasses my motto ‘Summertime All The Time’ – grab your friends, get outside, and don’t let anything get in the way of you having a good time. Penguin Prison’s vocals really bring the vision full circle, pushing the song to that exciting next level. It’s not a complex idea by any means: just live it up!

It’s no question that Viceroy is one of the biggest names in dance music right now. With a stellar past year full of big-name collaborations, chart-topping remixes and buzz-blog no.1′s, Viceroy is constantly making moves. With his ‘summertime all the time’ motto fully emblazoned in everything he touches, 2013 saw Viceroy bring his unique brand of lush, tropi-cool house disco to clubs and parties across the world, including showcases at CMJ in New York, and tours across Australia, Asia and South America – soon no continent will be left untouched.


With the release of the sun-swept single, ‘Dream of Bombay’ in 2013, along with the latest and now infamous edition of the ‘Jet Life’ remix series, which included the smooth rework of Montell Jordan’s ‘This Is How We Do It’, Viceroy has been privy to exclusive remixes for well-established artists such as Lady Gaga, Maroon 5, Passion Pit, Two Door Cinema Club and St Lucia to name just a few. Proving that Viceroy is both a production and DJ talent easily sitting at the top of the game, both his remix and original catalog have earned him coveted credits such as #1 on Hype Machine, #1 on Spotify Chart, #1 We Are Hunted for almost every release. Add in over 5 million Soundcloud plays, countless mix tapes and exciting collaborations in the world of fashion and technology, the demand for anything Viceroy makes him one of the most exciting producers to watch for 2014.


Bringing a cool, ‘jams not bangers’ attitude to his body of work, plus a serious sack of singles that have easily held their own since 2012, this year will see the long-awaited release of a debut full-length album. Sun-drenched and full of addictive hooks, Viceroy will well and truly be making waves on your beach.

Purchase:

itunes
beatport

Widespread Panic


Live at Red Rocks

Morrison, CO | June 27 ,2014

The Popperazzi


20140627_194547 - E

Marvel Years


Drops Previously Unreleased Tracks from 2013


1901249_817290074953677_158802349_n

What a great way to wake up. Four hours ago Marvel Years just dropped some fire new tracks he’s been incorporating into his live set for quite some time. He touches on some of the hip-hop greats such as Snopp Dog and Notorious B.I.G. It won’t take any of you electronic music connoisseurs long to know Marvel Years is headed to the top of the game, soon enough.

About Marvel Years

Cory Wythe, the producer and guitarist better known as Marvel Years, has been making waves within the electro-soul hip-hop community. In just a short period of time, his progression has become impossible to ignore. Much more than your average DJ/producer, Marvel Years is an incredible guitarist that shreds well beyond his years. His approach to blending electronic beats and shredding soulful guitar on his original tracks and remixes creates a sound that is a unique hybrid of EDM combing glitch, retro-funk, soul, jazz and hip-hop. In the wake of his creation leaves listeners with the irresistible urge to get up and move.

Not only have the fans picked up on Marvel Years, he has also caught the attention of other prominent artists. His very first-ever live performance supporting Pretty Lights in Boston, MA (July 2013) has only been followed with an impressive amount of success and opportunities. In August 2013 he made a surprise guest appearance performing two of his tracks along side Mikey Thunder at Pretty Lights sold out Red Rocks show. Later that year, he was invited to hit the road on a multi-week bus tour as support for GRiZ’s Rebal Era Tour. Then, in the fall of 2013, Cory was offered an opportunity to do an official remix for Pretty Lights – “Where I’m Trying To Go” that was released on December 10 on A Color Map of the Sun Remixes.

Gaining wide notoriety from EDM blogs and social media, Marvel Years is a kid with a dream with the talent and the drive to make big moves. His releases, impossible not to love, are primed and ready to help you forget your troubles and enter into a happier state of mind. Keep your eye on this fresh artist who has those smooth funky grooves on lock and become marveled yourself.


