Mick Signals

The Asteroid’s Galaxy Tour (once again) rocked their performance in NYC and played at the Irving Plaza.  It wasn’t too long ago where they played at the Bowery Ballroom. There were several similarities within the shows: the size of the venue, the wooden floors were shaking from the uncontrollable movements of the crowd, Mette was stunning as always, and their standout jazzy tones captured the audience’s heart. The one major difference was that they just released their new album, Out of Frequency, that day. We were all in for one big surprise….

They opened with a long instrumental introduction before Mette walked onstage.  Waiting in anticipation to see her ensemble, considering her role as a boundless fashionista, I instantly admired her look.  Looking as if she stepped out of Marc Jacobs’ Daisy ad, she wore a vintage inspired navy blue dress with a lace collar, pieced with Janis Joplin-looking sun glasses.  Accompanied by the intricate lighting, her blue dress beamed through the entire performance, literally. There are pictures to prove it.

Throughout the show, they played a variety of their old and new songs.  The six member band produced multiple layers of heavy jazz, classic funk, followed with a pop-rock twist, while incorporating a high-hitting perfect pitched voice.  I call the latter mix, “The Asteroid’s Galaxy Tour’s formula,” and it has yet to be topped.  They give an effortless attempt to master the funky and fun, yet casual and hip show. They played their classics; Sun Ain’t Shining No More, Golden Age, Sunshine Coolin’, Around the Bend, and ended with Push the Envelope.  Some songs they rocked from Out of Frequency included Major, Heart Attack, Suburban Space Invader (which they played in concert for the first time).

I’ve expressed my deep rooted love for this talented band because they are truly a jewel within the music industry and fresh breath of air.  My only question remains, when are they coming back to NYC?

This previous Saturday I was lucky enough to sit down with the fellas from the boom booms followed by their concert at Sugar Nightclub in Victoria.
Prior to the interview and concert I was excited as The Boom Booms are an up and coming band who seem to be perpetually expanding in song choices and career moves. Their success grew further recently as they were awarded the high up in the Peak’s “Top 20 BC Bands of 2011″.

The boys have remained humble and focused during the process of further recognition. They explained to me that they are doing what they have always done, but now they have greater recognition from the public and thirsty record producers. This of course feels nice to the band but is not the foundation of why they approached the music industry.

Every member of the six piece rock/Latin/reggae band emanates something musical, in their gate and the way they speak and the way they communicate with one another. They all complement one another in conversation and on stage. This is evident of a band that chooses members that are suitable and compatible. They have travelled extensively together and four of them live in the same house in East Vancouver, while the 2 members live within shouting distance. When asked how they manage this they explained cohesively; they have become used to one another and being together just feels comfortable.

The boys are taking off to Brazil this week to expand feed their musical curiosity, expand with their music and shed light on the current issues that attack one of the most influential countries in the world.

The Boom Booms live is an interactive experience, they make it their responsibility to get limbs loose on the dance floor which is exactly what happened in the packed in the Raptors venue. They each interact with the crowd and make sure the audience is connected, this connection is what makes their performances electric and lithe.

Their set lists are commonly designed before each show based off of who they are playing with and how they are feeling, allowing authenticity to each performance. The fellas include choreographed dance sways, sing alongs and even Nelly covers. The underlying foundation of the Boom Booms is fun, I anticipate this quality to stick with further musical evolvement during their time in Brazil.

Pretty Good Dance Moves are about to release their new full length album, Limo, on February 7, which is divided between 8 different magical Movements.  Luckily, they have residency in New York City’s venue, Pianos, so you’ll have plenty of opportunities to check them out.

Are you excited for the touring circuit?

PGDM: We are excited to get on the road and out of NYC for a minute. You know the best part about leaving is coming back. I’ve been locked in the studio all winter working a few different projects so it will be fun getting out with some PGDM tracks again.

What’s your favorite thing about being on tour?

PGDM: Meeting new people and playing every night. Good combo.

Can you talk about the 8 individual Movements in the album? 

PGDM: The record was originally supposed to be 1 track with no breaks but we decided we should give the option to skip around.

Did you ever have the urge to title the songs differently? 

PGDM: TNo, not at all actually. If we break the record up into “tracks” we can’t title them because then it would be defeat the purpose of what we are going for. We didn’t want to release singles but a full record to be listened to from cover to cover.

What are the main differences between Limo and PGDM EP? 

PGDM: The EP was just a handful of tracks we  picked from about a dozen that we recorded one winter.  The tracks all had there own thing and it was more synth popped. Limo has it’s own vibe. Originally, it was going to be an instrumental record (till Sabina blew us away). We didn’t go in trying to make songs, but just surrounded ourselves with Moogs, a prophet, Wurlitzer, bass guitar, drum set, sequencer, Juno etc… And whatever we had after weeks of tracking is what we would go with. Just experimented.

I love the playful theme of your video “Dancing Demons.” Do you have any ideas for upcoming videos?

PGDM: A 32 minute long music video directed by Antoine Wagner that’s shot here (in NYC) and in Paris. It’s the first video we didn’t do completely ourselves. It’s in the editing phase now, and it looks good.

What are the perks of being an electronic based band? 

PGDM: Hmmm, probably the best stuff we have ever recorded we have never released because it’s too “out.” We are saving it for a different project I guess. This band is great because it’s a collaborative project and we get to work with different people. My favorite artist/record is probably Edan’s “Primitive Plus.” We would love to step in that world next. That would be sick. Growing and getting better.

I have to ask, what would you say is your favorite dance move? 

PDGM: Copter.

After seeing Caveman perform at the Bowery Ballroom, I now understand why it was a sold out show.  To put it simply – it was amazing.  All of Caveman’s unique features were enhanced during their set.  If you are like me and have listened to Coco Beware for the past five months on loop, seeing Caveman made me Decide how Thankful I was to have such a Great Life.  Ok, I’ll stop having fun with song titles and try to portray how these New York natives put on such a colorful performance.

