Aqueous continues to impress fans everywhere with their potent live sound, blending elements of rock, jam and more to create a unique musical experience. As such, the band continues to mine their archives for some of their most-impressive shows. With this new release, Aqueous does not disappoint.The band has released professionally mixed audio footage from their 4/11/15 performance at the King Rook Club in Erie, PA. After premiering Steely Dan and The Police covers from the album on L4LM last week, the full release just dropped, and it is something to behold. There’s a reason that guitarist Dave Loss said, “I remember leaving the stage after this show feeling like we’d done what we had come to do. Things were just on that night. Erie has always treated us well!”Listen to the whole show below:Check out the band’s upcoming tour dates below, and head to the band’s website for details.Aqueous Band Upcoming Tour Dates04/16/16 Portageville, NY Letchworth Pines04/22/16 Saratoga Springs, NY Putnam Den *04/23/16 Schuylkill Haven, PA Some Kind of Jam04/27/16 Providence, RI The Spot Underground04/28/16 Boston, MA The Sinclair **04/29/16 – 05/01/16 Albany, OH Paradise Music Festival05/13/16 Manchester, NH Penuche’s05/19/16 – 05/21/16 Terra Alta, WV Domefest05/27/16 – 05/29/16 Chillicothe, IL Summer Camp 06/16/16 – 06/18/16 Artemas, PA Mad Tea Party06/23/16 – 06/26/16 Rothbury, MI Electric Forest* w/ Pink Talking Fish** w/ Dopapod
Setlist Break Science Live Band at the Blue Nile Mew Orleans, LA 4/30/16 Spins>Reno, Tonight>Good Together, Zion Station, New Durtay, Lonely Heart>Goin’ Down, In Full Effect>Funky Style>Handclap Song>Funky Style, Throwback>I Can See It In Your Face, Let’s Go, Tycho, Boogie Down, Reaction Break Science took their signature hybrid sound of digital samples and sounds with live drums and keys in a far more organic direction with the addition of several members of Lettuce for a funky, sweaty show at the Blue Nile club in New Orleans on the second weekend of Jazz Fest. Trip hop auteur and programming wizard Borahm Lee and rock steady beat keeper Adam Deitch have used their collaboration to explore a variety of music directions and dimensions, combining funk, EDM styled sound scapes that defy the listener to do anything but surrender and get lost in the grooves they lay down. Last night they were able to show once again how easily their sound could be expanded and enriched with additional live accompaniment by Deitch’s regular partners-in-crime from his main project, Lettuce.Lee was contained behind an array of keyboards and electronic music making devices that he put through their paces. Not one for flashy, splashy distractions often used in these types of musical collaborations, Lee managed to make dozens of different contributions to each song between his loops, beats, drops and keyboard fills without overpowering his partner Deitch or their guests. It’s a testament to Borham’s deft touch that he could manage to do so much to guide the songs without taking over the show.Adam Deitch, as usual, put on a drum clinic, effortlessly cycling through the various styles and tempos the Break Science material requires with his permagrin showing just how much fun he was having as his musical worlds collided. As a producer as well as a drummer, Deitch is well of the importance of giving talented collaborators a comfortable place to do what they do best. His familiarity with everyone sharing the stage with him was obviously a source of joy, and his eagerness to lay down a solid foundation for his friends to let loose upon was a testament to his skills and lack of ego.Bassist Jesus Coomes blended his trademark thumping, infectious bass lines with the deep drops and loops programmed in by Lee. The Blue Nile has a deceptively deep sound thanks to speakers hidden in the stage itself that pumped the fat bass lines directly into the crowds nether regions, inspiring a rather sensual response from the packed crowd. Lettuce’s brass section, The Shady Horns A.K.A. Ryan Zoidis on sax and Eric “Benny” Bloom on trumpet each brought a unique addition to the show. Zoidis used a variety of effects to paint dark, psychedelic overtones on the songs, coloring outside the lines and beyond the more straight forward approach he