Drowning in a Glitching Genesis of ‘Memories’ with Sonic Jesus

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You’re a distant memory in the mind of your creator, don’t you see?

That’s what a Jesus Alone whispers when he walks through the autumnal path of his life.

Strolling through 36 subterranean paces from their debut album ‘Neither Virtue Nor Anger’, the Roman hermits, Marco Baldassari, Marco Barzetti, Tiziano Veronese, collected engraving inches of tubular fluorescent traces, ascetic numbers, choral symbols, cryptic dates.

On the last lunar quarter, November 30th, you will be able to embrace their spiritual travel that it starts from a pause of silence, a reflective subterranean prayer, an instant captured in a collection of mortal coils within a stifling absent nostalgic frame pictured in this new LP, Memories, a prequel to N.V.N.A. and a continuation  of Grace’s river of consciousness:

turquoise sky cutting the eerie winter evening,

heavy veil of a vague abode, a wooden and metal box of apparently abandoned familiar contents, where a beacon is a pale hushed guardian.

Loyal defender of a cloud of warping sounds, tenebrous post-scripts, caustic whispers.

But the defence falls on its knees, when the headphones are plugged in and the secret spell was unveiled, the miserable demons and anguished dionysiac spirits, within that abandoned Pandora’s box have already hurled themselves through the suffocating ceilings of Nostalgia’s harbour.

The first demon, the last soul to touch this earth, ‘Noah’ is ready to depart from the imminent apocalypse, embracing his faith in something not under his control, with his ark, accompanied by an austere folk march and a medieval choral, to tackle this unholy situation. In his lunatic uncertainty , moonson over his mind, dark make-up over his eyes and red lipstick over his mouth, he still has the ‘Spectrum Visionary’, funeral march of his Life, the only sound that will never abandon him.

But a moment of weakness permeates his vision, ‘Khullam’, so this grungy blond angel, feels to be abandoned by his faithful father, his intention of elevation is contrasted by his burning desire to please  his most filthy human aims. But his father, from the weeping stratosphere, is sending his Ermes to soothe his troubled son murmuring ‘I’m Here’.

Here he comes now, the Lizard King embracing this avant-garde nihilistic ‘Dance of The Sun’ this inebriant pirouette, then Jean Genie jumps from the mast, slights lekker, goes to join this ‘Whiskey Train’ and even the rowing crew ‘Monks’ turn psycho, corrupted by this demonic fuzz.

But this organ-driven deranged enchantment is just an ephemeral illusion, because in a remote cursed land, behind the edgy dark stones, green greedy vixens are ready to hypnotise and seduce through this climax of mystical orgy, these shamans whispering ‘Love Again’.

It is too late, they are trapped in that sensual grim whirl, maliciously enchanted, they cannot escape it and so their desires are bent to satisfy their mistresses, shaking uncontrollably their bones, feeble bowels to the notes of that mors et amor ballad ‘Reich’.

Suddenly the sun is hidden by some harpies that cannot marry this carnal celebration,   the sky is painted in grey and the dour troubadour, captain in despair, needs to leaves the profane ceremony, seeking his vowed ‘Town’.

This glitching Genesis, obscure Odyssey must go on, because nothing comes without a reason, not every sign is possibly translated in something comprehensible, so this damned poet, lone pioneer must follow what his brave heart shouts: ‘Cartaxo’.

Finally, he can behold at the edge of the horizon the golden blue promise land, ‘Heaven’, and oscillate gently like the waves behind his feet, this bitter-sweet abrasive chant, cradling his predestined fate to embrace a fecund solitude, till comes the dawn..

When I become death, death is the seed from which I grow.

The Abyss is not so cold while his body is smoothly drowning underground.

To begin tasting it, channel your mind through these vibrations:

Future blues hits London

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Grammy-winner Fantastic Negrito will be headlining the weeklong Future Juke Festival in London tonight.

Xavier Dphrepaulezz aka Fantastic Negrito will be bringing his fiery brand of raucous blues-rock to Dingwalls, Camden tonight (June 1).

