The Toronto-based electronic act draw away from the darkness with a new deep twilight groove featuring intoxicating vocals over smooth synths and a pulsating bass. The future disco-sounding track is one of the first tracks that is featured on the trio’s debut album, Cura.
“We’ve spent the last few years on the road translating the Woman album from a bedroom project into a full live experience. With Blood, it’s been the opposite process; the music and sounds were really born out of the live environment and are built for performance.”
Anchor is a startup that is looking to change that with its app that makes it easy to record and distribute content. Anchor also has a discovery platform, which allows users to find audio across categories like news, sports, music and tech.
To win the hearts of hip-hop purists, Ezri unleashed his video “be right back,” which showcases his precociousness on the mic. The stirring visual finds Ezri entrapped in some troublesome activities with his boys. While he desperately tries to decipher what’s right and wrong, he ultimately follows his heart.
joji has shared a video in support of his song “Demons.” It is nothing short of unusual, but what would expect from the artist behind Filthy Frank. “Demons” is taken from joji’s excellent EP In Tongues, and it follows the release of lead single “Will He.” That too received an immersive visual treatment.
"...the truth is that Clark doesn’t need to show her face on MASSEDUCTION; her vitality is implanted on every note of the collection. For once, the listener doesn’t need help drawing the connection from the artist they hear to the artist they see. Or, maybe, Clark is drawing attention to the fact that this album presents a new side to her.”
Moby has released a new single and video for “Like a Motherless Child,” from his forthcoming
album Everything Was Beautiful, And Nothing Hurt. Featuring LA-based soulstress Raquel
Rodriguez. “Like a Motherless Child” is a re-work of the well-known spiritual with origins in the
slavery of the American South. The track describes the void left when one feels separated from a
parent, higher power or similar guiding force. Over the years this powerful song has been
reinterpreted by the likes of Odetta, Lena Horne, Mahalia Jackson and Van Morrison.
The album will be released on March 2, 2018 via Mute.
Emancipator, who has regularly sold out venues across the country, just headlined Colorado’s iconic 10,000 seat Red Rocks Amphitheater this August. In each live performance, Emancipator harks back to his college jam band days, honoring the need for structure while allowing room for improvisation. With his five-piece band, Appling artfully balances seamless instrumentation with each crowd’s unique, vibrant energy.
“We carve out parts of the show for improvisation. “A lot of the parts that end up being incorporated into the songs later on come out of these improv spaces. We’ll play something live and decide, ‘That sounded great,’ so we start playing it like that at the next show.”
Inspired by the astral “island” some aboriginal societies believe to be our spiritual home after death, ‘Baralku‘ synthesizes downtempo hip-hop beats, world music elements, and field recordings, as well as jazz, folk, and classical influences into a transcendent hybrid of lush, nuanced, and ethereal compositions. “No part of his fusion is forced,” the New York Times has proclaimed. “While many attempts to merge classical melodicism with dance music sound awkward and gimmicky…Emancipator has found a balance.”
2018 Tour Dates:
1/30 – Burlington, VT @ Higher Ground
1/31 – Boston, MA @ Paradise
2/1 – New York, NY @ Brooklyn Steel
2/2 – Philadelphia, PA @ Theatre of Living Arts
2/3 – Washington, DC @ 9:30 Club
2/7 – Milwaukee, WI @ Miramar Theatre
2/8 – Detroit, MI @ Majestic Theatre
2/9 – Chicago, IL @ Concord Music Hall
2/10 – Minneapolis, MN @ Fine Line Music Cafe
2/14 – Birmingham, AL @ WorkPlay
2/15 – Baton Rouge, LA @ Varsity
2/16 – Dallas, TX @ Trees
2/17 – Austin, TX @ The Mohawk
2/18 – Houston, TX @ White Oak Music Hall
2/20 – St. Louis, MO @ Old Rock House
2/21 – Nashville, TN @ Exit In
2/22 – Charlotte, NC @ Underground
2/23 – Raleigh, NC @ Lincoln Theatre
2/24 – Atlanta, GA @ Variety Playhouse
3/15 – San Diego, CA @ Music Box
3/16 – Los Angeles, CA @ Fonda Theatre
3/17 – San Francisco, CA @ Regency Ballroom
3/29 – Vancouver, BC @ Venue
3/30 – Seattle, WA @ The Showbox
3/31 – Portland, OR @ Crystal Ballroom
“Hip-hop defined the Grammy nominations in 2017, but further down the bill, there was also a notable shift in how Recording Academy voters saw the year in electronic music.
