jueves, 30 de junio de 2016
At first, I was drawn in by Adia Victoria's languid guitar sound: In her hands, it practically has a drawl of its own. Then I heard her stories — never trite, often personal, always potent — which you can hear in the words that open her Tiny Desk concert. "I don't know nothing 'bout Southern belles," she sings in "Stuck In The South," adding, "but I can tell you something 'bout Southern hell."
Adia Victoria's voice is powerful and direct, with no artifice; it carries the singular perspective of a Southern black woman with a Seventh Day Adventist upbringing, who never felt like she'd fit in. She recently put out her first album, Beyond The Bloodhounds, and two of the songs here ("Stuck In The South" and "And Then You Die") are from that record. It's a brilliant debut, though I highly recommend seeing her perform live for the full experience.
- Bob Boilen, NPR
Beyond The Bloodhounds is available now:
"Stuck In The South"
"And Then You Die"
miércoles, 29 de junio de 2016
Tommy is a 1975 British musical fantasy film based upon The Who's 1969 rock opera albumTommy. It was directed by Ken Russell and featured a star-studded cast, including the band members themselves (most notably, lead singer Roger Daltrey, who plays the title role). The other cast members include Ann-Margret, Oliver Reed, Eric Clapton, Tina Turner, Elton John, Arthur Brown, and Jack Nicholson.
Ann-Margret received a Golden Globe Award for her performance, and was also nominated for the Academy Award for Best Actress. Pete Townshend was also nominated for an Oscar for his work in scoring and adapting the music for the film. The film was shown at the 1975 Cannes Film Festival, but was not entered into the main competition. In 1975 the film won the award for Rock Movie of the Year in the First Annual Rock Music Awards.
lunes, 27 de junio de 2016
There's no explicit narrative threading together Brandy Clark's second album, Big Day In A Small Town. Instead, the 11 interconnected songs map a small collection of streets, landmarks, loves, betrayals and heartbreaks that cohere into a place as particular and as universal as Winesburg or Grover's Corners.
Low-key and wry, Clark is a meticulous songwriter who made hits for Reba McEntire, Miranda Lambert, LeAnn Rimes and Kacey Musgraves before she put her own name on an album. (It's hard to believe that nobody wrote the instant-classic line, "If you want the girl next door, then go next door," before she did.) But when Clark steps in front of a mic and turns on the charm, her humor pulls the audience right into every single joke — watch for the knowing smile she shoots guitarist Miles Aubrey just before she drops a bomb at the end of the first chorus of "Daughter." In anyone else's hands, that song might have been a bitter revenge fantasy, but Clark's gently swooping verses and puckered choruses sketch the bemused, from-the-front-porch distance of wronged party who knows that fate is likely to do more damage to a cad than a key would ever do to his car's glossy paint job.
"I really developed a love for small towns when my dad died and I went home for his memorial service, and there were so many people they had to have it in a gym," Clark said before introducing "Since You've Gone To Heaven," the heartbreaker that closes Big Day. "And that's not an uncommon thing in a small town, but anywhere else in the world, that only happens for a celebrity." Clark's gift as a performer is making any room — even a newsroom on a cold, rainy spring afternoon — feel as warmly human.
- JACOB GANZ
domingo, 26 de junio de 2016
viernes, 24 de junio de 2016
martes, 21 de junio de 2016
lunes, 20 de junio de 2016
domingo, 19 de junio de 2016
"King For A Day" is a 1985 song by the British band the Thompson Twins. It was released as the third singlefrom the band's fifth album Here's To Future Days.
It was written by Tom Bailey, Alannah Currie, and Joe Leeway. There are two versions of the song, with various edits and remixes of the two. The UK version of the song has alternate lyrics and is more synth based. The U.S.A. and album versions contain electric guitar. The single peaked at #22 in the UK, spending six weeks on the chart and would be the band's final UK Top 40 hit. The single fared better in America where it peaked at #8 on the U.S. Billboard Hot 100 and also peaked at #13 on the Billboard Adult Contemporary chart.
Here's to Future Days is the fifth album by the British pop group Thompson Twins. It was the third and final release for the band as a trio, which was their most successful and recognisable line-up. Released in September 1985, it reached no.5 in the UK, and no.20 in the US.
Following on from the band's highly successful fourth album, Into the Gap, the writing and recording of Here's to Future Days began in late 1984. The band recorded the single "Lay Your Hands on Me" with Alex Sadkinacting as producer. Sadkin had produced the last two Thompson Twins albums, which were the band's biggest commercial successes to date, and the new single climbed to #13 on the UK charts. However, the band then decided to part company with Sadkin and opted to produce the new album by themselves in Paris, France.
Thompson Twins were a British music group that formed in April 1977. Initially a new wave group, they switched to a more mainstream pop sound and achieved considerable popularity in the mid-1980s, scoring a string of hits in the United Kingdom, the United States, and around the globe. In 1993, they changed the name to Babble, to reflect their change in music from new wave to dub-influenced chill-out.