This is blues as it always has been – a visceral howl against modern conditions. It’s taking the traditional idiom and applying it to Trump’s America with clarity and passion. Described as one of the best live experiences you can have, he’s also a favourite of US Democratic presidential candidate Bernie Sanders – no mean endorsement.

Meanwhilw Eli Paperboy Reed takes to the stage at the 100 Club in Oxford Street on Monday night (June 4). Reed’s soul revivalist songs recall the classic hits of Atlantic, Fame and Stax Records. He’s backed by the 10-piece High & Mighty Brass Band and is supported by one of Britain’s most talented young blues-rock guitarists, Marcus Bonfanti.

Finally performing at the festival next Tuesday (5 June) is Blind Boy Paxton, who plays at the stunning Bush Hall. Paxton revisits early blues and has a eerie knack of reproducing those mysterious sounds from the Delta Blues/Robert Johnson era.

Close your eyes and your at the crossroads with the devil on your tail.

One of his most popular live tracks is When An Ugly Woman Tells You No which is, as the title suggests a pure comedy moment. He’s supported by the up-and-coming UK singer-songwriter Nia Wyn, who has impressed fans and critics alike with her jazz-inflected vocals and her observational, melodic and gritty tunes.

More info: https://www.facebook.com/FutureJukeFestival/

Tickets: https://tinyurl.com/yd6eu2ek

PREMIERE: Gabi Garbutt’s ‘Lady Matador’ and Ezra Furman cover, release date 20th April

Music Reviews, Uncategorized

After the success of previous single “Armed with Love,” Gabi Garbutt is set to release new track “Lady Matador” on 20thApril with a cover of Ezra Furman’s “Teddy I’m Ready” as the b-side. Once again she has worked with Sean Read to produce them, they both show off her personality and versatility as an artist.

“Lady Matador” is an optimistic, upbeat track, exuding the fun yet complicated aspects of love. She sings quickly but without the loss of her intimate voice, whilst a saxophone led melody lifts it up into a cheerful, animated sound. Described by herself as enjoying writing about the “fragile, ecstatic feeling,” this one is heavily focused on a romantic context, “where everything’s magic and alive but tinged with destruction and chaos.” This shines through with the continued references to paradise and riding on a high, making an easy soul fused listen.

B-side “Teddy I’m Ready” has more of a stripped back opening with background vocals drifting throughout the chorus’, it emphasizes a subtler version of the vulnerable feeling she speaks so fondly of but still gives a sense of her lively and enjoyable presence. Her love for this song filters through the authenticity in her vocals and the simplicity of the arrangements. She tells us that the choice to do an Ezra cover was simply because her and a some of the band are big Ezra fans. She says, “I think he’s the most exciting artist out there at the moment, incredible lyrics and vision, he’s a magnetic performer and vocalist, and high energy brassy rock n’ rollalways strikes a chord with me! I came across him a few years ago when I was listening to a few Bella Union artists I hadn’t heard before, as I found I really like a lot of artists on that label, and now he’s my favourite. To me, Teddy I’m Ready is a perfect song. I struggle tothink of another song that brings me so much joy.”

This charm is something that not only echoes within her cover but also through her own music, the excitement surrounding her debut album rises with this release.

gabs shoot feb18 LR-8.jpg

You can listen to the cover here:

https://w.soundcloud.com/player/?url=https%3A//api.soundcloud.com/tracks/400992135%3Fsecret_token%3Ds-YLySj&color=%23ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false&show_teaser=true&visual=true”></iframe

And Lady Matador here:

 

She will be playing the following dates in London:

London Covent Garden Roadhouse (launch party) – April 19 

London Camden Monarch (Mark Beaumont presents) – May 9 

London Roundhouse (w/Frank Turner) – May 11

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Words by Louise Tindall

Insecure Men at Scala

Live Reviews, Music Reviews, Uncategorized

A dimming of lights, hush of music and a roar of the crowd indicated that Insecure Men had entered. Amongst the shadows, a determined voice yelled “Can we have some lights on the stage, so we can see what we’re doing?”