normally takes. Bloom on the other hand cut through the wall of sound effortlessly with his trumpet and used his natural exuberance to connect with the audience and elevate the energy with his antics.Guitarist Adam “Schmeeans” Smirnoff worked himself into the mix with remarkable restraint that showed a sense of surety in his abilities that allowed him that has come with years of playing in a large ensemble like Lettuce. His smooth rhythm style the fleshed out each piece, with the occasional screaming solo line that reminded the crowd just how much he could do if he wasn’t fulfilling a more focused, supporting role. As each song flowed into the next, the musicians all found new ways to pass the baton between each other, no one player dominating for more than a moment or two.Jazz Fest sees dozens of rare combinations and collaborations each year, but few that come off as seamlessly as the Break Science Live Band show did last night. The instrumental selections driving combination of funky grooves and entrancing beats seemed to be exactly what the audience needed, s a packed house was locked in a unified dance energy that only stopped when the early show was forced to end so that the room could be cleared for the separate late night show. It was a pity that the night had to end, as the band and the fans clearly could have kept the love vibe they were sharing going to the break of dawn. But in the end, beauty is defined by limits. For one incredible set of music a group of musicians kept themselves in check, serving the sound instead of their egos, and the result was a whole far greater than the sum of the parts. Load remaining images
Beloved jammers The String Cheese Incident continue to share new material from their newest creation, the SCI Sound Lab. The Sound Lab is the band’s first-ever self-operated studio space, allowing for maximal songwriting and production creativity.The Sound Lab was introduced in the form of a three-song EP recently, with the promise of more new music to come. The band has just delivered on that promise, sharing the Keith Moseley-written new single, “Get Tight.” With Tyler Grant providing some tele picking on the track, it’s a perfect track in time for summer!You can read our interview with Michael Kang to get a complete sense of what the SCI Sound Lab is all about! Stream the new single, “Get Tight,” below.
Just a couple months ago, The String Cheese Incident announced a brand new studio project called the SCI Sound Lab. As guitarist Michael Kang explained to us in an interview, the Sound Lab was the band’s first-ever studio owned and operated entirely by themselves; a creative space for SCI and its band members to not only create and produce new music, but to release said music to the fans with immediacy.Among the band’s members, none has taken more of a shining to the Sound Lab than Kyle Hollingsworth. The keyboardist has worked on a number of singles with SCI, and released a series of his own solo band music through the new creative space. Hollingsworth has had a prolific summer, sharing fun songs like the Grateful Dead inspired “Tumbling” and the funky “Let Me In.”Today, we’re delighted to share the third and final in Kyle’s Summer Sounds From The Lab playlist series. Titled “So Fine,” the keyboardist tells us about the inspiration behind the track: “This is a song that KHB worked up in the new SCI Sound Lab. I grabbed Keith Moseley to help finish up the lyrics. It’s a bit of a happy-end-of-summer tune. Yes…Sorry…Sometimes I write happy songs.”Listen to the premiere of “So Fine,” streaming below exclusively via L4LM.The String Cheese Incident finished their summer tour last night at Brooklyn’s Kings Theatre, and will spend the next few months working in the studio before their Hulaween festival in Live Oak, FL from October 27-30. The band’s only other scheduled tour dates for 2016 are a New Years run at the 1stBANK Center in Broomfield, CO, as the group aims to work on creating new music throughout the rest of the year. Of course, Kyle Hollingsworth has a few dates of his own on the books, including his annual Hoppy Holidays benefit on December 3rd! Information about that Conscious Alliance event can be found here.As a bonus, here’s Kyle telling fans about his new single!
