The Anthem Brainchild of James Murphy of the NYC collective/label/production house DFA. Years active: 2001-2011 / 2015-... LCD Soundsystem live includes (and has included): Patrick Mahoney (formerly of Les Savy Fav, and sometime Hot Chip live) Nancy Whang (also of The Juan Maclean) Tyler Pope (of !!! and Outhud) Phillip Mossman (Sabres of Paradise, David Holmes) Al Doyle (Hot Chip) Phillip Scaritch (The Witches) J.D. Mark Matthew Thornley Andrew Raposo (Automato, Hercules & Love Affair) Justin Chearno (Turing Machine, Panthers) Gerhardt Fuchs (Turing Machine, The Juan Maclean, !!!, Maserati).
Mercury Lounge Chicago-based Andrew Belle has made a name for himself as one of our more compelling songwriters since releasing his debut album The Ladder in 2010. Though that album held strong at number one for several weeks on iTunes's singer-songwriter chart and earned dozens of television and film licenses, Belle boldly followed a new muse on the album's electronic, alternative follow-up, Black Bear. His third and latest album Dive Deep doubles down on the ethereal electronic sound of Black Bear, and sees Belle pushing himself to new depths as a songwriter, a vocalist, and a composer. Soaring choruses and moody arrangements abound on Dive Deep, a thoughtfully crafted and deeply felt album that deserves consideration among peers like James Blake and Bon Iver.
U Street Music Hall Raised between Virginia and her parents??? native Colombia, Kali Uchis is a vocalist, songwriter, producer, director and designer now based in Los Angeles who is set to release her debut album this summer. Uchis??? debut studio project, Por Vida, was released in 2015 to universal acclaim from the likes of The New York Times, NPR, Pitchfork, The FADER, Noisey and more. The release was also named to Rolling Stone???s 20 Best R&B Albums of 2015. Uchis has collaborated and shared stages with many of her peers, including Gorillaz, Tyler The Creator, Snoop Dogg, Diplo, Major Lazer, Rick Rubin, Kaytranada, Leon Bridges, Daniel Caesar and more.
Black Cat "There's a certain uneasiness to the Toadies," says Vaden Todd Lewis, succinctly and accurately describing his band quite a trick. The Texas band is, at its core, just a raw, commanding rock band. Imagine an ebony sphere with a corona that radiates impossibly darker, and a brilliant circular sliver of light around that. It's nebulous, but strangely distinct???and, shall we say incorrect. Or, as Lewis says, "wrong." "Things are done a little askew [in the Toadies]," he says, searching for the right words. "There's just something wrong with it that's just really cool??? and unique in a slightly uncomfortable way." This sick, twisted essence was first exemplified on the band's 1994 debut, Rubberneck (Interscope). An intense, swirling vortex of guitar rock built around Lewis's "wrong" songs???like the smash single "Possum Kingdom," subject to as much speculation as what's in the Pulp Fiction briefcase, it rocketed to platinum status on the strength of that and two other singles, "Tyler" and "Away." Its success was due to the Toadies' organic sound and all-encompassing style, which they aimed to continue on their next album. Perhaps in keeping with the uneasy vibe, that success didn't translate to label support when the Toadies submitted their second album, Feeler. Perhaps aptly, things in general just went wrong. It was the classic, cruel story: the label didn't 'get' it. "These were the songs we played live," says Rez. "It was pretty eclectic??? different styles of heavy rock music???some fast, heavy punk rock songs and some slower, kinda mid-tempo stuff. I've never really been able to figure out what the beef was." "We got approval for a record," says Lewis, "and somewhere in the process of handing over the masters to get mixed, it got unapproved. So we went back to the drawing board." Eventually some of the Feeler tracks made it onto Hell Below/Stars Above???a sophomore offering that came seven years after Rubberneck. "It was a very weird, trying time," says Lewis, who didn't see the next blow???the sudden departure of bassist Lisa Umbarger???coming. "We went out on tour, and immediately the band split up," he laughs sardonically. "We kinda shot ourselves in the foot." They released a live album, Best of Toadies: Live from Paradise, and it was over. Coming out of the Toadies, Lewis, guitarist Clark Vogeler and drummer Mark Reznicek were disillusioned. Vogeler went to work as a film editor, Rez hooked up with the country-western band Eleven Hundred Springs. Lewis initially thought, "Fuck this whole business. I'm gettin' out. I just wanted to do anything else." Toadies fans, though accepting, stuck with them, often inquiring as to the band's activities. Says Lewis, "People just asked me "So, what are you doin' now?" Although he'd been "foolin' around" with Rev. Horton Heat drummer Taz Bentley, he answered, "I don't know. Nothin'. This, that and the other. Workin' around the house, workin' in the garage, just toolin' around." Soon it occurred to him that music was all he wanted to do. "I'm a musician. That's what I do, and I'm not happy not doing it." Lewis and Bentley formed the Burden Brothers in 2002 and released a slew of EPs, two albums and a DVD while touring profusely. "I took some of the lessons I learned in the business and took off with that band," says Lewis, "and tried to apply that