Each member of the band played an integral part with the ensembles. The keyboards, tambourines, two guitarists, and multiple drums added many layered elements to their four-part harmonized songs. The talented lead singer, Matthew Iwanusa, mastered the multi-tasking while he covered songs using drums and tambourines while singing each high note right on pitch.  Although I’m not aware as to the meaning behind their band title, I can rightfully say, the show/members embraced caveman-like tendencies.  Slightly hunched, Iwanusa ardently banged on the single drum while the rest of the sounds beautifully rang through the ballroom as if it were inside an echoey cave.

Compared to their album, the show had several psychedelic components to their set. The long resonating outros to certain songs reverberated throughout the venue and had a powerful impact on the listener.  On top of some new songs they performed, they played their entire album.  They ended with Great Life and brought some of their talented friends to beat the drums with them on stage. Not only did I slightly feel I was watching a mini drum circle, but was intrigued by this spiritual experience.  Although it was just a couple of guys having fun and jammin’ to a great song, it was a moment that every concert attendee pays and prays to see-the organic development of watching the performers getting lost in the music. Priceless.

Dallas Green aka City and Colour came through Terminal 5 in New York on his latest tour. This was the first City and Colour tour since the Alexisonfire breakup announcement, and also probably the biggest City and Colour US tour yet. Last time I spoke to Dallas Green was on Warped Tour 2009 when Alexisonfire was still going strong and they were touring in support of what would become their last record, Old Crows/Young Cardinals. Since then, City and Colour has blown up in America and they’ve played a variety of big shows including the big FYF Fest MWTX show at SXSW and Coachella. It was evident that night at Terminal 5 that City and Colour has come a long way since the acoustic tunes that Dallas Green used to put out and play on the side from his original post-hardcore band.

When I first saw you play as City and Colour, you were supporting Tegan and Sara at the Music Box sometime around 2008. What’s changed for City and Colour in America since then?

Something that would be completely different would be that we have a band. I’ve also put out another record. Quit another band, got older, got a little grey hair, haha but that’s ok.

Do you have any plans or desire to do something more with Tegan and Sara in the future? Maybe a record?

I desire to be with them every day of my life because they are two of the best people I’ve ever met. But, I can’t.

The set you played at Coachella this year was much different than what I originally saw at the Music Box. The new album is much more full sounding than Bring Me Your Love was. What brought on the change?

There were definitely songs that I heard as a full band. When I demoed them, I demoed them without instruments and I listened to it and thought, “Yeah, I like that.” I didn’t want to make a record folk because that’s what people thought it should be. That’s not what I do. I write songs that I want to hear and make me happy first and hopefully people can listen to them and enjoy them as well.

Tell me about the decision to end Alexisonfire and do City and Colour full time.

It was not my decision to end Alexisonfire. I quit Alexisonfire and subsequently, they decided to break up because another member had an opportunity to do something else and the other guys just decided not to continue. Well I spent 10 years doing that and 5 of those years I was doing this at the same time. It just got to be too much for me. My heart was leaning more towards writing and touring on these songs, rather than it was trying to find new ways to be in a genre of music that I didn’t want to be in. I was struggling to find ideas for new songs and I wasn’t enjoying the touring because I knew I had this and wanted to try to fully put everything I had into this. So many things were happening with City and Colour without me putting all of my efforts. I thought, if I don’t do this now, then ill resent everything that I’ve done looking back on it now. Now I can appreciate the 10 years of being in that band.

Are you going to miss playing loud and energetic shows?

Occasionally, yeah. There are some pretty loud moments in the City and Colour show. Right now, this is where I need to be. Especially, with my voice; I feel like this is how I should be singing. When I was screaming at the top of my lungs of for an hour and a half it just didn’t feel that’s what I should be doing. I was always worried and it was always a struggle. Whereas now when I go out, I can just enjoy it.

The breakup announcement on the Alexisonfire website mentioned the possibility of a round of 10th anniversary farewell shows. Any possibility of an epic Gallows/City and Colour/Alexisonfire tour bill?

I would 100% be a part of it, and no I don’t see it happening.

Do you prefer the frontman role or the supporting role you had previously?

Well, if you notice, I don’t stand in the middle I stand out to the side. I have no desire in the middle and be a frontman. I know the band is my thing, but I don’t ever see it in that way. Some musicians love being in the middle and having that limelight. We actually tried it on this tour in Detroit. I stood in the middle and we were going to change everything around. Next night, we were like “That was pretty good, right?” Then I was like, “I’m going to go back to the right,” and everyone was like, “Yeah, get back to the right, it’s way cooler. I think of guys like Ryan Adams or Ray LaMontagne where they always stand out to the side too. I know it’s mainly my songs, but I have this band of my friends and I have been standing on stage right for 10 years.

From what I’ve been told, Canadian artists can get money from the government to tour and make music videos. Do you think this plays a big role in helping out smaller bands? How has it helped you throughout your career?

It helped Alexisonfire because one of the main things is called VideoFact that apply to make a video. We made a video in 2002 and it got played on so MuchMusic,(Canada’s MTV) and it got on this fan-voted show and reached number one. This was back when that genre of music was not even remotely popular. The fact that we were able to do that on this mainstream television show where we got to make this video of these screaming kids running around, was amazing. That was a huge development for us and our fan base in Canada. It allowed for so many kids across Canada to see what we were doing. We made tons and tons of videos now and it was helped payed for by the government. They also helped us tour. Alexis was huge touring band and toured everywhere. That’s why on alot of Canadian records that come out, you will see a note that says “Funded by the Canadian Government.” It’s a lot easier for us to do that because our population is 33 million which is the size of California. It’s great to able to come from a society where they help the arts. It is probably most of the reason why I can sit here in this interview with you.

Why do you think America has never created some sort of program like this?

American has so many people to take care. In Canada, there’s only 30 million of us in a giant country. That’s why Canadians are so nice, because there’s not enough of us to get on each other’s nerves hah.

What’s in the future for City and Colour? New album? More touring?

I’m going to go tour Canada in the Winter. The cold weather and snow don’t bother me because I’ve grown up there. It can get tough because shows get canceled and things like that just happen.