This year, two acts – the duo ODESZA and the producer Bonobo – each earned a pair of nominations for electronic music’s top two categories, for dance recording and dance/electronic album. Odesza is an ascendant arena act, one that headlined Staples Center earlier this year, that has done much to shift mainstream dance music away from DJ-driven spectacles and back to live performances of original music. Bonobo is a veteran U.K. artist with roots in jazz and global pop who, after 15-plus years, has finally ascended into a major act in the U.S.
Add in the fact that each did it on divisions of the same indie label, Ninja Tune, and they may be pointing the way to a post-EDM (electronic dance music) vision of dance music at the Grammys.
“In the wake of the EDM craze, there’s now space for people to take this music further,” said Jamie Collinson, the head of Ninja Tune’s North American operations. “The EDM explosion wasn’t necessarily all positive. This shows fans and Grammy voters are going deeper.”
On the day of the nominations, both ODESZA and Bonobo were a bit overcome by the Grammys’ acknowledgment.
“It’s been surreal,” said ODESZA’s Clayton Knight of the group’s Grammy nominations after this year’s album “A Moment Apart.” Odesza had previously been nominated for remixed recording, non-classical, but this was by far its biggest turn at the Grammys.
“It hasn’t really hit me yet. But yeah, it’s insane,” Knight said.”
“When you walk into Lawrence Rothman’s house, the place just keeps on going. Rothman — a gender-fluid, genre-agnostic L.A. singer-songwriter who uses neutral pronouns — lives deep in the Cahuenga Pass, in a three-story Midcentury stunner filled with metal skulls under glass, floor-length fur coats and delicate shoji screens (Rothman splits it with a few friends).
The long, steep stairs lead out to a grassy hillside, and along the wall, there’s a tiny crawlspace just big enough for a person to slip through.
Inside, there’s a sunless two-room studio where Rothman cut much of their Downtown/Interscope debut album, “The Book of Law.” On a Tuesday afternoon, Rothman fired up a Chamberlin keyboard — a kind of ancient tape-loop sampler — that appears all over the record and lent it some of its mystery.
“I was told this one actually belonged to Harry Houdini,” Rothman said, dressed in a gown-length denim coat hand-sewn with an image of a geisha. “I found it at a prop house and was immediately like, ‘This shouldn’t be here.’”
Rothman is one of those singers who, upon meeting them, immediately restores your faith in music as a world to get lost in.”
On the heels of two GRAMMY nominations last week for Best Dance/Electronic Album for A Moment Apart and Best Dance Recording for “Line Of Sight”, ODESZA has announced a second leg to their A Moment Apart Tour with 14 new North American dates in 2018. This year, ODESZA (Harrison Mills and Clayton Knight) has taken their “transcendent” (Nylon) brand of indie electronic to new heights of popularity with sold out arena shows and a No. 3 debut on the Billboard 200 chart for their album A Moment Apart (Counter Records/Ninja Tune).
Since starting in early September in New Zealand, the A Moment Apart Tour has spanned nine countries, selling out multiple nights in cities across the globe with a live show featuring musicians including horns, guitar, a six piece drum line and vocalists.
ODESZA – 2018 A Moment Apart Tour:
Sat, Mar 31 – Seattle, WA – WaMu Theater
Wed, Apr 25 – Kansas City, MO – Providence Medical Center Amphitheater
Thu, Apr 26 – St. Louis, MO – The Pageant
Sat, Apr 28 – Indianapolis, IN – Farm Bureau Insurance Lawn at White River State Park
Thu, May 3 – Pittsburgh, PA – Stage AE
Fri, May 4 – Cleveland, OH – Jacobs Pavilion
Sat, May 5 – Cincinnati, OH – PNC Pavilion at Riverbend Music Center
Wed, May 9 – Raleigh, NC – The Red Hat Amphitheater
Thu, May 10 – Charlotte, NC – Charlotte Metro Credit Union Amphitheatre
Fri, May 11 – Louisville, KY – Iroquois Amphitheater
Sat, May 12 – Nashville, TN – Ascend Amphitheater
Wed, May 16 – Jacksonville, FL – Daily’s Place
Thu, May 17 – Orlando, FL – CFE Arena
Fri, May 18 – Miami, FL – Bayfront Park Amphitheater
“Knox Fortune‘s latest video for “No Dancing” was shot in and around his hometown, the striking video, a time-lapse-style clip from Weird Life Films, puts Fortune front and center, following the singer around Chicago. As is only appropriate for a song called “No Dancing,” Fortune doesn’t move much during the video—rather, the camera does, cutting away and back in repeatedly to create the illusion of movement and in doing so, emphasizing Fortune’s despondent stillness. It’s a perfect fit for the contradiction that is “No Dancing”: a dance-floor banger for wallflowers.”