knowledge." That's how he wound up with Texas indie label Kirtland Records. Meantime, "Possum Kingdom" never left the airwaves, enjoying constant rotation at major modern rock stations. Fans clamored for a Toadies reunion, which Lewis, Vogeler and Reznicek discovered wasn't such a remote possibility. "The band never went all the way away;" says Lewis. They regrouped in 2006 for a couple of sold-out shows around St. Patrick's Day, and again the next year for the same thing. In August 2007, when personnel changes with the Burden Brothers resulted in that band going on hiatus, Lewis began writing. "I was pissed off again and wanted to keep goin'," he says. "I didn't know what I was writing, right out of the gate, but??? it was just coming out very "Toadies." Lewis called Rez and Vogeler and asked if they were interested in making another record. They were???and the Toadies officially reconvened, signing with Kirtland and recording No Deliverance with David Castell (Burden Brothers, Blue October) at Fort Worth Sound in Fort Worth, and Music Lane in Austin. Lewis says the band has gone for a "bare knuckle" sound, amping up the psychotic stomp heard on Rubberneck and Hell Below??? on the grinding, relentless title track as well as the seething, death-of-a-romance gem "So Long Lovey Eyes" and the towering, sludgy "Man of Stone." The upshot is a taut, exhilarating listen that is quintessentially Toadies. Lewis is stoked on "the freshness of this new record. I wrote it between first week of August and, what? About a month ago. Getting back into this, back into the feel of the Toadies, is cool. Lewis, Rez, Vogeler and new bass player Doni Blair (Hagfish, Only Crime) are optimistic that their indie incarnation will succeed, thanks to the support of their devout fans???and equally supportive label. "The music industry has changed so much," says Vogeler. "A band like us can be on an independent label and still get the music out to the people who want to hear it." The Toadies are now free to pursue success on their own merit and muscle. And things are starting off nicely: On August 2, The Toadies will play Lollapalooza and, following the album's release, they'll embark on a nationwide tour offering old fans and those to come???as he recently told SPIN, "Balls. A ton of balls." "Getting back to the bare knuckles element of the Toadies," continues Lewis, "is what I really enjoy, after being away from it for so long." Vogeler and Rez concur. "I'm here and still doin' it," furthers Vogeler, "because the music's good." And Rez proclaims in his thick Texas drawl, "The Toadies are back in business." And suddenly, everything wrong is right.
Jammin Java "Wayne Hancock has more Hank Sr. in him than either I or Hank Williams Jr.?? He is the real deal."???? - Hank III "Hancock, who tosses out a roots mix of old country, roadhouse blues, western dance swing, boogie bop, and straight-up rockabilly, takes what was once old and makes it seem like it's always been and always will be."---allmusic.com ???The country music scene could do with a lot more characters like Wayne, who push the music???s limits while staying truer to its roots than any well-known names associated with the genre today.??? ?????Slug Magazine Since his stunning debut,??Thunderstorms and Neon Signs??in 1995, Wayne ???The Train??? Hancock has been the undisputed king of??Juke Joint Swing--that alchemist???s dream of honky-tonk, western swing, blues, Texas rockabilly and big band. Always an anomaly among his country music peers, Wayne???s uncompromising interpretation of the music he loves is in fact what defines him: steeped in traditional but never "retro;" bare bones but bone shaking; hardcore but with a swing. Like the comfortable crackle of a Wurlitzer 45 jukebox, Wayne is the embodiment of genuine, house rocking, hillbilly boogie. ?Wayne makes music fit for any road house anywhere. With his unmistakable voice, The Train???s reckless honky-tonk can move the dead. If you see him live (and he is ALWAYS touring), you???ll surely work up some sweat stains on that snazzy Rayon shirt you???re wearing. If you buy his records, you???ll be rolling up your carpets, spreading sawdust on the hardwood, and dancing until the downstairs neighbors are banging their brooms on the ceiling. Call him a throwback if you want, Wayne just wants to ENTERTAIN you, and what's wrong with that???Wayne's disdain for the slick swill that passes for real deal country is well known. Like he's fond of saying: "Man, I'm like a stab wound in the fabric of country music in Nashville. See that bloodstain slowly spreading? That's me."??Little known fact: Wayne is the only Bloodshot artist to have had their CD taken aboard a space shuttle flight.??"A rare breed of traditionalist, one who imbues his retro obsessions with such high energy and passions that his songs never feel like the museum pieces he's trying desperately to preserve."?????AllMusic.com
Three Links Funk/Hip-hop/R&B Ass Shakin Music!! Band Members Jamie Ringholm - Keys Will Dowdy - Harps Evan Johnson - Bass JT - Drums Emsy Robinson Jr-Guitar... See More Dallas's one and only live improv Hip Hop band. Friday's Foolery was formed in the summer 2011 during a church rehearsal while playing around with a few Disney tunes and posting them on YouTube. From there, they formed their style with the motto "Creativity through Diversity".