Summer Tour Dates


MY

http://marvelyearsmusic.com
http://soundcloud.com/marvel-years-official
http://twitter.com/marvelyears
http://youtube.com/user/MarvelYears

Earphunk


Announces New Album Details & Fall Tour


Earphunk

Earphunk has proven to be the best rising funk act on currently on the live music circuit offering a tasty New Orleans style funk fused jam rock n’ roll. The group is proud to announce some important new details on their forthcoming album, some exceptional tour date collaborations, and a free download off the new album.Fresh off recent performances with 311 and an appearance at the Electric Forest Festival, New Orleans prog-funk quintet Earphunk have announced details for the release of their highly-anticipated new album, Sweet Nasty. The band will hit the road for two months of dates across the US to support the release of their third LP, including shows with Ivan Neville’s Dumpstaphunk and the Kyle Hollingsworth Band and an appearance at this year’s Bear Creek Music and Art Festival.

Earphunk will partner with the direct-to-fan publisher platform BitTorrent Bundle to exclusively release the album as a content-rich multimedia Bundle on August 18th, before making the album available on digital retailers worldwide on August 19. Earphunk joins a list of innovative marquee acts embracing the emerging publisher platform including Pretty Lights, Gramatik and G-Eazy. Last month, Earphunk partnered with BitTorrent Bundle to release their first Phunk Bundle, offering fans a collection of live shows and studio albums available for streaming or download.

Earphunk recorded Sweet Nasty at the legendary Louisiana studio, Studio in the Country, in between multiple national and regional tour runs over the past year. The band has made an exclusive live recording of a new track from the album, Saura, available for download at the newly redesigned earphunk.com. Fans can enter their email to download the exclusive track for a sampling of what to expect from Sweet Nasty.

Stay tuned in the coming weeks for more Earphunk news ! Earphunk Sweet Nasty Tour Dates!  

TRACK SAURA FROM SWEET NASTY AVAILABLE FOR DOWNLOAD AT EARPHUNK.COM 


Sweet Nasty Tour Dates


07-12 Monroe, LA – Live Oaks
07-13 Memphis, TN – Levitt Shell Music Concert Series
07-15 Columbia, MO – The Blue Note
07-16 Lawrence, KS – Bottleneck
07-17 Georgetown, CO – Groove Music and Arts Festival
07-18 Georgetown, CO – Groove Music and Arts Festival! 07-24 Asheville, NC – New Mountain Theatre !
07-25 Westminster, SC – Gratifly Music Festival
07-26 Augusta, GA – Sky City Lounge
07-28 Mobile, AL – Soul Kitchen Music Hall %
08-08 Alexandria, LA – Spirits
08-09 Lafayette, LA – Artmosphere
08-10 Aroyo Seco, NM – Taos Mesa Brewing Company 08-11 Albuquerque, NM – Low Spirits
08-16 Park City, UT – Canyons Concert Series 08-17 Monroe, UT – Mystic Hot Springs
08-19 Bellingham, WA – Wild Buffalo
08-20 Seattle, WA – Nectar Lounge
08-21 Portland, OR – The Goodfoot 08-22:Moscow, ID – John’s Alley
08-23 Missoula, MT – Monk’s
08-24 Missoula, MT- River City Roots Festival
08-27 Fort Collins, CO – Aggie Theatre
08-28 Denver, CO – Cervantes Masterpiece Ballroom *
08-29 Laramie, WY – Snowy Range Music Festival
09-02 Tulsa, OK — The Shrine
09-03 Dallas,TX – Granada Theatre
09-04 Houston,TX – Last Concert Cafe
09-05 Baton Rouge, LA – Varsity Theatre ! 09-06 Austin, TX – The Parish !
09-07 Nashville, TN – Exit/In
09-08 Birmingham,AL – Zydeco
09-17 Charleston, SC – Pour House
09-18 Atlanta, GA – Terminal West #
09-19 Charlotte, NC – Chop Shop
09-20 Athens, GA – Georgia Theatre #
09-26 Lake Charles, LA – Luna Live
09-27 New Orleans, LA – Tipitina’s
11-13-16 Live Oak, FL – Bear Creek Music and Art Festival

% with 311
* with Ivan Neville’s Dumpstaphunk! #!with Kyle Hollingsworth Band!