With this, a rolling green light revealed a musical extravaganza: a vibraphone, slide guitar and saxophone being amongst the many instruments they could fit onto the stage.

Buttoned up in suits and with an intense flash of blue light the nine-piece opened with ‘Cliff Has Left the Building’. Immediately, the atmosphere was cosmic, encapsulating the Californian suburbs daydream air of their recently released, self-titled album, ‘Insecure Men’.

Like wind turbines on a desolate hill, the band remained relatively stationary throughout, completely entranced in what they were doing. Meanwhile, the performance was unfaltering in visual strength, bodies in the audience swaying, hypnotised, frolicking in the paint palette of light – there were slime greens, romantic reds, marine blues and hot pinks.

In an amateur way, Insecure Men announced each of their songs: “This song is about Heathrow. It’s called Heathrow.” The childlike jig played a pivotal role in really dragging people back into reality with the uneasy chugging that slows and grinds to a halt.

Mid-way through the set, Fat White Family frontman, Lias Saoudi, slinks onto the stage with a half drunk pint in hand. The spotlight shifts and soon as the song (‘Ulster’) begins, it’s over, and he slides back off the stage, as if nothing had happened.

‘Mekong Glitter’ upped the ante as the setlist reached it’s end, stressing dirty guitar and dissonant mess on the piano during the solo. Unquestionably, the song bounced off all the walls as the whole crowd joined in unison for the chorus: “Why don’t you ever ask why? Why don’t you ever ask why?”

Closing the set, the smoke machine relentlessly huffed and puffed transporting the venue into the steamy bathroom where ‘Whitney Houston and I’ exists, leaving the audience in the ethereal haze they first stepped into.

 

Words by Meg Berridge

 

Edited by George Kennedy

Prescription Addiction : Hip Hop’s dependence on drugs

Features, Uncategorized

Music and drugs have long since had a close and interlinked relationship. From early drinking songs harking back to viking times, to hippies prancing around a field with faces full of hair and heads full of acid, drugs have always played a vital role in the development and influence of music. It may be unclear whether the drugs came first and caused the music, or if the drugs just made the music better to listen to, but their prevalence in music survives till today.

Each genre and subculture has its drug of choice, for the Hippie’s it was Cannabis and LSD, for the Mods it was Amphetamine’s, and for the ravers it was MDMA, the trap scene is no different. Ever since the creation of the genre both listeners and the artists themselves use drugs ranging from weed and cocaine, to prescription pills and codeine. Obviously those that do take these substances have their personal reasons for doing so, but the similarities in usage among the community begs the question as to why these certain substances are used, and what their involvement is in the composition of the music.

The recent death of emo trap artist Lil Peep has caused many to ask ‘how far is too far’, in relation to the use of narcotics in music. The rapper, famous for his use of substances in his personal life as well as his music, was found dead in his tour bus on the 15th of November this year after a suspected overdose from the prescription pill Xanax. The drug played a huge role in his music, and was referenced in many of his songs, in ‘Praying to the sky’, he says: “I hear voices in my head, they tellin’ me to call it quits. I found some Xanax in my bed, I took that shit, went back to sleep”.

Trap originated as a Atlantan slang reference to the place used for drug deals, often referred to as a trap house. Notable for having very little furniture and home comforts save for a place to sit and a place to sniff, snort, or roll various questionable substances off or on. The term was soon integrated into southern hip hop, with artists such as Outkast, Ghetto Mafia, and Cool Breeze referencing the term and the lifestyle in their music.