This past Thursday and Friday night, Prescott, AZ’s electro-funk masters Spafford came into town for a strong two-night stand to kick off their tour on the right note. Thursday saw support from Bozeman, MT-based jamgrass outfit the Kitchen Dwellers at The Fox Theatre in Boulder. Both acts, that come from different ends of the jam spectrum were put to the test, and passed with flying colors.The Dwellers played a solid set, debuting new material off their forthcoming album that is produced by Leftover Salmon‘s Andy Thorn, who also joined the band on stage during the latter part of their set. Kitchen Dwellers are playing NYC’s American Beauty on Friday, November 11th (get info here).Spafford highlights from the first night included an uber-funky “Electric Taco Stand” and cover of swamp-rock master JJ Grey & Mofro‘s “On Fire” into “Galisteo”. It was a solid opening night, that saw the four-piece locked in, cohesive, and fully prepped to bring serious jams to the table.Kitchen Dwellers w/ Andy Thorn:Spafford “On Fire” (JJ Grey & Mofro cover):By the second night, the band was pumped up and firing on all cylinders, bringing a packed crowd to Cervantes Masterpiece Ballroom in Denver. With two lengthy sets, the band was able to exercise their full potential, jamming to perfection for nearly four hours. Set one was highlighted by a trancey dance jam on “Ain’t That Wrong”, followed by a double time version of the Red Hot Chili Peppers‘ “Soul To Squeeze”. By the second set, Spafford had longtime and new fans hooked, building strong, patient jams on “People” and later on set closer and fan favorite “Backdoor Funk”.Spafford Cervantes Other Side Set 1:Spafford Cervantes Other Side Set 2:Kitchen Dwellers Setlist – The Fox – 9/22/16Farmers Son, Colder Nights, Auggie Visions, Broken Cage (New Song), Five Candles, Reuben’s train*, Up on the Hill Where They Do the Boogie*^, This Time> No Diggity+* with Andy Thorn in fiddle^John Hartford Cover+Blackstreet CoverSpafford Setlist – The Fox – 9/22/16All In, Electric Taco Stand, Slip, On Fire > Galisteo, America, The RepriseSpafford Setlist – Cervante’s Other Side – 9/23/16Set One – All My Friends > Bee Jam > Windmill, Into The Mystic, Ain’t That Wrong, Soul To Squeeze, The PostmanSet Two – Red’s Jam > People, Plans > Down Under, Todd’s Tots, The Remedy > Down Under, Backdoor FunkEncore – Hollywood > In The Eyes of Thieves[The Fox photos courtesy of Peter Wallace @ Wallyography – Instagram: Wallyographypw][Cervantes photos by Randhir Bayers] Load remaining images
Just before retiring for the morning nap, we heard the faint throb of bass rumbling within the RV campgrounds. We stumbled upon the unthinkable, a mobile nightclub in full effect at 7am. I followed the sound of thunder, until we embarked upon the renegade Venus Tour Bus. What transpired played out like a dream; a crunkalogic surround-soundsystem thumping beneath the vessel, as the steeziest individuals on the festival grounds raged a bamboo dancefloor, outfitted with a stripper pole, crawling with beautiful bodies, all of whom strutted the sunrise up over the horizon. DJ Guidance was purveyor of the tectonic soundtrack, ushering in the haziest shade of morning beneath a warm California sun. In what might be my single favorite forward of the weekend, dude dropped Buju Banton’s “Champion” atop some brutal booms n’ claps, the natives were once again restless; and I had to tip my Kangol to Rich Cruz and the Venus Tour Bus crew, for they had heroically harvested the truly epic. Photography courtesy of Jacob AvanzatoGoing back to its embryonic 2005 incarnation, Symbiosis Gathering has evolved exponentially in scope, attendance, and celebration. Over fifteen thousand participants flocked to the picturesque Woodward Reserve in Oakdale, California to revel in a carnival of music, art, community and debauched fun. Surrounded by this breathtaking natural expanse, the people of Symbiosis became an afghan of electric and organic styles, this Mad Max reality born of an ancient tribe, with frenetic fireworks of unabashed artistic expression exploding into the stratosphere. Symbiosis marks the end of the long and winding summer festival season that, by the end of four days on the lake, almost forgets where it might have began.The beginning of the event could be described as a nightmare, with disorganized infrastructure, and entry lines up to ten hours, causing this writer and his team to miss a considerable amount of Thursday’s daytime activities. Getting things started has never been this event’s forte, but this year it seemed particularly difficult. That said, throwing an affair of this magnitude is an ambitious endeavor, and the producers should be commended for focusing on the art and the experience, even if it means a struggle to turn the engine over. Because once the motor started purring, this festival revealed itself to be an ensorcelled expedition deep into the annals of this counter-culture and its ceremony. The many