About Earphunk:

Hailing from the Crescent City, New Orleans-born Earphunk has emerged as one of the premier jam acts in the Southeast. The quintet has been steadily building a rabid fan base across the United States with their brand of high-energy funk, inspired improvisation, and dynamic stage p!roduction.! Earphunk has spent the past year touring across the country, selling out venues and performing at major festivals. Recent festival appearances include Wakarusa Music Festival, Bear Creek Music Festival, and Electric Forest festival in Rothbury, MI. The band has shared the stage with G!alactic, Lettuce, Big Gigantic, Toubab Krewe, Ivan Neville’s Dumpstaphunk, 311 and more.! About BitTorrent Bundle! 

BitTorrent Bundle:
BitTorrent Bundle is an alpha project made with and for the web’s creative community. Our mission is to help artists connect directly with fans, inside the content they share.! ! Each BitTorrent Bundle allows artists to distribute content directly to the Internet. An each Bundle comes with a key. Fans can unlock artist content with an email address. The idea is to make each song a storefront, and each file more valuable, each time it’s shared. Got ideas for the next BitTorrent Bundle? Hit us up.!

Pomo


Start Again Ft. Andrea Cormier


537953_486092994820234_928194874_n

About Pomo

Pomo is a Canadian multi-instrumentalist and producer living in Montreal, QC, Canada. Growing up in Port Moody, BC, he matured through the Vancouver music scene, introducing himself to various elements of music. After moving eastward in 2012, Pomo has hit his stride in the electronic dance music market, joining the likes of Kaytranada, Ta-Ku, and Stwo on the HW&W roster.

Drawing from various influences, Pomo makes an effort to distance himself from genre-defining elements while approaching his music from an organic and raw songwriting perspective. Using elements from hip hop, electronic, and 70s/80s funk, the multifaceted producer likes to draw people in with the malleable dynamics of his music, something that attracts himself to artists like J Dilla, Prince, Disclosure, and the emerging EDM scene as a whole.

After being featured in Kaytranda’s live set and receiving nods from the likes of Disclosure, Bondax and Gramatik, Pomo has broken into the international market, receiving recognition from media outlets like Vice’s Noisey, THUMP, Earmilk, Soulection Radio, 22 Tracks and many more. Now, growing on his Canadian electronic music notoriety, Pomo is preparing to expand his presence by bringing his live show overseas, making appearances through Europe, North & South America and Australia.

Fort Knox Five


Releases Funk The World Vol. 24


30740_390016948773_4816950_n

We are really happy to present number 24 in our Funk The World mix series! Enjoy a selection of tunes from around the globe, that will make you get up and dance! -FK5

Tracklisting:
1.KRAKOWSKI – BREAK ON TRU
2.PETER SELLERS & SOPHIA LOREN vs LUCIANO PERRONE – GOODNESS GRACIOUS ME (SKEEWIFF’S SAMBA VOCALIZADO REMIX)
3.ROSANTIQUE E CHAPEU ROGUE – WALK YOUR SHOES
4.DUNKELBUNT & BAREFOOT BASEMENT – AUGEN ZU UND DURCH FEAT. ALIX (CLUB EDIT)
5.NAPPY RIDDEM – ROCK STEADY (BOBBY C SOUND TV REMIX)
6.KITTEN AND THE HIP – SHUT UP AND DANCE (CAPTAIN FLATCAP REMIX)
7.BADBOE – HIT IT MAESTRO (LISTEN TO JPOD REMIX)
8.SLYNK AND SKIITOUR – FIGURE IT OUT
9.THOMAS BLONDET – CURRY FLAVA
10.MISTER T – THE USUAL
11.OMEGAMAN – A BAILAR FEAT. VINCENT SEBASTIAN
12.EL SONIDO – MOOMBAH RAGGA
13.OMEGAMAN – LOVERS SKANK FEAT. PATOU