The last time I saw The Devil Wears Prada (TDWP), I was a scrawny 16 year-old in the middle of a mosh at Warped Tour. A whole album cycle ago, the Christian metalcore band from Dayton, Ohio was at what I thought would be the apex of their career. Luckily for them, the success of the band’s latest album “Dead Throne,” has kept their fanbase growing, and the band evolving.

The Devil Wears Prada - Jeremy DePoyster
So fast forward to last Thursday night at Metropolis in Montreal, and I’m dead center snapping photographs of TDWP – and man, was I ever blown away. The title song “Dead Throne” was ferocious and loud, and had all the kids in the crowd nuts from the get-go. They moved into a few more songs from the new album such as “Untidaled,” “Born to Lose,” and “Kansas” – an instrumental track with screamer Mike Hranica on the guitar. This may have been the highlight of night, because it may not have the huge breakdowns and screams, it shows off just how musically tight these guys are. But don’t get me wrong – the performances of all songs that night were top notch.

The Devil Wears Prada
The stage was rather elaborate for a metal show too, with ramps sprawling the stage and a “Dead Throne” symbol lighting the backdrop. It was pretty refreshing to see something different on stage rather than a usual set-up. Kudos to the production managers and the band members for that.

The Devil Wears Prada - Mike Hranica
Here’s where the show hits a snag though: Mike Hranica on screams. It seems as though the constant touring has really gotten to his voice, and he can’t handle the higher-pitched screams he’s really known for from older albums. New songs were made for his new low growling screaming style – but those old songs just weren’t. “Sassafras,” “HTML Rulez D00d,” and even the set-closing “Dogs Can Grow Beards All Over” sounded flat and weak with the new style. I’ve seen the same thing happen to Bring Me the Horizon, and I doubt this is Hranica’s fault – certain screaming methods just take a toll on your voice. I don’t think they’ve stopped touring since Warped Tour, and I hope that we’ll get a different performance from Mike next time he comes to town.

The Devil Wears Prada - Mike Hranica
With the Dead Throne tour, these dudes really have stepped up their game, and the new material sounds fantastic live. I know metalcore may not be everyone’s thing – especially with the Christian undertones – but if you ever went through that metal phase as a kid, take a trip back to your local venue to see one of the best metalcore bands out there. Perhaps it’ll spark some long lost memories of your moshing days.

Setlist: TDWP in Montreal
Full set of photos: jakemullan’s flickr

SCOTTISH-BORN SENSATION EMELI SANDÉ MAKES US DEBUT ON CAPITOL RECORDS LABEL WILL RELEASE SINGER AND SONGWRITER’S DEBUT ALBUM — ENTITLED OUR VERSION OF EVENTS — IN JUNE 2012

SANDÉ ON THE ROAD WITH COLDPLAY IN THE UK AND EUROPE THIS MONTH

New York, NY — Scottish-born singer and songwriter Emeli Sandé, who has been thrilling fans across the Atlantic over the past year with her rich, soulful voice and sophisticated songwriting, will release her debut album in the US, entitled Our Version of Events, in late spring. The recent winner of the BRIT Critics’ Choice award (previous winners include Adele and Florence + the Machine), Sandé’s album will include UK singles, “Heaven,” which climbed to No. 2 on the British singles chart, and the recently released “Daddy,” which she performed on the UK edition of The X Factor.

Sandé has also been hand-selected by superstar rock band Coldplay to open its current arena tour, including shows in London, Paris, The Netherlands, Germany, and Belgium this month. She also opened for Alicia Keys earlier this year in London. Keys was so impressed she told UK magazine Dazed and Confused Sandè’s, “a magnificent new artist… We did some writing together for my upcoming record. I just love her style and her flow – super raw” and Adele, upon viewing Sandè’s performance on Jools Holland, simply Tweeted “How incredible is she?”

Sandé was born and raised in Aberdeen, Scotland, the daughter of a Zambian father and a Cumbrian mother. A fervent songwriter since the age of 10, she relocated to Glasgow for college where she studied medicine for six years before deciding to commit herself to a life as a musical artist. She scored her first Top 10 hit with “Diamond Rings,” a track she wrote for British rapper Chipmunk, and scored another, “Never Be Your Woman”, with grime DJ Wiley. A favorite of music impresario Simon Cowell, who called her “his favorite songwriter at the moment” and tapped her to write for Leona Lewis and Susan Boyle, Sandé has also worked with Tinie Tempah, Cheryl Cole, and Professor Green, scoring the No. 1 “Read All About It” with him.

Our Version of Events, which will be released in her native land in February, reveals Sandé to be an uncompromising creative force in the vein of Nina Simone, Joni Mitchell, and Lauryn Hill (each of whom Sandé namechecks as a key influence on her heady, unforgettable sound. Taking a cue from Mitchell and her other songwriting idols, she achieves an irresistible contemporary-yet-timeless quality on Our Version of Events. “I can still relate to a Joni song, even though it’s 25 years old, which is what is important to me,” she says. “I’m not too bothered about what category my music goes in and there’s no point in limiting who you can reach, but I want it to be respected.”

As The UK’s ID magazine has noted: “Emeli Sandé is not the next so and so. She’s the person other acts will be compared to in the coming years.”

Marissa Nadler Premieres Self-Produced Video for “In Your Lair, Bear” with SPIN

“dreamy, melancholy and utterly captivating” – NPR World Cafe

“[Marissa Nadler] isn’t the work of an artist who discovered what she wants to sound like;
it’s the work of an artist who’s just discovering what she’s capable of. ”
- Pitchfork’s Albums of the Year: Honorable Mention

Watch “In Your Lair, Bear” video

Boston-based dream-folk artist Marissa Nadler has debuted a brand new video for “In Your Lair, Bear,” the first track off her critically acclaimed self-titled full-length, that Pitchfork awarded with an “Albums of the Year: Honorable Mention” and was featured in American Songwriter, WXPN, and Drowned In Sound ‘s favorite albums of the year lists. Marissa produced the video alongside Alec K. Refearn, who also directed it. Shot in her Massachusetts home, Nadler said “This is a video to encapsulate the themes that are lyrically portrayed in the song.” Nadler is now putting the finishing touches on a followup EP to her s/t release due out in 2012, and will perform a one-off show in San Francisco and a NYE show at the Boston Public Library with Cass McCombs, Ida and Drew O’Doherty. More details about the forthcoming release to follow.