tentacles of this musical community diaspora seemed to coalesce in a beautiful symmetry. Artists, builders, producers, movers, shakers and shamans from Bass Coast to Envision Festival and all points between, united the clans to erect and ignite this grandiose gathering.Like any “transformational” event worth its coconut oil, Symbiosis is so much more than the tunes. In addition to an eclectic, gargantuan musical menu, several hulking art installations from Burning Man reappeared on the sprawling festival grounds in stupendous grandeur, as well as art cars like The Front Porch, and baby dragon Hssiss, of Abraxas lineage. The marvelous music stages were galaxies all their own, massive displays of imagination and empirical execution. There was education, inspiration, and a more than a bit of indigenous appropriation strewn in any direction, the mark of Burner tradition was an indelible imprint. For the final year at Woodward, it was again the festival’s landscape that was the diamond in the rough, a choking dust and its desert environs combined with a freshwater lake to create a definitive juxtaposition, and beneath the illuminating moonlight and within jubilant sunwater could be found the apex in West Coast festivaling. There was anarchy, there was spirituality, psychedelic adventuring, and high-brow dialogues, all amidst some good, old fashioned rabble rousing. Symbiosis showed the world that it is among the best in arenas of revelry, celebration, and shenanigans.Outside of the music programming and big art, the jewels abound were innumerable and nearly impossible to catalogue. The Village was dedicated to progressive workshops and education, every Yoga practice imaginable, discussions on sustainability, community building, and pertinent global issues. With areas like The Hub, Nourishment Lab, The Parlor, Hacktivist Village, Movement Shala, Placemakers Teahouse, Elemental Altars, and Permaculture Plaza, the opportunity to level up was ubiquitous. Entire worlds of culture and participation were created and then enchanted. From Ayurvedic consultation to a vibroacoustic sound lounge, Cranialsacral Therapy to womb massage, The Village left nary a stepping stone unturned. We learned of “Music as Medicine of Our Time“, or about “Re-inhabiting the Village“, of “Conserving Biodiversity” or “Drugs, Sex, and Arachnids.” These type of offerings often prompt the use of the term “transformational” when discussing West Coast festival culture, much to the chagrin of Symbiosis organizers, yet this event offered myriad options for self-improvement, self-awareness, and there is no shame in the game of bettering one’s self, and our planet. It would be naive not to acknowledge the immense influence that Burning Man has on this so-called transformational festival culture. Both Lightning in a Bottle and Symbiosis Gathering espouse the ideas, ideals, values and ethos of That Thing in the Desert, but it is the latter, which normally takes place in the weeks after the Burn, that feels like the truest extension of Burner civilization. At Symbiosis, you bring your own food, booze and supplies en masse, self-reliance is crucial, especially given this disorganization and chaotic energy that permeated the event.As for the inevitable waste created at such a gathering, the idea is to pack it out – and leave the land as it were upon arrival. Sadly, like LIB, the Symbiosis massive let the garbage get away from them, and the grounds were often in disgusting conditions from the refuse that lay about. Too many people left too much behind, despite the fact that there was a sorting facility set up on the way out of the event. Many participants were disappointed in the disaffected approach some took to the “pack it out” directive. It goes to show that despite it’s best intentions, this community has a long ways to go as it pertains to “walkin’ it like they talkin’ it.” Saturday was bright and beautiful weather, with a breeze coursing through the dusty air. It was astonishing to take in all of the visual stimulation and art on display in the glorious sunshine. Among my favorite creators were The Wood Vibe Tribe, located at Silk Road, represented by Brad Rhadwood, and hailing from British Columbia. Their progressive form, called intarsia, uses reclaimed or salvaged wood to create paintings without using any ink, paint or stain. Android Jones‘ digital art galaxy dome hosted his transcendental project Samskara, which wowed folks with virtual reality and fractalizations that dwarf anything most of us had ever seen. But the most impressive works of art for this writer were the jaw-dropping music stages: headliner area The Fringe, created by Vita Motus, the floating Lighthouse on Atoll, by Drift Crew, and the astro-turfed dance rage Juke Lagoon by Dalabil. Sensational installations like The Luminescent by Hybycozo, and Empire of Love by Brent Allen Spears consistently stopped people in their tracks.Early Saturday afternoon, as rays glistened the