The rapidly growing festival, which is scheduled for March 21-22, 2013 at Mardi Gras World in New Orleans, will feature headliners the Flaming Lips, David Guetta, Ellie Goulding, Kaskade, Zedd, Chromeo, Explosions in the Sky, Tyler the Creator, Phantogram, Pusha T, The Glitch Mob, Danny Brown, Seth Troxler, and Wavves.
BUKU, now in its third year, is expanding its offerings to include some of today’s most sought-after acts spanning the electronic, hip-hop, rock, pop, and indie genres.
Local talent will also be on the bill. Among the initial announcements are performances by Big Freedia, Generationals, Gravity A, and Big History.
“My interest in vinyl started pretty late. I have always been a huge fan of music and have always explored new artists but I never really cared about the medium with which I listened to the music through. To me it seemed like it was all going to end up on my iPod anyway, so it didn’t really matter; however, when I started learning more about the music I was listening to at the time, artists like DJ Shadow and Four Tet, I realized that the unique sound these producers had came directly from the use of vinyl in their music.”
“As a musician trying to make music on the computer, the practicality of vinyl was something you couldn’t beat. I didn’t have enough money to buy nice studio gear, but I had enough to start a small collection of vinyl records to begin sampling from.
Since then I’ve started looking for records based on their use to me as a producer. The more obscure an album is, the better. Often times all I was looking for was a small portion of music where there might be an instrument alone that I could rip off the recording and manipulate on my computer.
“We had the great pleasure of working closely with an incredible director, Marta Dymek on this video.”
“It was somewhat of a serendipitous pairing between the song and Marta’s concept, which she had brewing for a while, waiting for the right opportunity. I’d been a longtime friend and fan of Marta’s work for years and one day we got to catching up. I shot her the rough mixes of our EP back before it had been released. Then we had a moment that went approximately like:
Marta: Dude, The Salt. MUSIC VIDEO.
Me: Dude, YES.
Graceful, I know. And then we went straight into caffeine-induced, full fledged brainstorm mode on how we could make it happen. We made a crowdfund and presold the album to push the video as far as we could go. We had such humbling support from the community, friends, and local artists volunteering talent toward helping us to make it happen. I can’t even begin to explain how grateful I am.
Fa, la, la, la, la, it’s holiday time again and what better way to celebrate than with FYM Productions‘ EIGHTIES MAYHEM—Super 80’s Holiday Extravaganza Dance Party! Last year’s holiday party was such a blast, they’re doing it again. Let’s get festive!
If you’re into B-sides and lost ’80s gems come early; doors are at 9:30. The bangers start a bit later and the party is in full swing by 11. You can expect to hear everything from new wave to alternative to brit-pop to hair metal amongst your fave ’80s pop hits.
Here is a list of 7 Holly Jolly ’80s Holiday Jams we will be spinning on Saturday:
Waitresses – “Christmas Wrapping”
Chromatone’s latest EP “Touchdown” is a pure pop offering with a silky smooth injection of soul. His most recent single ‘Flyin,” taken from the EP, has already amassed 150,000 views in 4-weeks and it’s clear the people want their pop—and Chromatone is making it his mission to give the people what they want!
The EP kicks off with “Alien,” which is also the next single set to be released from “Touchdown” in January 2014. The track is awash with slickly produced sounds and melodies, like a hodge-podge of pop noise with Chromatone’s vocals holding everything in place. The most irksome element of “Alien” has to be the very outdated 90s orchestra hit sound that can be heard throughout the chorus.
It’s second track “Flyin,’” that really knits the whole EP together, by far the strongest track and a damn fine pop song. Natty Speaks features on both this track and “Alien,” and although his contribution was probably needed on “Alien,” “Flyin’” could have done without Natty’s interruption—this is a great track on its own. Ending with “Joyride,” we get back to the more generic dance pop of the ’90s, however, Chromatone slows the pace here showcasing his RnB roots.
Live at the Cellar Door is the latest entry in Neil Young’s Archive Series. While it’s certainly a must for his hardcore fans, the set is also engaging enough to be of interest to more casual listeners. Recorded late in 1970 shortly after the release of After the Gold Rush, it paints a vivid portrait of an essential rock figure before his fame had been completely established.
Neil Young’s edging up on a half century of artistic vitality. Unsurprisingly, it’s a run of productivity that features an unusual number of highpoints along with a sprinkling of a few rough patches, but while far from unprecedented his stature ain’t exactly typical either. Most musicians are lucky if they remain relevant for five years, much less across the span for five decades. And from this vantage point it can be a little difficult to remember that in a solo context Young underwent a substantial period of development.
The studio albums do bear this out, and yet because of their status as the early and quite successful motions of a true great, this growth can still be easily misplaced. For instance, his at times very strong but ultimately less than classic ’68 solo debut Neil Young is often overlooked, with the omission perhaps reflective of its lack of chart status upon release.
It came directly after the ending of Buffalo Springfield and prior to his first great solo disc, ‘69’s Everybody Knows This Is Nowhere, and those who do engage with Neil Young, this writer included, often chalk up its minor qualities to errors in judgment related to presentation and production. Giving the record a fresh listen bears out these assumptions.
The first time I saw Black Joe Lewis was at a Christmas party at the Granada Theater in Dallas about six or seven years ago. He wasn’t signed to a label, and I remember my friend Mike Schoder, who owns the venue, was raving about this new guy from Austin who sounds like James Brown crossed with the White Stripes. I was completely blown away. With his band The Honeybears, these guys combined blues, soul, and garage rock into one hell of a powerful live show.
Fast forward several years and three albums later they continue to do just that. Touring in support of their latest release Electric Slave, Black Joe Lewis has dropped the Honeybears and taken the guitar up a notch. “Electric Slave is what people are today, with their faces buried in their iPhones and the only way to hold a conversation is through text,” Lewis explains in the album’s press release. It’s bound to be on many end-of-year top album lists and rightfully so. It’s a bit less heavy on the funk but still a formula for sounds that only Lewis is capable of.
This night at the Fillmore, though, would be a different type of show as Lewis had broken his foot and was kicking out the jams from a chair. Nonetheless, it didn’t seem to faze the audience or the energy in the legendary ballroom. Highlights from the show included the new single “Come to My Party” as well as classic material “Sugarfoot” and the crowd pleaser, “Bitch, I Love You.” Another highlight was the surprise guest on tenor sax, Steve Mackay (Stooges, Violent Femmes), who stepped in for a few.
Known for their work in soundtracks and having more lineup changes than one can count on two hands, Italian progressive rockers Goblin are finally bringing their live show to North America for the first time ever. It just happens to include a stop at the 9:30 Club this week.
Often compared to the likes of other progressive music giants such as Genesis or King Crimson, Goblin rose to fame through frequent collaboration with Italian horror filmmaker Dario Argento. They contributed many recordings to his films, while struggling to keep a consistent lineup and remain credible. Having had on-and-off reunions since 2000, a latest incarnation in the band is ready to venture into North America after forty years of playing.
This tour will see the band perform all of their classics, including selections from the scores of Deep Red, Suspiria, Tenebrae, Roller, and more. Other famous scores that have never been played live before will be dug out from the vault to treat audiences on every North American date.
Goblin will be taking the stage at 9:30 Club on December 13, and we have a pair of tickets to send you on your way to take in this progressive rock spectacle.