The band was named after the two bumbling detectives Thomson and Thompson in Hergé's comic strip The Adventures of Tintin. At various stages, the band had up to seven members, but their most known incarnation was as a trio between 1982 and 1986.
sábado, 18 de junio de 2016
It’s been a little while since I’ve added a playlist here and while this doesn’t have the surprise and conceptual brilliance of the mixes Eric Welles Nystrom has been curating—Swedish disco from Leolyxxx, Mahgreb funk from DJ Fitz or the Syrian pop from Boshra AlSaad—it does give me cause for optimism. While the world is going to hell in a handbasket, musicians are doing some wonderful stuff. It’s a good moment.
Some of this is mainstream—Drake and Beyonce are top of the charts, whatever that means now—but quality-wise it’s nice that there isn’t a big discontinuity between them and some new or less-well-known artists like Jack Garratt, Mop Mop, Emily Wells, and Christine and the Queens. A lot of these artists, well known or not, are pushing the boundaries of the genres that might confine them. Chance the Rapper’s record verges into pretty straight up gospel sometimes. Anohni (formerly Antony) delivers an issue-saturated dance album and Radiohead has some gorgeous piano ballads on their new record.
It may be tough time for musicians financially, but it doesn’t seem to have dampened their adventurous spirits. In tough times one might expect artists to play it safe—hew to the pop formulas and get by as best they can. But everyone here is taking chances; it’s heartening.
NYC June 2016
jueves, 16 de junio de 2016
Amsterdam’s Rush Hour founder Antal is a hugely versatile DJ that can wave together house and techno or Afro and disco just as ably. He’s been doing it since the Nineties and has done so from the States to Australia, Europe to Asia at the same time as digging deep into many musical forms away from the dance. For those in the know, Rush Hour – the label he runs with a close group of key people – is a faultless record label and cherished store. As well as releasing the most exciting new music, the label is famed for its on-point re-issues of forgotten old classics whilst the shop stocks records bought on crate digging trips around the world.
miércoles, 15 de junio de 2016
The revered Norwegian artist takes us higher
"It's interesting to consider the ways in which different countries have consumed and interpreted house and techno since it sprang from the US all those years ago. It's a generalisation, sure, but Norwegian producers are often associated with a particularly distinct take on those styles. Tromsø's Bjørn Torske is the largely responsible for this fact. He started releasing music in the '90s, and developed a sound that draws as much from disco, dub and psychedelic rock as it does house and techno. He's released four albums since 1998—two of which, the excellent Nedi Myra and Trøbbel, were recently reissued by Smalltown Supersound—and has worked with key labels like Tellé, Svek and Sex Tags Mania. This has made him a cult favourite in Norway, and an enormous inspiration to guys like Todd Terje, Prins Thomas and Lindstrøm, artists who would go on to spread variations of the Norwegian style around the world. ("Nedi Myra was one of the first house albums I bought, or at least that's what I thought it was," Terje said recently. "Weird futuro-bossa and foggy disco-not-really-disco was more like it.") Torske himself has been more of a low-key presence over the years, but he's kept up a steady flow of releases and DJs regularly in and around Norway—"my highest priority definitely is to be a DJ and select music for people," he says below."
martes, 14 de junio de 2016
domingo, 12 de junio de 2016
"Sunflower Bean joins David Dye on this edition of World Cafe Words and Music from WXPN. The three-piece started out with drummer Jacob Faber and guitarist Nick Kivlen, but it wasn't until singer and bassist Julia Cumming joined that the band jelled and set out to play every gig they could in New York City. Today we'll hear a live set of songs from their debut, Human Ceremony, and the trio talks about their quick success after forming only two years ago."
viernes, 10 de junio de 2016
Rick and Morty is an American adult animated science fiction sitcom created by Justin Roiland and Dan Harmonfor Adult Swim. The series follows the misadventures of alcoholic scientist Rick and his easily influenced grandson Morty, who split their time between domestic family life and interdimensional travel. Roiland voices the series' eponymous characters, while the series also stars the voice talent of Chris Parnell, Spencer Grammer, and Sarah Chalke. The series has its origins in an animated parody of Back to the Future created by Roiland for film festival Channel 101. Adult Swim approached Harmon for television show ideas, and he and Roiland developed the program based on the short's two characters.
jueves, 9 de junio de 2016
miércoles, 8 de junio de 2016
“Can you think of many current dance music artists whose music you’d call “earnest”? Not earnest in the sense of solemnity or seriousness, more like honest-to-god, heart-on-the-sleeve emotion? Dance music often seems most comfortable in obfuscation, its emotions held back a little, but as The Range, James Hinton writes songs that go against this grain. His sound, a kind of home listening style made from bits of club music, is pretty and incredibly sincere. In his review of Potential, Hinton’s recent album on Domino, Andrew Ryce used words like “poignancy,” “vulnerable,” “bittersweet,” and “heart-tugging melodrama” to describe its 11 tracks. In particular, Hinton loves to draw sentiment from the human voice. On Nonfiction, his 2013 breakthrough album, he sampled speech and singing from YouTube videos with barely any views; on Potential he put this concept at the heart of the record, going as far as to make a documentary about the stories behind the people he sampled. “Right now I don’t have a backup plan for if I don’t make it,” says a wannabe artist on “Regular,” a line soaked in hope and vulnerability in a way that defines the album.”