Nadler recently gave away two covers of Loudon Wainwright III’s “Motel Blues” and Tom Petty’s “Learning to Fly” from her Covers Volume II album available now at her Etsy shop. Covers Volume II follows her s/t album released earlier this year with her own Box of Cedar Records. After releasing several albums with Kemado (and having one of her songs inspire the name for vinyl start-up Mexican Summer), Nadler ventured out independently for this s/t album, which has been featured on NPR “World Cafe: Next,” NPR First Listen, Vogue, KEXP, Pitchfork ‘Overlooked Records of 2011′ with an 8.1 album review, one of SPIN’s “5 Best New Artists for June.”

Marissa Nadler Live

12/8 – San Francisco, CA – Cafe Du Nord w/ Emily Jane White
12/31 – Boston, MA – Boston Public Library-Rabb Hall
w/ Cass McCombs, Ida and Drew O’Doherty

Pentimento Announce 2012 European Tour with Light Years

Buffalo, NY melodic punk rock band Pentimento has just announced dates for a 2012 European tour with Light Years. The tour, sponsored by NO DECLINE BOOKING, Hope This Helps Booking, FUZE Magazine and All Schools Network, kicks off Feb 17th in Belgium. Pentimento’s Wrecked EP is out now on Panic Records. A split with label mates Young English will be released in early 2012.

European Tour Dates:

17.02 – Merksplaas, Belgium – Jh Jig Zag
18.02 – Leuven, Belgium – Jh Sojo
19.02 – Nottingham, UK – The Chameleon
20.02 – Manchester, UK – Tiger Lounge
21.02 – Sheffield, UK – Tbc
22.02 – London, UK – The Bridgehouse 2
23.02 – Margate, UK – Westcoast Bar
24.02 – Essen, Germany – Cafe Nova
25.02 – Stuttgart, Germany – Juha West
26.02 – Dornbirn, Austria – Cafe Schlachthof
27.02 – Würzburg, Germany – Cairo
28.02 – Dessau, Germany – Beatclub
29.02 – Berlin, Germany – Cassiopeia

Pentimento’s US Tour with Light Years starts December 27 in Cleveland, OH.

The Roots – UNDUN video

B. Dolan featuring Toki Wright, Jasiri X, Buddy Peace, Sage Francis – Film The Police video

B. DOLAN’s “FILM THE POLICE” pays tribute to N.W.A.’s infamous “F*ck the Police,” serving as a call to action for the digitized media movement while responding to the recent explosion of police brutality all across the world.

This free MP3, courtesy of STRANGE FAMOUS RECORDS, features a reconstruction of Dr. Dre’s original beat, brilliantly reanimated by UK producer BUDDY PEACE. Label CEO, SAGE FRANCIS, opens the song by picking up the gavel where Dr. Dre left it 23 years ago, introducing a blistering, true-to-style flip of Ice Cube’s original verse by SFR cornerstone, B. Dolan. TOKI WRIGHT (Rhymesayers Entertainment) follows up by stepping into the shoes of MC Ren, penning the people’s struggle against cops as a case of “Goliath Vs. a bigger giant.” Finally, Jasiri X (Pittsburgh rapper/activist) rounds out the track by filling in for Eazy-E, reminding us that police brutality disproportionately affects poor people of color.

With the Occupy Movement bringing various forms of injustice to the forefront of people’s consciousness, “Film the Police” is a reminder that cops have been a continued and increasingly militarized presence in public streets. Thanks to the widespread use of smartphones and video cameras, along with the popularity of social networks such as Twitter and Facebook, the power of the media has been put back into the people’s hands as they document the injustices perpetrated by those who have sworn to serve and protect them.

MOUSE ON MARS SHARE DETAILS OF PARASTROPHICS, OUT FEBRUARY 28 ON MONKEYTOWN RECORDS

Over the course of ten albums, not to mention an avalanche of side projects, remixes and collaborations, Jan St. Werner and Andi Toma of Mouse On Mars established themselves as two of the most inventive and unpredictable artists in electronic music. However, since they delivered the bracing, angular salvo that was Varcharz back in 2006, there has been an uncharacteristic period of silence.

In 2012, that silence is broken. Mouse on Mars’ triumphant return comes in the shape of Parastrophics, a life-affirming and constantly surprising album which is crammed with ideas, exuberance and sheer kinetic energy. It’s like listening to the entire history of pop music – distilled, refined and crystallized into a string of compulsive new shapes, full of glitter, intrigue and addictive detail. Atomized fragments from two lifetimes of listening flare and fade, tiny scraps of memory shrapnel hover, tantalizing and insubstantial, before being whisked away by the next impatient idea.

Despite all that restless curiosity, Parastrophics also demonstrates a peerless command of pace. Whereas some previous Mouse On Mars’ releases have bordered on the frenetic, their latest displays a subtle but persuasive sense of control. Even when tempos climb, 303s squirm and kick / snare patterns snap to brisk attention, there’s an elegance to the way that each element slips in and out of the mix which speaks of maturity. Parastrophics is as a playful as ever, but it’s never throwaway. The closing track “Seaqz“ is the perfect illustration, a frenetic romp which is perfectly held in check by gracefully undulating melodies; it brings into focus the beguiling sense of confidence that suffuses the whole record. All of which is a roundabout way of saying that, after six years away, Mouse On Mars have come back with their best record yet.

Mouse on Mars’ Parastrophics is out February 28, 2012 on Monkeytown Records.

Listen to a sneak peak of Mouse on Mars’ “chordblocker, cinnamon toasted” here:

Parastrophics Tracklisting:
01. the beach stop
02. chordblocker, cinnamon toasted
03. metrotopy
04. wienuss
05. they know your name
06. syncropticians
07. cricket
08. imatch
09. polaroyced
10. gearknot cherry
11. bruised to imwimper
12. baku hipster
13. seaqz

THE TWILIGHT SAD TO TOUR IN SUPPORT OF ‘NO ONE CAN EVER KNOW’

The Twilight Sad will be embarking on a North American tour following the release of their forthcoming full-length, No One Can Ever Know. The album was produced by Andrew Weatherall and will be available February 7, 2012 via Fat Cat Records.

