Formed in America during 1999, The Warlocks produce a relentless, hypnotic wall of sound that suggests a collision between classic psychedelia, Krautrock and Velvet Underground style rock and roll. It's just what the head doctor orders if you wish to be an underground stateside phenomenon and that's exactly what The Warlocks became.
Front man Bobby Hecksher grew up in the swamps of Tampa Bay, Florida where he was practically raised at a radio station owned his grandfather and where his mum also worked as a secretary. As a result Bobby was soon eating and breathing rock'n'roll on a daily basis. Bobby recalls, "My granddad was an inspiration. He created the radio station out of thin air. And from it all these nuggets of rock'n'roll came toward me".
At sixteen his family left the swamps and moved to LA where Bobby soon found kindred spirits. He jammed with Beck, playing bass on Stereopathetic Soulmanure, Beck???s second independently released album. He hung out in the decadent atmosphere of the Mad Hatter club and moonlighted in the Brian Jonestown Massacre whilst also attending parties with legendary acid guru Timothy Leary, a potent cultural and creative mix that led to the formation of The Warlocks.
Diamond Head is a legendary NWOBHM band from the late 70's who were proclaimed to be the next Led Zeppelin, who went on to be a major influence for Metallica and Megadeth, with Metallica recording 4 Diamond Head songs. "Am I Evil", "Helpless", "The Prince" and "It's Electric". "Am I Evil" became the #1 Metallica fan favorite cover song, along with "Helpless", which ended up at #4.
Now back with a vengeance.
Diamond Head has just released their 7th album, "Diamond Head", and the press has loved it, all 8-10, 9-10, or 10-10.
Diamond Head has always considered themselves the Quintessential British Rock band, a mix of Bad Co and Led Zeppelin, and apparently the critics are agreeing with that interpretation based on their reviews of the new release.
A report from our US Label PR rep from 4/29.
As Beavoir/Free was last year, who ended up at #20, I fully expect Diamond Head to be nominated for Best Rock/Metal Album of the year..
"Dear Edwina": A Heartwarming Family MusicalThirteen-year-old Edwina Spoonapple would do just about anything to be a part of the Kalamazoo Advice-a-Palooza Festival. When a talent scout from the convention visits her hometown, she trots out her musical advice, performing shows live from the family garage in hopes of finding her place in the spotlight. From the creators of "Junie B. Jones, The Musical" comes "Dear Edwina", a heartwarming musical about the joys of growing up. Watch the spunky singing sage prove she's an advice-giver extraordinaire when this fun production comes to the Redmond High School Performing Arts Center.
Another New Year, and new shapes are forming ??? if only we are fortunate enough to notice them! As we spin through this world, we are witness to all manner of combinations unfolding before us ??? familiar arcs and breaking waves alike, upon all of which it is our choice, our chance and our challenge, to possibly ride. Find Me Finding You, the new album from the new organization called the Laetitia Sadier Source Ensemble, manages to strike new chords while touching familiar keys in the song of life.
From its percolating opening beat, Find Me Finding Youlocates new systems within the sound-universe of Laetitia Sadier. This in itself isn???t a surprise ??? Laetitia has relentlessly followed her music through different dynamics and into a variety of dimensions over the course of four solo albums since 2010 (not to forget her three albums with Monade and the long era of Stereolab) ??? but the nature of the construction here stands distinctly apart from her recent albums. Laetitia was inspired by a mind???s-eye envisaging of geometric forms and their possible permutations. As she sought to replicate the shapes in music, this guided the process of assembly for the album.
Part of the freshness of Find Me Finding You comes from working and playing within the Source Ensemble and exploring new sound combinations via a set of youthful and evolving musical relationships. Laetitia recognized the energy of the tracks in their initial form, and sought to preserve their vitality by not retaking too many performances ??? instead, the rawness in the tracks was retained and refined at the mixing stage, maintaining an edge throughout. When we hear synth lines diving, lifting and drifting, unusual guitar textures, the plucked sound of flat wound bass strings or the bottomless pulsing of bass pedals stepping out of the mix with an exquisite vibrancy, this is the sound of the Source Ensemble.