Black Sheep Wave 1 is the first new transmission the world has received from producer Seth Haley since his gloriously futuristic debut album Galactic Melt. That album cataloged the genesis and evolution of Haley's alter ego Com Truise ??? the world's first synthetic/robotic astronaut, as Haley described him ??? and this EP continues the character's journey into the outer reaches of the musical multiverse. In the process, it also builds on Haley's signature production style, one that's rooted in classic sci-fi sounds and analogue textures but nevertheless manages to sound utterly contemporary. The EP takes its name from the newly discovered galaxy to which the intrepid astronaut's voyages take him, and there certainly seems to be a narrative structure to its sequencing. Opening track "Wasat" sets the scene, providing a brief, atmospheric prelude that quickly settles into an uptempo, hypercolor groove. "Mind" is an exercise in dramatic tension, its beats constantly threatening to explode into a full-fledged four-to-the-floor stomp, but never quite doing so. "Declination," which features guest vocals from Joel Ford (Airbird, Ejecta, Ford & Lopatin), glides into your headphones like a starship slipping down out of hyperspace ??? it's the EP's most melodic moment, and perhaps the most straightforwardly melodic tune in the Com Truise oeuvre to date. "Subsonic" is full of dramatic grandeur, marking the moment at which the EP's initial rush of energy subsides into the sort of dramatic, slow-building textures that should really be soundtracking the birth of new stars. The track evolves through several movements, and is full of evocative electronic textures (along with one hell of a squelchy bass sound). "Valis Called (Control)" maintains the reflective mood, while "Meserere Mei" is all fractured beats and jagged textures. The title track brings the record to a close with an air of serenity, the melody line drifting away into the distance on washes of sci-fi synth sounds. Haley described Galactic Melt as a "sort of film score???from the mind," and Wave 1 works the same way, evoking the latest stage in the intergalactic journey of Com Truise ??? and leaving you wondering what corner of the cosmos he'll visit next. Los Angeles producer Nosaj Thing crafts stately, ethereal synth-based instrumental hip-hop, with influences that range from Boards of Canada and DJ Shadow to Danny Elfman and Erik Satie. An L.A. native, Jason Chung was inspired at an early age by the hip-hop radio stations that the bus driver would play on his way to elementary school, and particularly by the Beat Junkies' turntablism on Power 106. In high school, while delving into the sounds of drum'n'bass and the rave scene and playing quad toms in the school drum line, he figured out how to use his father's old PC to start programming beats of his own. Further along, Chung was motivated to move in more experimental directions by the D.I.Y. rock scene at L.A.'s underground venue The Smell, where he made his live debut as Nosaj Thing in 2004. Through online and in-person networking, on message boards, and, eventually, at the more beat-oriented music spot Low End Theory, Chung came into contact with like-minded Angelenos including Flying Lotus, Nobody, Daedelus, and local legends (and personal heroes) like D-Styles and Daddy Kev. Following the self-released Views/Octopus EP in 2006 (whose track "Aquarium" was later used by rapper Kid Cudi as the basis of his "Man on the Moon"), he signed with Kev's Alpha Pup imprint for his full-length debut, Drift, in 2009. Chung contributed beats to MCs Busdriver, Nocando, and Kendrick Lamar, and made remixes for Flying Lotus, Daedelus, Radiohead, and Smell staples Health. His second album, Home, was issued on Innovative Leisure in 2013. ~ K. Ross Hoffman, Rovi
Tractor Tavern With the release of his latest album Burden of Proof, Bob Schneider breaks new ground. Exploring loss, lust, love, dark desires and skeptical optimism, Schneider has crafted lyrically and musically, his most ambitious and sophisticated album to date. Born in Michigan and raised in Germany, Schneider was playing music and creating art from the time he was four years old. "I was lefthanded, but the nuns at my Catholic school forced me to write with my right hand," Schneider reflects. "But I still like to think of myself as lefthanded. I've always thought of myself as a round peg in a square hole sort of person. Like I just didn't quite fit in. I was socially awkward and I think that led me to finding solace in imaginary worlds that I would create in my art and music." At age ten, Schneider's father, an opera singer by trade, dressed him in a leisure suit and took him along to gigs where they'd perform jazz standards and other hits from the 1940s-70s. Schneider spent