scantily clad, we ventured down to The Other Stage, a different floating art-boat, while Bay Area producer on-the-rise Aabo delivered a tasty set of future sounds, before giving way to his pal, the enigmatic Lafa Taylor, who DJ’d a set of classic golden-era hip-hop joints. From there we did about as big of a 180* as possible and returned to Silk Road for the fantastic Fanna Fi Allah. The Sufi Qawwali devotional music was majestic at midday, the most authentically spiritual songcraft we encountered underneath the family tree.Random Rab is among the most revered and celebrated artists in this festival’s storied history, an integral part of its fabric and family; his Saturday sunset serenade at Swimbiosis was yet another scintillating journey for the ages. Pulling out classics like the now-elusive “The Reflections” while a goddess mermaid, naughty princess, and yoga empress pranced the stage; the sun raced over the horizon, and Rab delivered a mammoth set of mystical proportions, a harbinger of the magic by moon to come. At about 2am, he reappeared in the Family Circus tent, soundtracking the Vau de Vire performance troupe while they left jaws agape. Mr. Clinton blessed the dancers and the gawkers with “Transmissions from the Moon,” and a MOUR track satiated even the most jaded West Coast vets.As night fell on Saturday, globalized swashbucklers Delhi 2 Dublin went head to head with Rising Appalachia (who’s first engagement featured a choice sit-in from members of Dirtwire). At The Fringe, Perth, Australia’s post-trip hop autuer Ta-ku dropped an astonishing set, eschewing the traditional DJ setup for a live-band transmission system, a welcome respite from the norm. Regan Matthews built some of his set around the (m)edian EP, employing a sparse yet effective keyboardist, drummer, and vocalist; Ta-ku himself was no slouch on the singing either. After a brief-but-enthralling run of seminal Go-Go funk that played over the PA, Santigold took the stage in full regalia and surrounded by bumping live band. She came out of the gates with a fury, unleashing a riotious “Chasing Shadows” that was gurgling Bhangra-crunk, yet from there her satirical blend of indie-rock and model-shtick lost more than a few. Young NorCal lion CharlestheFirst was sizzling at Silk Road, and our krewe was forced to double-back for a few psychedelic, hip-hop inspired jams from this kid, who is now definitely on the vibrational radar.Oakland masked mavens Dimond Saints commandeered the Family Circus tent at the stroke of midnight, and what transpired was positively phantasmagorical. Continuing the development of their enrapturing live-instrumentation, in concert with the duo’s magnetizing, occultish, future-moon music, Releece and an-ten-nae cemented their meteoric ascent to the pantheon of avant-garde with a demonic ritual. Tuba, trombone, Sica drum, and haunting violin (courtesy of HÄANA) were lavish layers to the Prism in the Dark, embellishing the dark magus duet. Vocalist Yaarrohs, full time magician/part time panther, induced the spells in matrimonial white, coalescing with the stygian aura that hovers above the Saints. Later she returned sans bridal veil, and blessed the assembly with an impassioned “IDGAF.” This evening would be yet another dose of pure, unrivaled, intravenous sexy in what is quickly becoming the Dimond District tradition, and the Symbiosis dance-massive responded in biblical fashion.After the brief, secret Rab set blew our minds and infused our wearying souls, we mosied on back over to Silk Road for a rollicking live-band performance from Dirtwire. Beats Antique’s David Satori, Stellamara’s Evan Fraser have combined to deliver a fresh take on electro-folk, and the wild wild West never felt so much like home. The squad they assembled for this pair of performances at Symbiosis only furthered the buzz that has surrounded Dirtwire for the past couple of years, and we lapped up the gris-gris they served from the back porch of Americana’s future. At the stroke of 4am, there was only one game on our minds, and that was BOGL; the venerable Soundpieces bossman is among the most thorough and forward-thinking artists in bass music today. Despite the Funktion-One volume being turned down a bit in the circus tent, Griffin March will not lose, ever. Piling on heaping portions of high-falutin’ womp, the underground dance community showed and proved en masse, while BOGL put heads to bed with domineering authority.Bed? This posse was nowhere near ready to rest, and instead it would be British wizard-king OTT who would broadcast atypically over-the-top content to bring in the Silk Road morning. The jolly giant’s mix of psybient dub, ethnic electronica, and rotund, elastic grooves were squishy lily pads for the multitude of cosmonauts looking rest their wings. Still not satiated, at about 7am our now-swollen squadron again arrived at the infamous Venus Tour Bus, where Oaktown’s dread necromancer TreyZilla was conjuring up the renegade