Freshly inspired by a listening diet of Cabaret Voltaire, Can, Liars, Magazine, Autechre, and Public Image Limited, the band turn to a dark, synth-heavy sound for No One Can Ever Know; the resulting LP shares thematic and sonic space with the most innovative offerings from Depeche Mode, The Cure, or even Nine Inch Nails.

As made clear already by widely-spread preview track “Kill It In The Morning” (dubbed “slightly evil-sounding” by Pitchfork) and first single “Sick” (which, according to Stereogum “ticks with post-Radiohead guitar and dread”) The Twilight Sad’s third full-length, No One Can Ever Know, marks a sonic shift for the band.

TWILIGHT SAD TOUR DATES
Feb 23 Washington DC – Rock and Roll Hotel
Feb 24 Philadelphia PA – Johnny Brenda’s
Feb 25 Brooklyn NY – Music Hall of Williamsburg
Feb 26 Allston MA – Brighton Music Hall
Feb 28 Montreal QC – Il Motore
Feb 29 Toronto ON – Lee’s Palace
Mar 01 Grand Rapids MI – Pyramid Scheme
Mar 02 Chicago IL – Empty Bottle
Mar 03 Minneapolis MN – 7th Street Entry
Mar 05 San Diego CA – Casbah
Mar 06 Los Angeles CA – The Echo
Mar 07 San Jose CA – The Blank Club
Mar 08 San Francisco CA – The Independent
Mar 10 Seattle WA – Tractor Tavern
Mar 11 Portland OR – Doug Fir Lounge
Mar 14 – Mar 18 Austin TX – SXSW

Paper Diamond is the multi-talented artist who runs a label, design firm, and clothing store (Elm and Oak).  This Colorado based DJ is mostly well known for his energetic beats, high synths, and rich vocals.  I caught up with him before be played at New York City’s Webster Hall.

Tell me about Elm and Oak.

PD: The start of it means Exclusive Limited Merchandise and One of A Kinds. My friend started it in Virginia back in the day and it was his art company and design firm.  As a musician I was always repping the clothes and everything.  I’m a designer as well, and do a lot of typography and set of type design.  We decided instead of starting a new company, we would make Elm and Oak the hub for everything. Now, Elm and Oak is a design firm, a record label, a clothing store, and we have a boutique on Pearl Street in Boulder, Colorado. We design clothing, manage bands, make videos, and do photography.

To me, all those things are interconnected.  If you play guitar, you might as well play bass and drums. If you take pictures, you do editing and video.  For us, Elm and Oak is a community of people supporting each other to be able to live as artists and support themselves. 

I love the symbol representing Elm and Oak…

PD: Yeah, it’s the two axes. We are cutting down the tree with the axes and it represents the rise of being hard working, sharp, and on point. Not only is it a company, but people treat it like a family. People even have Elm and Oak tattoos. It’s our crew. 

How do you scout out the artists on the label?

PD: A lot of the artists are close friends of mine. The band Two Fresh is on my label and the band Charub is one I’m working hard on. The people I put on are the people I’m passionate about and the people I believe in.  Its been really cool to help these artists develop their careers.

I know you are on Pretty Lights Music label as well. Do you ever find it hard keeping them (Elm and Oak/PLM) divided?

PD: It’s not hard because it’s two musical families and groups. I support PLM as much as I support those on Elm and Oak. Everyone on PLM are Derek’s friends. He cares about the music and it all makes sense, but at the same time there are people around me that I want to have.  He has his friends in his circle, and I have my friends in my circle. We all just cross pollinate. It’s great for everyone.

What’s the electronic scene like in Colorado compared to LA and New York?

PD: It’s crazy in Colorado just as much as NYC and LA.  In CO, thousands of people are coming out to see acts and it rivals the other music scenes. As far as the electronic scene goes, Denver is a mecca for electronic music. The mainstream press is just starting to catch on and many monumental things are coming along with it. There are many musicians that want to express themselves from CO and if you have real talent, you are able to establish yourself.

What are your thoughts behind free music? I downloaded your album for free!

PD: Moving forward with technology and embracing it is how people stick with the times if you are going to continue being a musician.  I embrace it and encourage people on my label to put out free music because I know how my friends and I get music.  It’s about spreading happiness, expressing myself artistically, and making myself happy through doing shows.  I don’t care if people get it for free, or if they steal it, or if they pay for it. 

Speaking of technology, I noticed you play on an iPad during your shows…

PD: I can control on my computer wirelessly from an iPad from a layout I designed and it makes it so I can get more involved. When people are getting hyped up, I can get hyped up and I don’t have to stand hunched over the tables. I’m able to control the different parts of my show from the drums, to the bass to the synths, and it’s all multi-tracks so I can mix different parts of different songs.  I never know where I’m going to go with it, so it makes it fun for me every night.

I know where it’s going to start, but I follow the crowd and see what’s going to happen. I have every song I ever made in my files so I can go wherever I want.  If I think a crowd is feeling more dubstep, I can play another one of my songs, then move into some hip-hop tempo stuff or moombahton, or electro-house.  I’m able to play a wide array of tracks with different people because I have so much music and I’m inspired by all things. 

Sometimes I’ll write a song and that hasn’t been released yet and test it out on the crowd.  If it doesn’t work with the crowd, I’ll go back and literally change it before the record is out. My new record I’m working on is Paragon, and I’m about 6 out of 8 tracks done. I’ve been able to play alot of these tracks and go back and work on them after a show, so the record is almost road tested.

What are you listening to these days?

PD: Little Dragon, I would love to work with her someday. I’ve also been listening to a lot of electronic music like Feed Me, Porter Robinson, Zed, and Cherub.  I listen to records all the time too.  I’m a record collector so I still go digging for music and keep it open. I love all kinds of music.

Did you ever sample from any of the records you have?