A key to Laetitia???s music is her use of vocal arrangements. Throughout Finding Me Finding You, the shifting accompaniment creates space to bring this element gloriously forward. Arranged by Laetitia with Joe Watson and Jeff Parker making string charts that were subsequently transposed to vocal parts for several songs, richly arranged choirs of voices provide depth along with the thrilling presence of extra breath in the sound. Laetitia???s community-politic is well-served by the groups of voices lending support to the machining of the song craft, providing additional uplift to her quintessentially for-ward-facing viewpoint ??? as well as massed voices from three different countries sharing space in harmony!
Working in collaboration is Laetita???s traditions, and a key to this album???s view on being free together (it is necessary, prefer-able and right!). The designation of Source Collective implies a new togetherness phase; alongside long-time collaborators Emmanuel Mario and Xavi Munoz, keyboard and flutes parts played by David Thayer (Little Tornados) were essential contributions, as well as further keys, synths and electronics from Phil M FU and several intense guitar sequences from Mason le Long. Chris A Cummings (aka Marker Starling, Laetitia???s favorite composer) graciously wrote ???Deep Background??? for her. The duet with Hot Chip???s Alexis Taylor on ???Love Captive??? (not to mention Rob Mazurek???s distinctive coronet playing!) gives voice to an ideological cornerstone of Find Me Finding You ??? that, should we be responsible enough to endeavor into a world of basic incomes and open relationships, we would make astonishing strides as a society. These sorts of things can only be done in agreement with others.
Expressing great compassion and expectation with startling immediacy, as well as an abiding belief in an underlying unity that permeates and intimately binds all things and beings, Find Me Finding You combines a rigorous process for music-making with a deeply invested mindset, making captivating music that promises many stimulating spins to come!
Sea of Noise, the second full-length album by St. Paul and the Broken Bones, marks a quantum leap in sound and style for the high-voltage Birmingham, Alabama-based band.
Produced by Paul Butler and recorded at Nashville???s Sound Emporium, the group???s sophomore effort features an expanded eight-piece lineup of the widely praised soul-based rock unit. Longtime members Paul Janeway (lead vocals), Jesse Phillips (bass, guitar), Browan Lollar (guitars), Andrew Lee (drums), Al Gamble (keyboards), and Allen Branstetter (trumpet) are joined by Jason Mingledorff (saxophone, clarinet, flute), and Chad Fisher (trombone).
The collection of new original songs is the group???s first release on RECORDS, a joint venture of SONGS Publishing, winner of ASCAP???s 2016 independent publisher of the year award, and veteran label executive Barry Weiss.
Sea of Noise is a successor to the Broken Bones??? 2013 debut album Half the City, which introduced the group???s blazing mating of ???60s soul fire ??? daubed with latter-day influences like Sly Stone, David Bowie, and Prince -- to Janeway???s impassioned singing and writing. The new album witnesses a deepening and broadening of the unit???s musical reach and lyrical concerns.
???It felt like it happened organically,??? Janeway says of the band???s development. ???With the last record, it was like doing things with your hair on fire ??? going in, recording it live. There???s a sense of urgency to having a record like that. We were only a band for about five months at that point. I didn???t know my voice ??? I???d never done this professionally. I was just learning more nuance, and about carrying a melody. You don???t have to go for it 100% all the time. You can draw people in by giving and taking.???
Janeway says that he and his close musical associate Phillips began to ponder the direction of the band???s second album a year and a half ago. ???If we had been forced to go into a studio a year and a half ago, we probably would have done a better version of Half the City,??? he says. ???There would have been nothing wrong with that. But we started evolving, or changing.???
Work began in earnest during last year???s Coachella festival in California: ???We rented a house in San Bernardino Valley National Park. The week in between the two weekends, we really started to hash things out. Then we rented out a very hot warehouse in Birmingham where we could write. And me and Jesse and a few of us would send stuff back and forth via Dropbox. That gave me the ability to work on harmonies on the vocals. I wanted to take it up a notch, in all realms.???