rage, as he’s guaranteed to do whenever he steps on the set. Putting nails in the Trap coffin, and banging it shut with galactivated rebar, Trey Martinez danced on the grave of what’s tired and played, and cracked a window open to new and alien galaxies. After glorious morning spent tip toeing in some Jordans, mad spunions running through the six with no woes, it finally dawned on me: Venus is life.Somehow, the dancehall gods delivered me to Swimbiosis minutes after high noon on Sunday; just in time for the rugged yardie sermons of Portland soundbwoy du jour, PRSN. Mixing bangin’ hip hop drums and samples with rudie swagger, at once something serious and sincere, Bryce Howell ushered in the final day of Symbiosis in proper hot-skull style. There was no shortage of strong music options on Sunday afternoon, no matter what your flavor palette or funky preference. Women ruled the roost at The Other Stage as HÄANA shared her Nordic femtronica elixirs, while Tara Brooks and Rachel Torro pumped the beach full of sweltering, divine deep house. The Fringe welcomed New French House phenomenon FKJ, who dripped his scrumptious juices all over the keyboards, saxophone, and electro drums, the silky smooth, luscious grooves went down the hatch. Next up on this main stage was A Hundred Waters, an eclectic band from Gainesville, Florida that combined organic and electronic elements for an ethereal sound, their vibe wrought with a tangible emotional quotient. The audience danced in a hushed reverence, as Nicole Miglis‘s charming flute melodies and saccharine vocals were spectacular.Late in the hottest afternoon of the festival, Rising Appalachia appeared in the circus tent, and it was at once revelation and revolution. Sisters Leah Song and Chloe Smith, and their trusted compadres Biko Casini and David Brown led the congregation on yet another Second Line parade through the filthiest and dirtiest of Southern hymns and harmonies. Anthony Flowers Ward crafted his usual kaleidoscopic visual accompaniment with a vast array of floral splendor, as flow artists and dancers atop aerial silks enraptured an awestruck audience. By the time Rising Appalachia had concluded a Bayou romp through the gospel traditional “I’ll Fly Away,” there was nary a dry eye in the circus. The closest thing to jamband vibes were found within the guitar-driven, rubber-band jams of OTT & the All-Seeing I, while over at Juke Lagoon, Gaslamp Killer was bringing a gritty and aggressive brand of psychedelic dance energy to a raging contingent of night owls.Among the most discussed headliners booked this year, FKA Twigs did not disappoint in her Sunday night slot. At times meticulously choreographed, others wild theatrics with reckless abandon, the vocalist, soothsayeress, and movement icon pranced around The Fringe stage with prismatic grace. Her music could be somber, plodding, and also electrifying and excitable. Almost as impressive as her musical art was the visual stimulation that dominated her performance. Meanwhile, at the Family Circus, another epochal artist was leading a veritable séance of sorts. The Desert Dwellers Live Experience was a prodigious display of spirituality through sound, song, synchronicity and emotion. Meditative, palpitating beats from Treavor Moontribe and Amani Friend were augmented by the breathtaking Marlowe Bassett (of Metamorphosis Ballet), HAANA, Tammy Firefly and Soul Fire, among other collaborators. The result was nothing short of spine-tingling, as many shared in a final dance shwirl to close out the festival.This krewe was in need of a soft landing, so we dragged a horde of blankets, pillows, and juicy vibes up to Silk Road. We chose to collapse in an enormous cuddle puddle, as the psychedelic soundscapes of Tropo, led by Tyson Leonard, assisted us in circling the runway. To bring it on home, Silk Road was blessed appropriately enough by Vir Jam, a vigorous, spiritualized world music session that employed the talents of Hamsa Lila frontman Vir McCoy and beloved Santos y Zurdo/Patterns bassist Luigi Jimenez. After a weekend spent swimming in a freshwater lakes of Funktion-One thump, it was only right to shut it down with an organic sound, and these boys brought it, from faraway funk-to-table by way of our hearts.And so comes to a close the 2016 West Coast festival season, another one for the history books, and apparently the music blogs, too. Symbiosis Gathering 2016, despite the hiccups and frustrations at the start, remains the stardog champion of this festival scene and culture. Clearly, the producers are not motivated by profit, but instead empowered by the epic, and for better or worse, it shows. It is abundantly clear that this community remains vibrant, and the event is still very relevant to the movement and its missions. We can only daydream as to what may happen next summer when Symbiosis pulls up stakes and hops a northbound train, all aboard for Oregon Eclipse 2017.Thank you Symbiosis Gathering. Your