The widespread growth of Hip Hop during the 90s and 00s meant the term was vastly used and was soon attributed to the rising genre of Hip Hop that described and often glorified the drug dealing lifestyle in their music. An individual often noted as one of the forebears of trap was T.I.. Who in an interview in December 2012 stated “before I came in the game, it was Lil Jon, Outkast, Goodie Mob, okay so you had crunk music and you had Organized Noise. There was no such thing as trap music, I created that, I created that. I coined the term.” Whilst T.I.’s claim over the genre may sound somewhat dubious, his influence in the sound of trap laid the foundations for the signature sound that has become synonymous with the genre ever since. Expanding on the sound of artists like T.I., producer Lex Luger created the signature sound of Trap that most artists still use today, his use of heavy 808 drum machine sounds and synthesisers became the background to some of the most popular tracks in Trap.

Hip Hop’s long standing relationship with narcotics is something of a controversial one, with many concerned about the glorification of the use and abuse of these substances in the lyrics having an adverse affect on the impressionable children listening to the music. However in recent years the number of references has increased dramatically compared to at the birth of Hip Hop. A study performed at the University of California noted that during the last two decades positive portrayals of drugs, and references, have had a sixfold increase from 11 percent to 69 percent. Not only are artists talking about drugs more nowadays, but they also appear to be taking more. Through the rise of social media platforms artists can let the world know what they’re taking, and how much they’re taking. Minutes before his death Lili Peep shared a video to his Instagram followers of him dropping six of what appears to be Xanax pills into his mouth. A prominent feature of trap music videos are joints hanging out of rappers mouths, whilst THC laden clouds of smoke hang around them like a bad smell, or a nice smell, depending on your preference.

Drug influence in the lyrical side of Trap is obvious and plain to see, however it exists in the music too. The long slurred words and mumbling commonly heard from artists most likely originated from the rappers drinking lean, a drink also referred to as sizzurp, concocted from a mixture of codeine, sprite, and a boiled candy. Due to codeine being an opiate derived from opium, from which heroin is derived from, it has the effect of turning the user into a well educated chimp, albeit a very relaxed and well educated chimp. Whilst this mumble style of rapping most likely evolved as a result of the use of lean, or as a result of becoming brain dead from the use of lean, it has now become style in itself, with people copying it purely because they like the sound. Musically the melodies and rhythms of Trap followed the sound of artists vocals, incorporating almost rolling or droning synth sounds, often with a very heavy bassline. The drum beats are the only feature that remains untouched by the drug filled haze of trap artists, the 808 style retains the same legendary status in Trap as it does in Hip Hop.

The illicit nature of drug use and dealing means that anyone connected to it is often viewed as a criminal. In this day and age of Hollywood crime films, the glorification of crime gives these criminals an often hero like quality, the Trap scene is one that plays on this greatly, the artists that talk about their dealing with narcotics become protagonists to their huge cohorts of fans who believe that they can do no wrong. This may be largely damaging to culture, especially to young fans that will often attempt to mimic their idols, however one could argue that rebellious idols are always going to be admired, and if it isn’t these artists it could be something much worse.
There is an over abundance of drug culture in Trap, without which Trap would not be able to exist in the form that it does today.

 

Words by Jamie Raybould

 

Edited by George Kennedy

Justin Currie and The Pallbearers at The Jazz Cafe

Live Reviews, Music Reviews, Uncategorized

Looking over the sea of wrinkles that was the crowd, it was clear that no one here, save the little boy playing on his parent’s or maybe even grandparent’s iPhone, was under the age of 25. A mass of pale bald scalps filled the room while the odd aroma of old spice mingled with ale, stout, and feet rose from the floorboards. The venue itself, for all of its history hosting world famous artists such as Amy Winehouse, Ben E King, Kym Mazelle, and Edwin Starr, looked completely modern.

The wooden detailing and warm ambience gives the cafe a cosy atmosphere. One thing which was a little strange to me was the first floor restaurant, which housed viewers throughout the night who ate as the performance took place, however the smell of the food could not mask the scent of middle occupants on the floor below. As the support act walked on stage the landing crowd took their places, a large number of them fought over the very few seats at the back of the room, fearing standing on their feet for an hour, while the brave ones filtered to the stage.