Jay Fresh


The Calm Before The Storm EP


419803_10151188687814874_1626919944_n

Dustin Hollywood Photography

By: Andrew McConnell

Two years ago, Jay Fresh released his Delta Project throwin’ down some solid lyrical dexterity over Pretty Lights. Since the album Jay Fresh has been spreading his Stay Gold Era talents with some of the best on the scene including LMFAO, DJ VICE, Griz, Elliot Lipp, Michal Menert, Gramatik, Paper Diamond, SuperVision, Wale, The Cool Kids, Mac Miller, Yelawolf, Big Krit and Trae The Truth among others.

His newest release The Calm Before the Storm is a strong album with each track taking a different approach in message delivery, but the overall vibe of the album is a kicked back signature Jay Fresh vibe, which is definitely a good thing. I love when he collabs with others, but it has been seemingly a very long time since he’s released a solo heater. Sick back & crank this one up and let it take you into the weekend.

The Calm Before The Storm is an original Ep by Sonic hip-hop Artist Jay Fresh produced by Storm Watkins. The Ep exemplifies a chill and sexy vybe with a touch of lyrical magic provided by #JayFresh#StayGold #TheCalmBeforeTheStorm

Official Website
Facebook
Soundcloud

Phish 3.5 ?


 A Look Back at SPAC

Summer Tour En Fuego

July 3-5,2014


By: Mitchell Parrish

What a weekend! I can’t believe Tour ‘14 is underway! Phish came to SPAC this weekend and made it clear that the early 3.0 rust is long gone. Phish has officially upgraded to version 3.5. The band sounded fresh, enthusiastic, and comfortable in front of nearly 30,000 fans. On Saturday night, when the dust settled, its safe to say every head went home satisfied.

This SPAC run felt different than last year (when I attended the first two nights of the run) because they just released Fuego and are trying to find ways to fit these new songs into the flow of a show. I was expecting to hear them play standard renditions of these freshly cut songs and hoping to hear them do something with the title track. I was more than pleased with they way they sounded. Except for “Winterqueen,” which I thought was a slightly misplaced during the second set of the first night, I thought each Fuego song held its own. I was particularly impressed with the way “Monica” sounded as a part of the show’s encore, especially before the classic Tweprise. I also thought “The Line” sounded great, particularly Trey’s tone during the hook. The Fourth also brought some new songs. “555” is a fine song, I just wish Gordon were writing more songs like “Scent of a Mule” or heck “Mike’s Song”, but the tune definitely grooves. “Waiting all night” I think is a great song. There’s a lot of division over it in the community, but I think it’s beautiful. Another song that has received some mixed reviews is “Wingsuit.” I heard a few people compare it to an 80s power ballad, but I think its closer to the vein of a song like “Waste” and has a really nice crescendo jam at the end. Trey’s guitar tone is a perfect compliment to Page’s delicate keys as the song builds.

Enough has been said about the monster “Forth Fuego”. Its a pretty awesome song, and it has a lot of potential as a jam vehicle. Taking it into “DWD” was a nice way to get back to second set basics and send the show into some interesting and uncharted jamming territory. “Twist” gave way to “Light” and Phish seemed to really be exploring some new ground. Phish seems to be constantly looking for new sounds and interesting grooves in 2014 that are becoming characteristic of this Phish “3.5” that has been on fire, or en fuego, since last summer. Listen to the Bathtub Gin > Limb By Limb from the 3rd, they really dig into some weird funk.

Perhaps my favorite “Fuego” song though is “Wombat.” It’s hilarious. Its weird. Its groovy. Its all the things I like about Phish. Hearing the “the Abe Vigoda” line while dancing my face off was absolutely hilarious. You could tell the guys were having a good time playing it.

Overall, the weekend was a blast. Phish is killing it and seem to be having as much fun as they did in the old days.