intent is our delight.words: B.Getzphotos: Jacob Avanzatovideos: Dan LaDue, Galactic Seabass, WRD Media, Dr. Bruce Damer, jJice Early in the evening, we ventured over to the Movement Shala, where the Boss-of-Bosses [Clever Alias] was holding court. From dubstep to the dancehall, Dan Laureano blessed up the masses with his bracketology, a potent and primordial blend, sending us off into the night with ample pep in our step. Headlining sets from Gramatik and Beats Antique at the magnificent The Fringe drew enormous crowds, and served to release the festival’s aready pent-up energies. Festival-wide, it was a clash of the titans, as Claude Von Stroke went head to head with Ivy Lab, before Atish hijacked the concupiscent whip with deep housequake into the night.Just before the clock struck midnight, Baltimore’s super heady spiritual gangster SOOHAN dropped a Silk Road set that will not soon be forgotten. Mashing up two decades of pop music culture atop a bombastic blend of 808s and ancient sounds, the rising star laced a libidinous dance session that sent the teaming masses into a maniacal tizzy. Morillo hit at Silk Road late Friday after 4am, and the charred remains of SOOHAN’s seismic slaying were still smoking. The Miami based producer soaked the people in drippy, glitchy, galloping movements, gurgling basslines beneath patios mantras and obscure samples, tribalizing riddims amidst snake-charming melodies. Anytime there is a new-agey, “transformational”, Burner-centric event, some comic relief is certainly in order; Symbiosis had no shortage of such hilarity, places like The Living Room were central to such shenanigans. Elsewhere, exploring the guru phenomenon with some tongue-in-cheek humor, JP Sears and Kumare had people in stitches with their convoluted yogi-isms and pseudo-spiritualized rhetoric. “Man-Tease”, a mobile stripping container, was Magic Mike on acid, brought to you by the folks who delivered Psychedelic Friendship Bingo in years passed. Fed up with the flat-earth nonsense? Dr. Bruce Damer hosted a panel discussion that belittled this silly scientific detour, a controversy that has prompted much derision and made for great guffaws aross the globe. Despite the plethora of non-music options at our fingertips, for the final festival of this season, I consciously broke from the usual modus operandi, and focused my experience almost solely on music and dancing, making space for human connection and conversation, but little else. Every so often I reminded myself to hydrate, and for nourishment, as we strategically planned naps as to maximize the opportunities to achieve dance Zen one last time this Indian summer bloom. I recognize that this reflection is in no way a complete rundown of this titanic event; instead, here is a small sampling of the music enjoyed at Symbiosis Gathering 2016: Family Tree.Thursday was a wash for a large portion of the festival, as many people were stuck in the snaking traffic lines for the entire day. With the music ending at midnight, we were lucky to catch a portion of world renowned deep house champions Bedouin at Silk Road, a real life anachronism built by the folks behind LIB’s The Grand Artique. In lieu of Frontierville, the creators manifested a Middle Eastern bazaar of sorts, with merchants serving tea, elixirs, and period specific art and aesthetics. Silk Road would be the site of several remarkable music performances over the course of the four days. From Bedouin’s pulsing Persian rumblings it was on to The Grotto for a set of primarily new music from an-ten-nae. The Oakland bass-boss delivered a series of slow, throbbing jams from his forthcoming solo album Medicine.Friday afternoon saw a Desert Hearts takeover at Swimbiosis, and it was a whirlwind wave of color, dance rage, and undeniable untz, as the entire crew of Mikey Lion, Lee Reynolds, Deep Jesus, Marbs, and Porkchop showed up; the mission was to move the crowd, and it appeared accomplished by day’s end. Imagine relentless, swanky deep house grooves, trippy Playa-tech jams, and some four-on-the-beach beatscience; this was a five hour tour of non-stop pulsating beats and beautiful people frolicking in the water, while an in-the-round stage incorporated a beach landscape and shady grove. All day everyday, the lakefront playground of Swimbiosis went off! Across the way, at the astonishing Atoll lighthouse art boat, British Columbia bass mistress The Librarian was setting things off, and for a moment, the floating stage had to be evacuated. The chaos was apparently due to Ms. Andrea Graham‘s ratio of bounce-to-the-ounce, which had the people going way too hard; this ancient lighthouse structure could not host such a level of rager. Thankfully, shortly thereafter, the boat got things (relatively) together; Andreilien took to the Atoll decks and delivered a hair-raising hour of boom-bap thump. Post-dubstep glitch buried in golden-era hip hop drums, evidence of an exciting new direction for this legend.