martes, 7 de junio de 2016
by BOB BOILEN • I could walk by Peter Frampton on the street and not recognize him. His long blond hair, which shines like a halo on his album Frampton Comes Alive! may be gone, but as soon as he sat behind the Tiny Desk and began singing, 1976 came rushing back. I worked in a record store the year Frampton Comes Alive! came out, and it was one of those records that seemed to have universal appeal. We sold a ton of copies of that double live album and I can still remember the label and number (A&M 3703) from having written it on countless sales tickets.
Forty years later, on the new album Acoustic Classics, Peter Frampton has taken those electric guitar songs, some linked forever to that unmistakable talk box effect, and stripped them down to their essence, just a few acoustic guitars and his voice. At the Tiny Desk, played by Peter and guitarist Gordon Kennedy, these songs still thrill. We had a lot of coworkers and friends come watch Frampton come alive again. It was electrifying to hear a room full of people spontaneously burst out singing on the chorus of "Baby, I Love Your Way" especially when many of those singing weren't alive when that song came out.
Songwriters could spend their lives hoping to write a song that connects for the ages, but Peter Frampton told the NPR crowd that two of his biggest hits came to him on a beach on the same day. The notion that one day the magic is there and the next it's gone could haunt a songwriter, but not Peter Frampton. On this day I saw one of the happiest musicians walk into our building, a man filled with joy, eager to share his tunes he's sung over and over for much of his adult life, with a fresh attitude. It was enchanting.
domingo, 5 de junio de 2016
The Lonely Island is an American comedy trio, formed by Akiva Schaffer, Andy Samberg, and Jorma Taccone in Berkeley, California in 2001. The trio first met the previous decade in junior high. After graduating from college, they regrouped and moved to Los Angeles, California, where they struggled to find work and began making short films, combining absurdist comedy and occasionally music. Among the first performers to post their material on the Internet, they involved themselves with Channel 101, a non-profit monthly short film festival. Their popularity at the screenings led to unsuccessful pilot deals with Fox and Comedy Central, but also a writing job for the 2005 MTV Movie Awards. The show's host, Jimmy Fallon, recommended them toLorne Michaels, the creator of Saturday Night Live.
The group was hired for Saturday Night Live in 2005, with all three as writers and Samberg as a featured player. Bypassing the traditional process of pitching, they recorded their own material independently and submitted it to the program. Their second sketch to air, "Lazy Sunday", became an online sensation, the first of many viral videos they produced while at SNL. They led their own division at the program — SNL Digital Shorts — which led to numerous viral videos, including "Dick in a Box", "Jizz in My Pants", "I'm on a Boat", "Like a Boss", "I Just Had Sex", "Jack Sparrow", and "YOLO". Their musical comedic work has comprised three full studio albums: Incredibad (2009), Turtleneck & Chain (2011), and The Wack Album (2013). The three retired from SNL in the early 2010s, but occasionally make guest appearances.
viernes, 3 de junio de 2016
miércoles, 1 de junio de 2016
Long before he was busy in the sound studio making music, Joe Bataan was a young man getting into trouble on the streets of East Harlem. But after a stint in juvenile detention, he left his life as a gang leader behind and became a band leader instead. Joe Bataan and the Latin Swingers helped bring Boogaloo music into the mainstream.
As well as releasing popular songs in the genre including Gypsy Woman, Bataan also helped to create and coin the term SalsaSoul. Later in his career, he wrote and performed an early hip-hop hit, Rap-O Clap-O. Bataan is featured in a new documentary, We Like It Like That: The Story of Latin Boogaloo.
Bataan sat down with Jesse to talk about his life as a juvenile delinquent in the streets of New York, how he dealt with the backlash against his musical innovations and how he came to create one of the earliest hits in hip-hop.
Fraggle Rock debuted in 1983 as one of the first shows involving the collaboration of Henson International Television (HiT Entertainment from 1989), the international arm of Jim Henson Productions and of Deluxe Digital Studios. The co-production brought together British regional ITV franchise-holder Television South(TVS), CBC Television, United States pay-television service Home Box Office and Henson Associates (laterJim Henson Productions). Filming took place on a Toronto sound-stage (and later at Elstree Studios, London). The avant-garde poet bpNichol worked as one of the show's writers. In the early days of development, the script called the Fraggles "Woozles" pending the devising of a more suitable name.
Henson described the Fraggle Rock series as "a high-energy, raucous musical romp. It's a lot of silliness. It's wonderful." While the program proved accessible to audiences of all ages, it used the fantasy creatures as an allegory to deal with serious issues such as prejudice, spirituality, personal identity, the environment, andsocial conflict.