Les Johnson and Me opened the night, a Scottish bluegrass singer with a movingly deep soulful voice, unfortunately many of the crowd were unfamiliar with him or his work so the atmosphere suffered somewhat. An hour later the man everyone was there for took the stage. Justin Currie with his backing band The Pallbearers.

Opening with a rocking song from back in the Del Amitri days, ‘Just Like a Man’, an obvious crowd favourite from the reaction, the scintillating guitar tone mixing perfectly with the rough Glaswegian twang in Justin’s voice. A voice that hasn’t aged a day from his first record with Del Amitri back in 1985. From there they quickly rattled off the greatest hits of the Del Amitri days, ‘Be My Downfall’, ‘Move Away Jimmy Blue’, ‘Tell Her This’, and ‘Always The Last To Know’ were particularly well received by the crowd, almost all of which sang along, knowing all the words to each and every song.

After warming the crowd up with the classics he moved on to the latest songs from his new album ‘This Is My Kingdom Now’, including the title song, ‘No Surrender, and ‘Sydney Harbour Bridge’. His experience shines not only during the performance, but also in-between the songs, as the band left the stage for one of the more intimate songs he quipped “they hate the sad ones”, to a murmur of laughter “but then again, they’re all sad ones”.

Finishing with perhaps his most famous hit from the Del Amitri days, ‘Driving With The Brakes On’ was met with rapturous applause, as the crowd quickly moved moved out to catch the next train back in time for bargain hunt on BBC One.

 

Words by Jamie Raybould

 

Edited by George Kennedy

Danitsa wins her first prize at the Swiss Music Awards 2018

Industry News, Uncategorized

Danitsa wins her first prize at the Swiss Music Awards 2018 On Saturday 9th of February, young rapper/singer Danitsa from (GE,CH) walked up the stage of the Swiss Music Awards to receive her prize for her album ‘EGO’ released last November. Winner in the ‘Best Act Romandie’ category, the young French, Serbian, Chad, Congolese and Spanish decent made her voice and style be established for good.

Produced by the Swiss record label Evidence Music (Geneva,CH), Danitsa dropped her first album on the 24th of November 2017.

The project, well-refined and versatile counts a few unavoidable tunes such as ‘Remember Me’, ‘Hoover’, ‘Now’ and wavy ‘Bachata’. After signing these four heavy hitters, the increasingly requested performer stated on her official Instagram profile that the album was the result of two years of hard work and tweaking. Not less, for the pure bliss of our ears. A paying attention to the detail that granted her the reward only a few months after she released the opus .

Danitsa has a high-pitched and sharp voice rippling with Rap and Soul rhythms. Her accent betrays a slight French accent and an catching familiarity to Caribbean terminologies and harmonies. She stated in an interview for L’illustré magazine that her father – Producer Skankytone – introduced her to the world of Reggae, Bass, Rocksteady and more. Danitsa also explained in the meeting that she left the idea of naming her music genre, opting to let her multiple inspirations reflect on her own artistic interpretation. A freedom which is more suitable than building borders around a voice. Danitsa, undoubtedly has ideas, and since the release of her the latest album, EGO she managed to reach great critical acclaim. To top that, both of her fanbase and friends are showing a solid amount of support alongside her work.

EGO expresses the ideas of ambition, and singularity. A great find for any expert. Danitsa often allows her vocals to speak omitting words and reveals notes that freeze out and get caught in your mind. That voice, is certainly well surrounded by. Such as in ‘SevenUp’ featuring growing artists of the francophone Hip-hop/Rap scene Slimka & Di-Meh (GE). Di-Meh opens the ceremony gradually: through autotune at first and then without, his voice stands out at its simplest effectiveness. Slimka’s rhymes, clean, and playing with sonorities and meanings won’t let you down either. The main theme of the song supposes some heavy basses and chorus coming up from its start: when you will get to that point, you will also undergo the curse of replays. The hanging melody that sets the bridge may send you miles away for a few seconds, be ready, it only takes a ‘click’.