Looking to such inspirations as Tom Waits and Nick Cave, Janeway was intent on lifting his game as a songwriter on material for the second album. ???I???m married to a woman with a masters in literature, and I can???t show her lyrics unless I???m pretty proud of ???em,??? he says. ???I had to sit and think about what I???m saying ??? what do I want to say, is there anything to say? What???s my perspective as this Southern kid who???s watching the modern world and feeling very much like an alien in a lot of ways. This is more personal. If you???re going to say something, say something, and don???t waste your breath unless you feel like you???re saying something.???
Janeway adds that his reading of the book Just Mercy by Bryan Stevenson, founder of the Equal Justice Initiative, played a role in the direction of the work: ???I didn???t want it to be an overly political record, but I feel it shows up a little bit on the album.???
With a full complement of new songs in hand, St. Paul and the Broken Bones entered the studio with Butler, leader of the British band the Bees and producer of Devendra Banhart and Michael Kiwanuka.
???Jesse was listening to one of his records and he said, ???Everything sounds great,?????? Janeway recalls. ???It sounded like a real record ??? everything had depth, and was expansive-sounding. Butler ended up being the guy that we wanted to use. Producer-wise, I think we knocked a home run. He is very meticulous.???
On Sea of Noise, the band???s brawny horn-driven sound is augmented ??? and displaced -- by the use of a string quartet and a vocal choir. The strings ??? recorded at Memphis??? historic Sam Phillips Recording by engineer Jeff Powell ??? were arranged by Lester Snell, a veteran of Stax Records sessions by Isaac Hayes, Shirley Brown, Albert King, and the Staple Singers, among many others. Janeway says of Snell, ???He did all these classic, great records in Memphis ??? he did the string arrangements on them. The strings, for us, supply a darker tone. Horns sometimes can???t portray a certain darkness. We thought that would be the best option, instead of horn lines. We have songs on this record that don???t have any horns at all.???
Employed on ???Crumbling Light Posts,??? the recurring motif that appears three times on the album, Jason Clark and the Tennessee Mass Choir were recorded in another legendary Memphis facility. ???The Stax Museum let us go in there after hours and record the choir,??? Janeway says, adding with a laugh. ???We said, ???Well, hell, we???re in Memphis, let???s just see if they???ll do it.??? It was pretty neat, I???m not gonna lie.???
He says of the finished work, ???Sea of Noise is not quite a full-blown concept record. It is focused in terms of subject matter ??? finding redemption and salvation and hope. ???Crumbling Light Posts??? comes from an old Winston Churchill quote, in which he said England was a crumbling lighthouse in a sea of darkness. I always thought that was a really interesting concept ??? that we???re falling anyway. In this day and age, it is the noise that has defined so many things. We???re going to fall to it eventually, but for now we feel like our heads are above water. It felt anthemic.???
The album???s lyrical and emotional richness is heard loudly in stunning new compositions like ???Burning Rome??? (which Janeway describes as ???a letter to God, if I could write it???) and the startling ???I???ll Be Your Woman,??? which knocks traditional soul music gender roles on their heads. Janeway says of the latter song, ???I wrote that with Jesse, and he said, ???If I can write that song, I can die a happy man, because I???ve finally made something that I feel can stand up to my standards.??????
St. Paul and the Broken Bones, which toured extensively in the U.S. and Europe behind their debut album, will put their take-no-prisoners live show on the road this fall. Their most recent concert work included arena dates opening for the Rolling Stones in Atlanta and Buffalo. Some acts may have been daunted by such a task, but not this one.
???It was pretty neat, it was pretty crazy,??? Janeway says. ???I love the Rolling Stones, but my train of thought it, you gotta try and blow ???em off the stage. And that???s still my goal.???
Trombone Shorty's new album opens with a dirge, but if you think the beloved bandleader, singer, songwriter and horn-blower born Troy Andrews came here to mourn, you got it all wrong. That bit of beautiful New Orleans soul???"Laveau Dirge No. 1," named after one of the city's most famous voodoo queens???shows off our host's roots before Parking Lot Symphony branches out wildly, wonderfully, funkily across 12 diverse cuts. True to its title, this album contains multitudes of sound???from brass band blare and deep-groove funk, to bluesy beauty and hip-hop/pop swagger???and plenty of emotion all anchored, of course, by stellar playing and the idea that, even in the toughest of times, as Andrews says, "Music brings unity."