his college years as a fine arts major, but dropped out to move to Austin and pursue a music career after taking to heart the words of singersongwriter Terry Allen. "I remember him saying 'If you're going to do art, drop out of school and start doing your art and living your life 'cause your degree's not going to make a difference." So Bob Schneider blazed into Austin and has been packing houses and winning over audiences ever since, firmly claiming his place as one of the most sought after entertainers in the live music capital. Schneider sells out venues coast to coast from New York, Chicago Minneapolis and Baltimore to LA, Seattle, Portland and San Francisco. His live shows are playful and raw, while on stage Schneider commands the room. He's charismatic and friendly, bantering with his bandmates and heckling the audience. As he launches into each song with his whole being, the audience is instantly transported, tumbling through the dark recesses of his imagination. Much like Jack White and Ryan Adams, Bob Schneider has mastered the art of keeping his audience on their toes, never knowing what will come next. Schneider dances to the tune of his own drum and the beat changes from album to album. With Burden of Proof, he has elevated his game once again, creating a brilliant and elegant album. "Some folks might think that I'm taking a big risk musically by getting away from the more easily accessible pop songs of the earlier records," said Schneider. "But to me it seems like a natural progression that is more subconscious than conscious really." Schneider's songs and albums thrive on the element of surprise, and the tracks on Burden of Proof are no exception, sure to be a crowd favorite, "Unpromised Land"???the first single off the album???packs all the energy of a Schneider performance into one fierce, rocking anthem. An instant stand out, "Swimming In The Sea," captures the out-of-body, spine tingling magic of falling in love. Schneider adds, "I love love songs that go against the grain of what it means to be in love and how that's supposed to feel. It's rarely a walk in the park for me and 'Swimming in the Sea' (which is something that I'm deathly afraid of) sort of captures the wonder and terror of being in love and not having any control over it all." Other highlights include the Leonard Cohenesque "Digging for Icicles" highlights Schneider's vast vocal range, his voice dropping as the song descends into mournful meditations. "The Effect," gospel inflected and danceable, evokes Graceland era Paul Simon. With the deceptively simple "Tomorrow," the album's only cover, Schneider offers a stunning revision of the classic show tune, raw and unguarded. Amidst the hope tinged despair of "Wish the Wind Would Blow Me" Schneider tosses out what amounts to a playground insult, "I wish your mom was ugly/ And your dad was ugly too," but then deftly twirls it into a disarmingly charming love note, "Then they couldn't have had a girl/ To be as beautiful as you." Nearly every track on Burden of Proof features string arrangements composed by Schneider himself. The album also showcases Schneider's decades-long creative relationship with the Tosca String Quartet. Schneider first paired with the quartet on "Love is Everywhere," the hidden track off of his award-winning album I'm Good Now. At the time, Schneider wrote a string arrangement for the beautifully devastating "Weed Out the Weak." That fan favorite has finally found a home on Burden of Proof, positioned amongst sensual charmers, danceable bursts of fire and bounce, and contemplative sojourns. Longtime fans will recognize Schneider's trademark fusion of eclectic musical styles, innovative compositions, and intricate, emotion-filled lyrics. Schneider croons, drawing listeners in with the promise of romance. Then the energy shifts, the strings swell, and the songs turn seductively tangy, twisted. Veering away from the traditional music video model, Schneider is instead honoring the cinematic feel of Burden of Proof by engaging the talents and artistic vision of twelve film directors. Directors include internationally renowned filmmaker Robert Rodriguez, who shot the video for Schneider's AAA Radio hit "40 Dogs (Like Romeo and Juliet)" from his 2009 album Lovely Creatures, and award-winning photographer and director Dan Winters, whose photograph and drawings grace Burden of Proof's cover and liner notes. Schneider's artistic exploration is not limited to the stage or the studio. He is also a celebrated sculptor, painter, and poet with two published books of poetry and art and another one forthcoming. With Burden of Proof, Bob Schneider delivers a much-heralded explosive addition to his already expansive artistic canon, a work of sophisticated craftsmanship and a wild ride to boot.