PD: I didn’t much on the newest record (Levitate).  The one I’m currently working on is mostly synth work. I spend so many years doing the Alex B thing, which was kind of hip-hop sample based stuff.  For me, I’m just trying to keep it open, and not get locked in certain things.

Anything we should know about your future plans?

PD: I have a new album, new singles, and new videos in the works.  There are some new releases from Cherub and Two Fresh. The clothing line constantly has new clothes that are coming out and our store is open 7 days a week.  Music, art, and traveling is what I do all the time. I’m just going to keep grinding and making new music and making new art. Keepin’ it fresh. 

Well said Paper Diamond, well said.

I generally give positives reviews, because (thus far) the shows I’ve attended have been good. Therefore, I find it difficult to express myself when a show was truly amazing.  Macklemore & Ryan Lewis’ performance at the Bowery Ballroom was flat-out incredible. Although there were some heavily rehearsed dialogue parts between the songs, the overall performance was profusely high-energetic.  Although some parts did seem staged, you could sense his sincerity towards his fans and his passion for music pervaded throughout his performance. His eccentric costume changes, humorous commentary, exuded confidence, and articulate rhymes, made this a stand-out performance and my crush for Macklemore & Ryan Lewis intensified like a middle-school girl.

Macklemore embraces the Seattle swagger demonstrated by his clothes which looked like he bought them at trendy vintage store. He began with a leather jacket, followed by a denim jacket touched with black fringe dangling from his side, ending with an 80’s big-hair wig that sparked the crowd’s enthusiasm.  There was never a dull moment within all the chants and interaction among the crowd. When he played “Life is Cinema” sampling the Killers’ “All these Things that I’ve Done,” got the crowd literally jumping.  The audience truly “got soul” and preached it as everyone was making the ground shake from their chants and boots pounding against the wooden floors.  Although the majority of the tracks had everyone visibly bobbing their heads and clearly rapping every word, “Can’t Hold us Down,” “And we Danced,” “Irish Celebration” and “My Oh My” were other knee-benders.

I felt like I had a deeper understanding of Macklemore’s character regarding his past battles, his roots and his drive.  It’s difficult for an artist to immediately find a connection with their fans given an 1 ½ time span. Macklemore undoubtedly did just that.  His exposure of himself through is music and his comfort on stage was noticed.  It also helps that he has remarkable enunciation while spitting his rhymes, supported by his meaningful and intelligent lyrics.  He has true talent as an entertainer; but most importantly, he has true talent as an artist and his exceptional performance proved it.

Right before he exited the stage, he ended the show with a splash of colorful confetti sprinkling throughout the crowd. He then exited. I secretly wanted to chase after him.

ANNA VOGELZANG RELEASES HOLIDAY SONGS NEW ALBUM CANARY IN A COAL MINE OUT FEBRUARY 28TH

In the spirit of the season, Anna Vogelzang has carried on her tradition of recording holiday songs towards the end of the year to share with friends and family. The practice began in 2008 when she’d just moved to Madison, WI after a stint in Chicago. Having yet to start a new day job, she found herself without a lot of extra funds to buy gifts, but also with more space for home recording in her new apartment than she’d ever had before. So as a way to show appreciation to friends and family, she and her partner Andrew Young recorded a six song EP, and packaged it in hand-made sleeves to give out as presents. Every year since she’s continued the tradition, and while she hasn’t made them public in the past, this year she’s putting a few songs on display for fans. Below you will find some great options for your 2012 holiday party playlist. Stream, Download, and feel free to share.

Silent Night – Stream
Jingle Bells – Stream
Christmas (Baby Please Come Home) – Stream

In the new year Anna will begin preparing for the release of her new album Canary In A Coal Mine, out February 28th on Paper Anchor Music.

In recording Canary In A Coal Mine, Vogelzang enlisted the help of a wide cast of professional players including Franz Nicolay on accordion (former Hold Steady), Brian Viglione on drums (Dresden Dolls), Todd Sickafoose on upright bass (Righteous Babe/Ani DiFranco) and Emily Hope Price on cello (Pearl & the Beard). In the studio she teamed with producer James Frazee (Blondie, Betty LaVette) to create a shimmering and fully crafted folk pop landscape accented with flowing strings, plucky banjos, and Vogelzang’s warm and inviting full-throated vocals filling and floating above the spaces in between.

BIDINIBAND RELEASES IN THE ROCK HALL JANUARY 24 ON PHEROMONE RECORDINGS

In The Rock Hall is the epic second album by Bidiniband, the estimable Toronto quartet led by former Rheostatic and award-winning author Dave Bidini. Bidini is the only Canadian artist to be nominated for a Juno, Gemini and Genie Award, as well as a finalist in 2012′s CBC Canada Reads series. With In the Rock Hall– released January 24, 2012 on Pheromone Recordings– Bidini returns to his roots as an artist alongside his longstanding bandmates drummer Don Kerr (Ron Sexsmith), guitarist Paul Linklater (Pinecones) and bassist Doug Friesen (John K Samson, Peter Elkas). In The Rock Hall was recorded in only six days at Revolution Recording in Toronto with engineer Joe Dunphy. The record was mixed by Michael Phillip-Wojewoda (BNL, Rheostatics).

This was the first album to be recorded in Toronto’s new state of the art studio and was the result of two years of constant gigging in the clubs, taverns, bars and shanties of Canada. The songs were also recorded live off the floor with but a single guitar overdub. The title track is based on the poem “In the Rock Hall” by author Paul Quarrington, and another track, “Eunoia,” draws its lyrics from the epic literary work of the same name by Christian Bok. Other songs explore similarly wild and esoteric Bidiniband themes: pirates, war, dating, travel, The Smurfs, engines, the waterways, and movie-making. All of that and a song about Johnny Winter.

Mastered by Joao Carvalho, In the Rock Hall is an expressive, white-hot rock and roll statement from one of Canada’s longstanding musical and literary pioneers and counts among his finest work in an artistic life that has already spanned four decades.

In celebration of the release of In The Rock Hall, Bidiniband will be playing The Dakota Tavern on January 24th from 7 until 10 pm. The night will be filled with surprise guests, noisemakers, amp throwing, squirrel-toss, balloon drinking, dart poker and underwear bingo. And, one really good drum solo.