As for why it's taken Andrews so long to follow 2013's Raphael Saadiq-produced Say That to Say This, the man simply says, "I didn't realize so much time passed. Some artists don't work until they put a record out but I never stopped going." Truly. In the last four years, Andrews banked his fifth White House gig; backed Macklemore and Madonna at the Grammys; played on albums by She & Him, Zac Brown, Dierks Bentley, and Mark Ronson; opened tours for Daryl Hall & John Oates and Red Hot Chili Peppers; appeared in Foo Fighters' Sonic Highways documentary series; voiced the iconic sound of the adult characters in The Peanuts Movie; inherited the esteemed annual fest-closing set at the New Orleans Jazz & Heritage Festival in the tradition of Crescent City greats like the Neville Brothers and Professor Longhair; and released Trombone Shorty, a children's book about his life that was named a Caldecott Honor Book in 2016.
Adding to that legacy, his Blue Note Records debut Parking Lot Symphony finds Andrews teamed with Grammy-nominated producer Chris Seefried (Andra Day, Fitz and the Tantrums) and an unexpected array of cowriters and players including members of Edward Sharpe & The Magnetic Zeros, The Meters, Better Than Ezra, and Dumpstaphunk. Considering Andrews' relentless schedule, it's all the more surprising that this LP began with him in a room, all alone, back in New Orleans.
"I had two weeks at home so I went to the studio and set up the 'playground,'" he recalls. "I had everything in a circle: tuba, trombone, trumpet, keyboard, Fender Rhodes, Wurly, B3 organ, guitar, bass, drums???and me buried in the middle." He recorded an album's worth of ideas and then, well, walked away for a year. Not because he was too busy, but because he wanted to hit the road and see how the music changed on him. When Andrews came back with a full band, the songs came to life.
Take the album's two covers, a pair of NOLA deep cuts: there's "Here Comes the Girls," a 1970 Allen Toussaint song originally recorded by Ernie K-Doe that here (with Ivan Neville on piano) sounds bawdy and regal, like something from a current Bruno Mars album; and The Meters' lovesick "It Ain't No Use," which swirls a vintage R&B vibe with resonant choir vocals and upbeat guitar from The Meters' Leo Nocentelli himself to transport the listener to the center of the jumpingest jazz-soul concert hall that never was.
The story there is almost too good. The session band???guitarist Pete Murano, sax men Dan Oestreicher and BK Jackson, and drummer Joey Peebles with Dumpstaphunk's Tony Hall in for Orleans Avenue bassist Mike Bass-Bailey???were in the studio to lay down "It Ain't No Use." Hall even had the vintage acoustic he bought from Nocentelli years ago, which was used on the original Meters session. On the way to the bathroom, Andrews saw Nocentelli coming out of a different tracking room: it was meant to be.
But that's not unusual for a man raised in one of the Trem??'s most musical families. Andrews got his name when he picked up his instrument at four ("My parents pushed me toward trombone because they didn't need another trumpet player," he laughs). By eight, he led his own band in parades, halls and even bars: "They'd have to lock the door so the police couldn't come in." Promoters would try to hand money to his older cousins, but they'd kindly redirect them to the boy. In his teens, Andrews played shows abroad with the Neville Brothers. Fresh out of high school (New Orleans Center for Creative Arts) he joined Lenny Kravitz' band.
Across that time, three Trombone Shorty albums and many collaborations since, Andrews nurtured a voracious appetite for all types of music???a phenomenon on fluid display with Parking Lot Symphony. On "Familiar," co-written by Aloe Blacc, they practically mint a new genre (trap-funk?) while Andrews channels his inner R. Kelly to spit game at an old flame. Meanwhile, the instrumental "Tripped Out Slim" (the nickname of a family friend who recently passed) bends echoes of the Pink Panther theme into something fit for James Brown to strut to. And if you listen closely to "Where It At?," written with Better Than Ezra's Kevin Griffin, you may even hear a little Y2K pop. "I know it wasn't cool to listen to *NSYNC or Britney Spears in high school," says Andrews, "but those bass lines and melodies are funky." They pair astonishingly well with all the Earth, Wind & Fire that bubbles beneath these songs.