Photos provided by Romy Santos @ Slightly Skewed Photography.Full Show Mixcloud Audio provided by CHeeSeHeaDPRoDuCTioNS in conjunction with Daniel Nolan. After a brief intermission, Leeds, UK-based funk outfit The New Mastersounds turned the heat up quickly opening with “Monday Meters” and then moved the crowd through a series of instrumental originals. During their set, the band invited special guest flautist Kofi Burbridge of the Tedeschi Trucks Band to lend a hand in covering “Confusion”, a tune written by American jazz guitarist Boogaloo Joe Jones. Featuring Eddie Roberts on guitar, Pete Shand on bass, Simon Allen on drums and Joe Tatton on keys, some of the other highlights of The New Mastersounds’ Fort Lauderdale set included “Summercamp”, “Vandy” and “The Minx”.Towards the later part of their set, The New Mastersounds welcomed out the Turkuaz horns for “Hey Fela!” before moving into “All Wrapped Up” with Turkuaz’s Greg Sanderson on tenor sax and special guest keyboardist Adam Scone from Mofro. The band then closed out their Thursday night performance with NMS classics “Baby Bouncer” and “Nervous,” prior to the encore.The grand finale of the show featured both bands teaming up as “The New MasTurkuaz,” playing “The Rules” to put an exclamation point on a stellar evening. “The Rules” was featured on the two bands’ Split 7″ EP album released last week, which saw each band record a cover of the other’s material. Watch the studio session video for “The Rules” here. You can see the song come to life in the video below.The two-band dance party will make its way throughout Florida this weekend, and also has a very exciting performance scheduled at NYC’s Terminal 5 on December 2nd. More information about that show, as well as the tour, can be found here. Full audio from the night can be streamed below. The groove heavy New Mastersounds / Turkuaz Tour made its way to Revolution Live in Fort Lauderdale, FL on Thursday night, October 20th – the first of a funky, three night weekend run through Florida.Nine piece Turkuaz, led by front man Dave Brandwein with backing vocalists Sammi Garett and Shira Elias, kicked the evening off in spectacular fashion and worked their way through a series of dance-heavy originals. The set also featured the group’s infectious Talking Heads cover “Slippery People”. The groove continued as the band broke into some of their more popular tracks including “Nightswimming”, “Coast To Coast”, “Everyone’s A Winner” and “Bubba Slide”, before ultimately closing their 75-minute set with a stirring rendition of the Dave Mason classic “Feelin’ Alright”.
In a message to fans on Insomniac‘s website, founder Pasquale Rotella announced, among other news, that Electric Daisy Carnival will not be returning to New York in 2017. After five years on the East Coast, the EDC will not hold a New York event in May. Instead, the EDC team is focusing on the original Las Vegas version of the premier electronic music festival (set for June 16th-18th, 2017) as well as expanding the event on the international stage (EDC Japan is on the books for 2017). You can read Pasquale’s statement about EDC New York below, or check out the full message here.“Although EDC New York 2016 was one of my favorites hosted in the Big Apple, we’ve decided to take a break in 2017. We hope many of you East Coast Headliners will join us in Vegas. We’ll have an art car sound system paying homage to New York DJs past and present. As I write this, I’ve gotta mention all the hard work and creativity going into the completely reimagined kineticFIELD, as well as an entirely new additional stage. The team and I are energized about an epic EDC Las Vegas 2017!”For tickets and information about EDC Vegas, head to the festival’s website.
With just 10 minutes notice, Chance the Rapper took to Facebook Live to unveil the world premiere of his newest music video. The song of choice was “Same Drugs,” a track featured on his 2016 album Coloring Book.Chance explained that many of the other social media channels, including Snapchat, Instagram, and Twitter, wouldn’t allow him to share the previously recorded video using their live services. Thus, he went with Facebook for the premiere, which garnered thousands of views in its first showing just moments ago. The video emerged on YouTube shortly thereafter, for fans to enjoy at their leisure.Watch the beautiful new video, posted below.
Load remaining images Load remaining images Last night, Electron and Tom Hamilton’s American Babies took to New York City, where they played the Highline Ballroom. The show, originally scheduled for the B.B. King Blues Club took over the new venue, with the American Babies putting on a stellar set to get the crowd primed and ready for Electron’s headlining the performance. The supergroup, composed of the Disco Biscuits’ Marc Brownstein and Aron Magner, Lotus’ Mike Greenfield, and Tom Hamilton of the American Babies and Joe Russo’s Almost Dead and branded as “The best band that doesn’t exist,” lived up to the hype they’ve steadily built despite the scarcity of times the group has been able to come together to perform. You can check out photos from last night show below, courtesy of Stephen Olker and Andrew Blackstein.