Catch the band while they make their way across Canada:

01/26/12 – Hamilton Bidiniband and reading Casbah Lounge
01/27/12 – Toronto Bidiniband (7pm) Toronto Reference Library
01/27/12 – St. Catharines Bidiniband (11 pm) The Merchant Ale House
01/28/12 – Toronto CD Release Show The Dakota Tavern
02/07/12 – Halifax with Sean Panting Carleton
02/09/12 – Charlottetown Bidiniband Stolen From a Hockey Card Show
02/19/12 – Toronto Bidiniband Harbourfront Skate Festival

I Break Horses announces first ever US shows supporting M83

VIDEO: “Wired”

STREAM: “Load Your Eyes” (Star Slinger Load Your 808 Remix) –

I Break Horses

Allow us to introduce you to the beguiling world of I BREAK HORSES, the nom de plume of Maria Lindén and her musical partner Fredrik Balck. Residing in the Swedish capital of Stockholm, the duo have been meticulously crafting the nine incredible tracks that make up debut album Hearts throughout stolen moments gathered up over the past two years.

The task of capturing the sonic density of Lindén’s compositions was painstaking, while Balck’s lyrics, constantly teasing the senses, are at times insular and cold to the touch. It’s only when interpreted by Maria’s gorgeous vocals that a warmth is added, like the first rays of sun on a winters morning.

Although heavily (and openly) influenced by My Bloody Valentine, Slowdive, Jesus & Mary Chain et al – Hearts is far from an exercise in typical shoegaze fayre. Maria, waif-like and unassuming in person, is transformed on record to sound 10 feet tall. And, perhaps where certain contemporaries would hypnotize the listener into their world by sheer volume alone, I Break Horses lock firmly onto the very thing that makes each and every one of us ‘tick’: our pulse. Our Hearts. The common thread that links the nine songs together; always present, always beating – the album’s strength and presence guided entirely by it.

Coupled with with Lindén’s vocal, a seductive Scandinavian croon that’s bathed in an ocean of reverb and tremelo, Hearts is quite the sonic experience. It can’t be defined via a few meagre adjectives or genre classifications; you have to live it, live inside it. It will soak you up, embrace you and give back what you put in… Welcome to the most bewitching debut of the year.

I BREAK HORSES

SU 22-Apr San Francisco, CA Fillmore *
W 25-Apr Portland, OR Roseland *
TH 26-Apr Seattle, WA Neptune *
F 27-Apr Vancouver, BC Vogue *
SU 29-Apr Salt Lake City, UT In the Venue *
M 30-Apr Denver, CO Ogden *
TU 1-May Lawrence, KS Granada *
W 2-May St Louis, MO Pageant *
F 4-May Chicago, IL Vic *
SA 5-May Detroit, MI Majestic *
SU 6-May Toronto, ON Sound Academy *
M 7-May Buffalo, NY Town Ballroom *
W 9-May Boston, MA House Of Blues *
TH 10-May New York, NY Terminal 5 *
F 11-May Philadelphia, PA Union Transfer *
SA 12-May Washington, DC 9:30 Club *
M 14-May Atlanta, GA Buckhead Theater *
TU 15-May Nashville, TN Marathon Music Works *
TH 17-May Houston, TX House of Blues *
F 18-May Austin, TX Stubb’s *
SA 19-May Dallas, TX Granada *
M 21-May Phoenix, AZ Crescent
W 23-May Los Angeles, CA Echo

* = w/ M83

I Break Horses
Hearts
(I Kill Love / Bella Union)
Street Date: Aug. 23, 2011

1. Winter Beats
2. Hearts
3. Wired
4. I Kill Your Love, Baby!
5. Pulse
6. Cancer
7. Load Your Eyes
8. Empty Bottles
9. No Way Outro

Chuckie, the internationally known DJ hailing from Holland, is blowin’ up the speakers with his new track, “Who is ready to jump,” and is quickly carving a wide avenue in the city of the electronic industry.  Chuckie’s self-made label, event company, iPhone App, and musical movement, Dirty Dutch Music is now a staple within the industry.

Want to talk about Dirty Dutch music?

Chuckie: I wanted to do my own club tour with like 300 gigs a year and I kind of got bored by the way the promotors set up things. I wanted to decide how I set my own entertainment and how the DJ’s play and the line up. So I started to do this DD party, then I did a tour with like 50 dates in total. I basically did it and it succeeded.  Infact, it got sold out three years in a row.

Now Dirty Dutch has propelled into a new genre with a Dutch-esque flare…

Chuckie: It was successful because it had a different feel in the compared to whatever was happening within the whole dance industry at that moment. It got started in the right direction. So before you knew it there was a whole movement that started globally. That’s the best thing you could have. Then people started seeing it as a new musical genre. That’s unbelievable.

Dirty Dutch even has it’s own iPhone App called Blackout…

Chuckie: Everywhere I have a theme for the DD parties and this year I’ve decided to take it more Blackout, all black everything, inspired by Jay-Z’s wise words. Also, in the wintertime, if you throw a party, it’s hard to find clothes in white. I know, when I wear all black I feel a little bit more dark, mysterious, and sharp.  It’s going to be really awesome.  Also, the line up is kind of different than we normally do. There is a different international line-up and we will have artists like Knife Party and more.  Every year I have set my game up as far as the party and I have to keep the people interested. It’s hard to keep people interested so I always try to find something different or at least try different angle.

The new track, “Who’s Ready to Jump?” is an ode to all those wild U.S. electo-lovers.  What are your thoughts when a new song releases?

Chuckie: I made that record and sampled my own voice from EDC Las Vegas. I wanted to do something with that phrase because every time a beat drops, if you are playing in a U.S. festival, they always jump like crazy.  I wanted to do a record made for that kind of crowd.  It’s really a special record to me.  As for working on remixes, I have one from Dillon Francis, Skrillex, and 12th Planet who are already playing, so that’s really good to see. They kind of accepted it. That’s really good for me because I saw alot of people were talking about it on the blogs.  The moment it came out, I got so much love from the blogs and everybody was supporting it so I was really happy about that.