It's worth noting that Andrews' vocals sound better than ever (he credits Seefried for that), because Parking Lot Symphony might be the man's most heartfelt offering yet. The breezy title track, which Andrews wrote with Alex Ebert (Edward Sharpe & The Magnetic Zeros), is as much about walking the Trem??, being uplifted by the music that seems to seep from every surface, as it is about moving on from a broken heart. And the shuffling, bluesy "No Good Time" reminds us, with a world-weary smile, that "nobody never learned nothin' from no good time."
But Andrews is clear that this isn't some kind of breakup record. "It's a life record," he says, "about prevailing no matter what type of roadblock is in front of you." That message is clearest on "Dirty Water," where over an easy groove, Andrews adopts a soft falsetto to address just about anyone going through it???personal, political, whatever. "There's a lot of hope turning to doubt," he coos. "I've got something to say to them / You don't know what you're talking about / When you believe in love, it all works out." Amen. Now let the horns play us out.
"Lady Bits": Female Stand-Up Showcase at Parlor LiveFrom Kristen Wiig and Sarah Silverman to Tina Fey and Melissa McCarthy -- female comedians are finally getting some of the recognition they deserve, proving they can be just as funny (and outrageous) as the boys. You can catch the most hilarious female comics around at the "Lady Bits" showcase at Parlor Live Comedy Club in Bellevue. From nationally touring headliners to the funniest new comics on the scene, "Lady Bits" brings you the Northwest's most badass stand-ups for a night of laughs from the female perspective.
Can Can's "Junk Yard": The Best in Male BurlesqueGirls, boys and bachelorettes are all invited to enjoy the absolute best in burly burlesque when the city's sexiest guys return to the Can Can for the latest edition of its famed all-male revue, "Junk Yard". The retro speakeasy at the historic Pike Place Market provides the perfect venue for this decidedly adult, drool-worthy display of masculine pulchritude, starring some of its most seasoned striptease entertainers and hosted by Seattle favorite Jonny Boy. A full dinner and craft cocktail menu adds to the festive atmosphere as well.
Creating a good monitor mix is one of the most important skills for a live sound engineer to master. This advanced class will teach you the basic techniques in a low pressure environment. Subjects will include an introduction to Vera???s stage monitors, the basic ???ringing out??? of monitors, EQing, and setting levels. The use of these techniques will allow you to create a clear monitor mix that will help performers be at their best.
Prerequisites: Basics of Live Sound
Class Size: Minimum 4 Maximum 12
Cost: $30 ($15 for members), which can be paid via card over the phone (206.956.8372), or cash/check/card in person. (we ask for advance payments to guarantee spots in a class.)
After a person has completed the Mixing for Monitors class they are be eligible to take the Sound Assistant volunteer position and help run monitors at Vera shows.
San Cisco's storm came in much like a front approaching the port in their home town of Fremantle; swift and eerily beautiful. Initially whipped up in the wake of high school graduation, the foursome of Jordi, Josh, Scarlett, and Nick soon found themselves unwittingly defining hipster culture with the video for their breakout hit "Awkward."
Fast forward to 2015 where San Cisco enlisted the help of producer and long-term collaborator Steven Schram to deliver their sophomore album Gracetown which debuted at #2 on the ARIA charts. The album showcased a new sound for the band -- more worldly approach to life; exploring the tyranny of love, displacement, homesickness, heartache and heartbreak, via disco, funk, soul and hip hop undertones.
Extensive touring to eager audiences around the world took up the majority of 2015 and early 2016, playing festivals at home and headline tours from Maitland to Mexico. The remainder of the year was some down time and pulling together new song ideas, earwormy hooks and catchy choruses.
Now it's time to unleash the third sophomore album, The Water onto the world. A taste of the album was served up with single "SloMo" and a bonus B Side (aptly named "B Side") hitting the airwaves late last year. With more hits to come, The Water is as diverse in its sound as it is in subject matters.
The Water will be available to purchase globally in late April 2017 from iTunes.
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