“When I hung out with Minneapolis rapper and Doomtree Collective kingpin P.O.S outside Vancouver’s Fortune Sound Lounge, he had just wolfed down a pork bun that he had bought in nearby Chinatown. The pork bun didn’t quite agree with him and, if you listen closely, you can hear the legendary rapper’s digestive system rebel against his snack as we chat.
How is P.O.S’ latest record, Chill dummy, his version of Dr. Dre’s The Chronic? What was it like to put out his 2012 record, We Don’t Even Live Here, and not be able to tour due to heath issues? How is his heath these days? Which song from his 2004 first record, Ipecac Neat, is the only one he will perform anymore? How does he know Bon Iver’s Justin Vernon? What was it like to work in a strip club?
“We’re days away from the arrival of Jei Beibi, Café Tacvba’s first album in five years. The Mexican icons keep surprising us with more new music and videos in anticipation of the final project. As part of the rollout, we’ve got a new visual work for the latest song, “Que No.”
Café Tacvba have always had an eclectic approach, and even visually, they (especially singer Rubén Albarrán) showcase their different personalities with costumes, masks, and props. Each single and video, from the surfing footage in “Un Par De Lugares” to the Trump and Pope Francis-featuring “Futuro,” has illustrated the band’s multiplicity. “Que No” offers us another transformation.
The video features the quartet decked in white, wearing masks of different animals. The clip starts innocently enough, following a slender albino protagonist in a stark white universe as she meets her masked doppelgänger. The two go to bed, and a violent encounter unfolds, capturing what seems to be a love undone. As the fight unfolds, blood is replaced with vivid paint splashes on screen. Venezuelan director Carl Zitelmann explains, that “the concept of the video is born from the song’s lyrics. The idea was to visually capture the struggle to overcome toxic love.””
Watch “Que No” below, and catch the group on tour at one of the dates below!
9/14 – Saratoga, CA – The Mountain Winery
9/15 – Oakland, CA – Fox Theater
9/17 – Hollywood, CA – Hollywood Bowl
9/20 – Dallas, TX – Bomb Factory
9/21- Austin, TX – ACL Live at the Moody Theater
9/22-23 – San Antonio, TX – The Aztec Theater
9/24-25 – Houston, TX – House of Blues
9/28 – Miami Beach, FL – Jackie Gleason Theater
9/29 – Lake Buena Vista, FL – House of Blues
9/30 – Atlanta, GA – Masquerade
10/1 – Raleigh, NC – The Ritz
10/2 – Brooklyn, NY – Brooklyn Steel
10/3 – Boston, MA – House of Blues
10/5 – Silver Spring, MD – The Fillmore
10/6 – Charlotte, NC – The Fillmore
10/9 – Denver, CO – Ogden Theatre
10/11-12 – Sacramento, CA – Ace of Spades
10/13 – Fresno, CA – Woodward Park Rotary
10/15 – Los Angeles, CA – Walt Disney Hall (with Gustavo Dudamel and LA Philharmonic Orchestra)
10/17-18 – San Diego, CA – Observatory North Park
10/21 – Indio, CA – Fantasy Springs Resort Casino
“I was first introduced to Swear and Shake through a playlist an almost-lover gifted me on a trip to New York City. This was four years ago, which, whether by coincidence or fate, just so happens to be the last time the Nashville-by-way-of-Brooklyn trio released an album, their debut Maple Ridge.
It’s extremely comforting to hear the power and tenderness of Kari Spieler’s voice continue to shine through the now Nashville-inspired new material. “Tear Us Apart,” the lead single off of Swear and Shake’s forthcoming album, The Sound of Letting Go, brims with confidence and the all-too-familiar over-it attitude of a peeved lover. It might have sad origins, but the clarity a breakup brings is a welcome thing. Spieler’s expression in the video, premiering here, says it all.
“‘Tear Us Apart’ came to us like a burst of light,” Spieler says. “While in the studio, we chose sounds that resonated just as brilliant and colorful: the horns, the gospel choir singing the ‘la-las.’ When we closed our eyes and listened back to the recording, we saw luscious reds and deep blues. So for the music video, we channeled those same hues. The house of cards was a lot of fun to build and even more fun to knock down—just as fragile and precarious as the relationship that inspired the lyrics.””