I noticed you always wear hats, do you have a favorite or lucky hat?

Chuckie: No, I don’t have a favorite hat because I keep on losing my hats all the time so every time I get a chance to buy a new hat, I buy a new hat. Right now it’s all about the snapbacks! It’s the hip-hop in me.  I used to be a hip-hop DJ in Holland. At certain point, I converted from a Hip-Hop DJ to a House crowd.  People in the hip-hop scene were not as accepting and my managers suggested I take my cap off when I play at a house party.  But that makes me, me. Finally, they accepted me with my hat. I think it would be weird if I DJ’ed without a hat. 

I was reading your touring schedule and basically you are performing every night. How do you do it?

Chuckie: I like DJing alot so the more better. The time when I’m behind the decks, even when I’m tired, it’s just adrenaline and this is what really keeps me alive and going. I could be tired right before a set but the moment I get on, adrenaline takes over and it’s pure energy. That’s how I do it. Also, you have to know when to take your rest and no where my limits are so I don’t go too crazy.

I’ve seen you play and your opening act is quite the theatrical spectacle.  Did you come up with that?

Chuckie: You always do your research and a little homework. You try to find something that makes a big entrance. It’s always a preparation and something you give extra thought, especially if it’s a big show. When I prepare something, there’s like a 1000 kids filming on YouTube, so it better be good.  Every year when I do the DD event as well, I’ve got 30,000 people in front of me and I do the intro and half the room is filming it and I know that it’s going to end up on YouTube. 

What are the craziest shows you’ve been to?

Chuckie: It’s all so different but I like the festivals. I enjoyed this and last year’s EDC. Last year, it was in LA and 100,000 people were in front of me. I literally just came off a flight and it was my birthday so it was a special day for me. Also, this year in Vegas, 30 minutes before I started, there was nobody in that area I had to play at. Then 5 minutes before I got on, it just filled up over the place and I had a really good crowd. Generally I like to play the stage. It’s so diverse everywhere I go. 

What do you think is next for electronic music?

Chuckie: It’s evolving so fast. I think right now, the direction is going off course. Alot of people get introduced to dance music in a different way. Some people discover it by the internet, some by a record Pit Bull did, or a record Usher did. Every one has their own experience with discovering electronic music. At the end of the day, 5 years from now, there will be many of people exposed to our music. Then, if you are really interested in music, you are going to look for more underground unknown stuff.  All music genres goes through this process and then goes back to the original form.  People are going to try and discover something new about the music, so it will continue to become strong and stronger. Normally what happens is, when the music crosses over to pop and people get tired of it, people don’t want to deal with the commercial house anymore.  In general, we have a strong background as far as electronic underground music goes, so it’s here to stay.

The rest of this year (as well as in 2012) Chuckie has residency at NYC’s Lavo. Check him out!

KASABIAN ANNOUNCE 2012 NORTH AMERICAN TOUR DATES Tickets Go On Sale Dec. 2-3

Watch the Tour Announcement from Tom Meighan Here:

UK rockers Kasabian return to North America in spring 2012 shortly after the release of their much-anticipated album Velociraptor! (debuted Sept. 20, 2011 digitally and the physical album on Sept. 27, 2011). In regards to the record, MOJO magazine says the band just made a career-best record that’s completely devoid of filler…it’s the great record Kasabian have been threatening to make for some time.

Kasabian kicked off their European tour this fall, which includes two nights at the O2 Arena in London on December 13th and 14th. These dates follow performances this summer at the Isle Wight Festival, the iTunes Music Festival and other notable European festivals.

Recorded during late nights in the English countryside, Velociraptor! was influenced by a variety of musical acts from Elvis Presley to the Chemical Brothers and Led Zeppelin, resulting in the band’s best and most definitive album yet. The debut single “Days Are Forgotten” is an incendiary mix of spoken word, amplified vocals and stadium-sized riffs. Other standout tracks include “Switchblade Smile” with its synthesized beats and techno melodies and the dreamlike “Neon Noon.” “Switchblade Smiles” is currently available for stream/download at Kasabian’s website www.kasabian.co.uk.

“Days Are Forgotten” Rumbling, black cloud of techno intensity, probably the heaviest tune they’ve ever done, and might well be their best” – NME

Formed in 1999 in Leicestershire, England, Kasabian consists of Sergio Pizzorno (guitar), Tom Meighan (vocals), Chris Edwards (bassist) and Ian Matthews (drummer.) Having released three studio albums, Kasabian (2004), Empire (2006) and West Ryder Lunatic Asylum (2009), Kasabian has become one of Britain’s biggest rock bands, selling out stadiums and festival main stages across European. The band has won at the Q Awards, taking home Best Live Band and Best Album, The NME Awards, winning Best Live Band and Best Album and the MOJO Awards winning song of the year for ‘Fire’ in 2010.

NORTH AMERICAN TOUR DATES:
3/12/12 – South Side Music Hall, Dallas, TX
3/15/12 – Fitzgerald’s, Houston, TX
3/17/12 – Center Stage, Atlanta, GA
3/18/12 – Beacham Theatre, Orlando, FL
3/20/12 – 9:30 Club, Washington, DC
3/21/12 – Theatre Of The Living Arts, Philadelphia, PA
3/22/12 – Terminal 5, New York, NY
3/27/12 – House of Blues, Boston, MA
3/28/12 – Corona Theatre, Montreal, QC
3/29/12 – Phoenix Concert Theatre, Toronto, ONT
4/01/12 – Crofoot Ballroom, Pontiac, MI
4/02/12 – Vic Theatre, Chicago, IL
4/03/12 – First Avenue, Minneapolis, MN
4/06/12 – Edmonton Event Center, Edmonton, AB
4/07/12 – MacEwan Hall Ballroom, Calgary, AB
4/09/12 – Vogue Theatre, Vancouver, BC
4/10/12 – The Showbox @ The Market, Seattle, WA
4/11/12 – Wonder Ballroom, Portland, OR
4/22/12 – The Summit Music Hall, Denver, CO