In the track ‘Jungle’ featuring rapper Rico TK, the trusty lady raises the level higher. The production surely makes honour to the title with a languishing 808 bass cheered up with drum rythms. The ‘rainforest’ atmosphere and the flute are well puzzled in the background melody. The singer’s voice leads the track followed by the rapper’s sharp and steady flow. Lose yourself there and you may get some bruises, however, we know it’s worth it. And if you wish to sit down and appreciate, ‘Days’ and ‘Repo Man’ should be taken into consideration for your own benefit.

Overall, the album provides multiple different hooks that will soon or later make you nod your head. With a great sense of adaptation and consistency, twenty three year old Danitsa shows an well deserved success potential. At this rate, it’s only a matter of time until she reaches our yards.

Words By,

Tharushi Stephen

Gig review: Giraffage (SF,USA) at the Jazz Café, Camden

Live Reviews, Uncategorized

Last night, Charlie Yin aka Giraffage held a gig at the Jazz Café in Camden.

The well-known address welcomed many talented artists who indubitably increased its notoriety: from Jazz saxophonist Pharoah Sanders to Amy Winehouse, the restaurant/club hasn’t stopped providing local and international talents venues to their visitors. Just like the talented producer originally from San Jose, California.

By 8.45pm, the venue reached approximately 70 percent of its capacity. The crowd was dense, spread around the room studded by lights and shadows and by the two bar areas. Shortly after, as soon as Giraffage and his stage-bud arrived, the audience did not take long to greet them. The young Dj from San Fransisco announced on the microphone that it was his first date in London and as well as his mom was in the audience. Making the first contact feel as if we all knew Charlie Yin well enough to tell his mother how proud of him we are. However, the Djs were placed in the middle (front) of the stage under the psychedelic animations played on the screen above them. Adding the neon blue and purple spotlights, it was a lot easier to forget the lucky fellows who were having dinner upstairs at the same time. The duo rapidly warmed up the audience: people gradually stopped caring about personal space, and soon after the whole crowd was getting rid of calories together.

At the beginning of the set, the music could be described as groovy, calm, and a little funky too: with piano and guitar echoes, topped by a great control of the turntable’s scratching. The tracks sounded versatile and included riffs of different heavy tunes such as the bassline of David Ghetta’s ‘Love is Gone’ for example.

After a smooth start, the duo provided us a quality deep house set, as well as some minimal that transported us back to our best rave memories. The music could be described in different ways: ‘light’, ‘intoxicating’ and ‘sophisticated’ to begin with, and then ‘semi-aggressive’, ‘decadent’ and ‘hype’ near the end. The use of high pitch falsettos made the performance a sort of sneak peek that directly takes root in the 80s. Everyone seemed to have approved and showed appreciation to the sound of it.

The artists managed to gather the majority of the spectators during their remixes of ‘Ya Kidding’ by Fisher and ‘Rasta’ by Menini & Viani. Both of the mixes had breathtaking basses, and the breaks Charlie Yin chose perfectly made the middle-8 stand out until he dropped the bass again.

Despite the numerous good musical choices that we can grant to Giraffage, a couple of track didn’t make the unanimity: such as the remix of Hotel Garuda’s ‘ Smoke Signals’ that sounded like one of these tracks that make you wonder why you still got that radio in your truck. However, when the first flute notes of ‘Fuerza’ (originally from Tony Quattro et Nani Castle) resounded in the room, they almost instantly brought fire around the stage.

There wasn’t any significant discordant factor during the show, apart from a few high-rating sounds that were way too loud for the walls trying to contain them. The DJs were very enthusiastic; as if they had been stung by a bee version of Richard Pryor. Anybody could notice the great symbioses shared by the twenty-five year old producer and his audience.

The faithfulness of the crowd all along the concert until its end is the ultimate proof of the young Dj’s overseas recognition. With a good first glimpse of the British environment – especially its people – Giraffage has all the elements to return to the US and tell them he’s on his way back!

Words By,

Tharushi Stephen