Some other highlights: Fishman jamming out to a marimba lumina during the “Scent” breakdown; Trey dancing his face off during YEM; Trey and Mike duel during YEM; just about every Page solo, who, in my opinion, takes home the MVP award (Squirming coil solo is nice and he does some real funky stuff in the Piper jam).

Pretty Lights


The Hot Sh*t , Tomorrowland Edition (Ep. 137)


IMG_2531
July.9.2014
Pretty Lights performs at Tomorrowland on 19 July: www.tomorrowland.com/

Tracklist:

1 Netsky – Pirate Bay – Hospital Records
2 Pretty Lights – Looking For Love (But Not So Sure) – Pretty Lights Music
3 Pretty Lights – Always All Ways (SuperVision Remix) – 8 Minutes 20 Seconds Records
4 Trippy Turtle – Trippy’s Theme – Mad Decent
5 Goldie – Inner City Life – FFRR
6 Pretty Lights – So Bright – Pretty Lights Music
7 SuperVision – Close To Me (Feat. Jay Fresh) – Pretty Lights Music
8 Pretty Lights – Gazing At The Glare – Pretty Lights Music
9 Break Science – Connect (Feat. Citizen Chance) – Pretty Lights Music
10 Busy P – To Protect and Entertain (Feat. Murs) – Ed Banger
11 Keys N Krates – I Just Can’t Deny – Dim Mak
12 Michal Menert & Break Science – All Eyes On You – Dominance Records
13 Pretty Lights – Sunday School – Pretty Lights Music

Listen to the show on SoundCloud: http://plmusic.pl/siriusxm

Stream this playlist on Spotify: http://plmusic.pl/HotSht137

The HOT Sh*t airs at 8PM EST/6PM MST every Wednesday with rebroadcasts on Saturdays at 12PM EST/10AM MST on SiriusXM’s Electric Area.

Snowmass Mammoth Fest


Snowmass Village, Colorado 

June 14, 2014 | Day 3

Jason Charme Photography


Snowmass Mammoth Festival 2014 - Day 3-825


Chris Robinson Brotherhood



Les Claypool Duo De Twang



The Royal Southern Brotherhood



The Motet



The London Souls


Pigeons Playing Ping Pong


Concert Review

9:30 Club | July 3, 2014

w/ Cabinet & B Side Shuffle


930 Club 07.03.14 ©JeffMyersPhotos 80

By: Andrew McConnell

Edited by: Randall Harris

Last Thursday was a magical night of music at the 9:30 Club in celebration of Pigeons Playing Ping Pong’s CD Release Party. With the top-notch production and lighting in play, the artists got to focus on the only thing they should have to focus on, the music, and it certainly showed. Flockers from Pigeons Playing Ping Pong’s home of Baltimore took the city by storm, joining the DC flock.

Kicking off the night was none other than B Side Shuffle, an emerging group of funk-rock all-stars from the DC area that formed less than two years ago. They first graced the 9:30 Club stage this past April, sharing the bill with The Revivalists and Moon Taxi. They opened with a stream of solid originals, “Gauntlet”, “Polywobble”, “Summer Song”, and then invited out some very special guests for “Omajimawoma.” This track has become somewhat of an anthem for the group, so it only seemed fitting to invite Danny Davis (trumpet) and Mario D’Ambrosio (tenor sax) of Yellow Dubmarine on stage to sit in. Immediately after that, the surprising cover of the set was a stellar rendition of Paul Simon’s “Call Me Al.” The set continued on in solid form, including a drum solo into “El Diablo” and “Control Room,” a brand new song with a soaring guitar outro that really got the crowd going.