“It’s easy to approach Versus — a long-gestating collaboration between Detroit’s electronic-music deity Carl Craig, the Paris-based Les Siècles Orchestra (under the direction of François-Xavier Roth) and techno-loving classical pianist Francesco Tristano — as the latest attempt to bring club music to the rarefied atmosphere of a concert hall. This desire has seduced many an artist during the recording age — from jazz symphonists, Third Streamers and rock opera conceptualists, to exquisite post-modernists like Jeff Mills and Kendrick Lamar — with varying degrees of creative success. And Carl Craig cops to that ambition from the get-go, in the liner notes, calling these orchestral interpretations of his tracks “a dream come true.”
Yet, it’s also clear that Versus is a far more nuanced beast. Not only because almost half of its tracks are electronic miniatures, offering sharp synthesizer relief to the symphonic grandeur at its heart; but because some of this music — Tristano’s arrangements of Craig’s tracks, and, importantly, of tracks originally made as remixes — hints at just what a great marriage of contemporary orchestra, techno compositions and musical brains fluent in both could produce.”
“Over the weekend, DJ Shadow linked up with Nas for “Systematic”, a new song that aired during the season four premiere of HBO’s Silicon Valley. The veteran producer is back today, this time with a new batch of North American summer tour dates in tow.
In continued support of his 2016 album, The Mountain Will Fall, DJ Shadow will hit cities like Chicago, Denver, Seattle, Austin, Salt Lake City, Memphis, and Boston all throughout the month of July. He’s also confirmed to appear at New York City’s Panorama Festival and Quebec’s Festival d’ete de Quebec. This fresh run of shows is flanked by European and Australian tours.”
07/06 – Quebec, QC @ Festival d’ete de Quebec
07/07 – Toronto, ON @ Danforth Music Hall
07/08 – Chicago, IL @ Park West
07/10 – Kansas City, MO @ Madrid Theatre
07/11 – Denver, CO @ Ogden Theatre
07/12 – Salt Lake City, UT @ The Complex
07/14 – Seattle, WA @ Neptune Theatre
07/15 – Portland, OR @ Roseland Theater
07/16 – Berkeley, CA @ The UC Theatre
07/18 – Anaheim, CA @ House of Blues
07/19 – Tucson, AZ @ Rialto Theatre
07/21 – Austin, TX @ Emo’s
07/22 – Dallas, TX @ House of Blues
07/23 – Houston, TX @ House of Blues
07/24 – Memphis, TN @ New Daisy Theatre
07/25 – Louisville, KY @ Mercury Ballroom
07/27 – Boston, MA @ House of Blues Boston
07/28 – New York, NY @ Panorama Music Festival
07/30 – Charlottesville, VA @ Jefferson Theater
07/31 – Asheville, NC @ Orange Peel
08/01 – Atlanta, GA @ Center Stage
08/02 – Knoxville, TN @ The Mill & Mine
08/04 – Nashville, TN @ Marathon Music Works
“Azniv Korkejian was born in Aleppo, spent her childhood in Saudi Arabia, and grew up to be a nomadic American singer. So naturally, she goes as Bedouine. Her self-titled debut album, out June 23 on Spacebomb Records, is gorgeous, drifting folk music filled with sun. Today Bedouine is sharing the very first single from the album, “Dusty Eyes,” an at-ease, sixties-style track about transient emotions.
“I wrote ‘Dusty Eyes’ after coming home from what was clearly a final date,” Korkeijan wrote in a note to The FADER. “It’s about infatuation, interrupted by the attempt to intellectualize it; trying to perceive the object as interchangeable. It nods to the common if not predictable cycle when love presents a challenge. This particular object of my affection had flecks of color in his eyes like particles of dust in a sun beam, thus the title.””
“Ondatrópica is a Colombian supergroup lead by Mario Galeano, of Frente Cumbiero and Los Pirañas fame, and the British DJ Will Holland (also known as Quantic).
Last month, they released their anticipated second album, Baile Bucanero.
For their self-titled first album, released five years ago, Galeano and Holland reunited the incredible but forgotten musicians of Colombian tropical albums from the glory days of vinyl. They recorded together, resulting in of the most nostalgic and danceable records in a long time.
In Baile Bucanero, Ondatrópica tried to repeat the formula, this time going deeper into the Colombian Caribbean and the island of Providencia. Part of the Archipelago of San Andrés, Providencia and Santa Catalina, this small island (called “Old Providence” in the local English creole) is home to five thousand people, many of which claim raizal ancestry, that is, to be descendants of the African slaves that the British brought to plantations on its various Caribbean colonial possessions.”