This was my first time catching Cabinet, a unique sounding bluegrass-jam-rock outfit whose sound is hard to pinpoint, and I mean that in the best way possible. In an age of recycled ideas, Cabinet offers something fresh for listeners. They are armed with an arsenal of instruments to draw upon, spanning from mandolin to electric guitar to fiddle. This electrified folk-meets-rock with a spin of a modern era is a sound that will blow your mind, quite frankly. They even moved through some laid-back, backbeat reggae passages during the night. Whether it is an electric guitar solo or a shreddin’ fiddle, the bottom line is this band offers something a much needed departure from the norm. It should go without saying that Ron Holloway is one of the best saxophonists around. He’s played with a laundry list of legends, from Dizzy Gillespie to the Allman Brothers; he’s done it all. His ability to shine onstage with an act of any genre plays an integral role in why he is so highly acclaimed. This was no exception when he joined Cabinet on-stage.

With two outstanding acts already blowing the roof off the 9:30 Club, it was still early in the night as fans awaited the highly anticipated set from Pigeons Playing Ping Pong. In celebration of their newest album, Psychology, flockers rejoiced in the momentous occasion. The band has been steadily garnering a large following in the Mid-Atlantic region and the US as a whole. They are touring very extensively and it shows in their seamless timing and fluidity in their playing throughout the set. The group opened with the funky “Time To Ride” to get the vibe going, which featured a solid exploratory jam, particularly from Schon on lead guitar. One surprise of the set was a new original, “Poseidon,” which featured Mario D’Ambrosio on sax. I did not expect to hear a song so new that it wasn’t even on the new album, very nice surprise indeed.

The set really caught fire with “The Hop>F.U.>I Got You>Julia>Psycho Killer>Julia Upfunk”. To begin, “I Got You” featured D’ambrosio as well as Danny Davis on trumpet, which really rounded out the sound. It is safe to say the first track off the new album, “F.U.,” has become somewhat of an anthem for the group as it encapsulates all things flocky. My mind was blown with the “Psycho Killer,” a classic staple of the NYC punk era that the Talking Heads played such an integral role in pushing. The song is really simple, so much to the point that oddly enough it can pose a challenge, but Carrey and Schwartz clearly held the bottom end dance grooves heavily. However, the band wasn’t done exceeding expectation as they launched into a “Yankee Doodle/Reba” mashup that was met with eruptive applause from the crowd. To close out the night they rocked one of the best tracks off Psychology, “Melting Lights.”

Overall, the event turned out to be an incredible live music experience at one of the best venues in town. It is truly refreshing to see the Mid-Atlantic music scene thriving. What a way to ring in the 4thof July. See you Flockers next time!

 


Jeff Myers Photography


Jerry Garcia


Anniversary of Jerry’s Last Show with the Dead

By Paul Allen


af9558e022937f2214643d2d887370db

July 9 is a special day in music history. An incredibly sad day. It’s a day that signifies the end of an era. July 9, 1995 marked the final time Jerry Garcia performed on stage. The show is not known for its musical highlights, but rather it gives us an opportunity to examine the power of the Grateful Dead. For someone who never got to personally witness the Grateful Dead perform, it’s a show packed with raw emotion every time I give it a spin.

Some of the musical highlights from the show include a second set opening “Shakedown Street > Samson and Delilah” and a very solid rendition of “Unbroken Chain”. However, the hands down highlight is the mid-second set “So Many Roads”. This “So Many Roads” is one of the singular most emotive pieces of music ever performed, with the title of the song providing a fitting tribute to the musical journey the band embarked on so long ago.

Garcia’s voice is tinged with a knowing sadness that the end is coming throughout the song. Listen to the end of the song as Jerry belts out the final refrain, and you will hear it yourself. We can hear the crowd roar in appreciation for the effort Garcia put into the song. Little did they know, Garcia would be walking off the stage for the final time that night. The emotion and energy from the show translates clearly to any recording you hear of this show all these years late, showing yet again the permanent relevance of the Grateful Dead. Jerry is physically gone but he lives on – stronger and brighter with every listen.

Snowmass Mammoth Fest


Snowmass Village, Colorado 

June 12 & 13, 2014 | Day 1-2

Jason Charme Photography


snowmass mammoth festival 2014 - Day 2-142


Leftover Salmon



Bonerama



The Wheeler Brothers



Houndmouth



Xavier Rudd