Immediately recognizable by her unique style and long jet black hair, Live for Live Music spoke with Audrey Napoleon in the midst of Camp Bisco craziness this past Saturday. Touching on her new single “Dope a La Mode,” her many other artistic side projects, her thoughts on genres and new music to come.You’re currently promoting your new single, Dope a La Mode, how are things going with this is it being received the way you’d hoped?Yeah it is, it’s being received as a piece of art, which is perfect for me because that’s the only way it should be received. It was a film that I really wanted to do to express my version of a love story really and I wrote the whole treatment for it so yeah, it’s being received really well.The music video for it is awesome, it kind of makes me think of a wild twist on Madonna’s “Like a Virgin” music video. Was there a specific inspiration behind it or a message you were trying to convey?Aw thank you. The inspiration behind it came from where a lot of my ideas come from, which are my nightmares. My nightmares and my dreams. I don’t know if I’m to convey a message, so much as a beautiful piece of art as a whole song with the film.You describe your sound as underground pop. Can you explain this classification?Underground pop is a name that I created for what I’m doing. Mainly because I feel like to put something into a genre is a bit ridiculous because genres are always in flux. One day it can be trance and the next day called progressive. I just decided to wrap one big word around it and call it underground pop because it’s kind of the in-between of the entire spectrum.The release of your last EP Ornamental Ego’s was around this time last July. Although you’ve released some banging singles since then can we look forward to a new album soon?Oh it was! July 24th. And yeah, I’ve actually written four other songs that I’m singing on as well, I play two of them for you guys today, their in the middle of my show. It’s always very scary playing something I haven’t done before. To hear my voice that loud, it’s a bit nerve-wracking, but I’m not sure if I’m going to do it as singles yet or if I want to do it as an EP. However, I’m always open to it if art leads me there. It’s all what the art tells me to do.Do you have a favorite song to play to right now to really get the crowd on its feet?I reckon my favorite song to play would be “Poison” the Jupiter Ace remix. I love it, it’s really perfect and I always play that or Banana Soda es Muy Loco, that one always gets them going.What song of yours have you been most excited to hear played by another artist?Banana Soda has been getting a lot of love lately, Tiesto has been playing it, Dada Life, and then Eric Prydz did his own mashup of it last year so that’s always fun to hear. I didn’t even realize that, it’s just such a ridiculous song to me but it seems to latch on. Are you in the habit on working on new productions while touring or is it something you focus more on while at home?Oh no, it goes hand in hand.How do you manage that?Well, I’m performing I get so much inspiration off the fans that sometimes I just go back to the hotel and write a little bit. There’s actually a lot of down time, a lot of time to sit and write.Aside from producing music you’ve also created your own clothing line, how do you balance so many different forms of art at once?I have no fucking idea. I guess it just goes day by day some days the music takes over and other days the fashion takes over. I have my duties for Heineken as their ambassador, we’ve actually re-launching the campaign in 2014 and it’ll be launched in 28 countries. So I guess it really just depends on the day.Does music always come first?Art comes first. So whichever I wake up and happens to be at the front of my head, that’s the one I’m going with.In an industry that’s predominately male, do you find yourself facing different challenges because you’re a woman?Oh no, what is a male and a female? Who cares?Can you share with us an experience with a fan that has really stuck with you?I have a fan that tattooed my face on their arm. I’m going to have to make sure he’s a fan for life, I don’t want to upset him ever.You’ve also produced your own short film series. Can you tell us a little bit about this and how it’s connected to your music?I believe that visual is very important in telling a story. I didn’t want to do it in typical music video fashion I wanted to do it in short films. I have a very vivid imagination and I needed another way to express it.If you could collaborate with any artist who would it be?David Bowie, Marilyn Manson.Any advice for up and coming artists?I always give this advice, and that is to stay to stay true to your art. Because if you are true to your art and to yourself, no one can ever give you shit about what you’re doing, about what you’ve done, about what you’re going to do because its your art. The only other thing I’d like to say is that I love my fans very much.
Govinda is the alter-ego of Austin based producer/composer Shane Madden. A student of the violin and composition since the age of eight, Shane went on to study classical violin at the University of Texas, where electronic music production began to cement a place in his heart. After his discovery of gypsy roots, he opened his ears to the various genres and styles of music from around the world. From experiences learning violin with mysterious masters on his journeys across the globe and his passion for modern design and technology, the current sound of Govinda was born.Over the years, Govinda has played with acts such as Thievery Corporation, STS9, Bassnectar, Shpongle, and many others. Recently, he was approached to work with 5-time Grammy Award winning musicians, The Blind Boys of Alabama. The legendary gospel musicians have transcended the boundaries of traditional gospel, exploring the spiritual dimensions of rock and pop songs, of blues music, of funk and folk and everything in between. It is only natural that a group such as the Blind Boys would eventually explore the electronic element. And who better to share that experience with than Govinda, a true student of music. Madden discusses the collaboration with The Blind Boys of Alabama:“I’ve always enjoyed combining my style of world bass music with a variety of others like indie rock and soul so when my management approached me with the idea of working with 5 time Grammy Award winning, Blind Boys of Alabama, I was definitely honored and intrigued. These guys roots run so deep, and I knew it was their first electronic effort, so it was very important to me to attempt to convey a lot of emotion in this one track. It took me a while to find balance in all of it and hope everyone feels a little piece of everything that went it to producing the track.”Check out the exclusive track “Don’t Worry” from Govinda ft. The Blind Boys of Alabama only at Live for Live Music:
Paul McCartney sat down recently with Impossible.com‘s Lily Cole to discuss song writing, and although McCartney was not able to get to ever question, he was kind enough to post several questions and answers afterwards to his website. This Q and A did not disappoint.When asked about his feelings towards students studying popular music with a focus on the The Beatles, he replied, “For me it’s ridiculous, and yet very flattering. Ridiculous because we never studied anything, we just loved our popular music: Elvis, Chuck Berry, Little Richard, Fats Domino, etc. And it wasn’t a case of ‘studying’ it. I think for us, we’d have felt it would have ruined it to study it. We wanted to make our own minds up just by listening to it. So our study was listening. But to be told – as I was years ago now – that The Beatles were in my kid’s history books? That was like ‘What?! Unbelievable, man!’ Can you imagine when we were at school, finding yourself in a history book?!”In another interesting response, McCartney takes up the evolution of the music “industry.” He says that when The Beatles began their assent to the top that there wasn’t much of an “industry,” per se. “Now it is very much an industrial pursuit. Then it was just a sort of gang of groups that all happened to know each other and play and it was a sort of a more casual scene. Then they started calling it the ‘music business’, but we kind of ignored that word, we didn’t take the word ‘business’ too seriously.” McCartney continues, saying “as it went on and we got more popular and you realised that there was a lot of money involved, ‘business’ and ‘industry’ became how people referred to it. So yeah, it’s just got more serious.”For a complete transcript of the interview visit Paul McCartney’s official website..
This year’s BottleRock Festival has been announced and boy does it have a little bit for everyone. Among some of the headlining acts are Robert Plant, The Avett Brothers, Imagine Dragons, No Doubt, and even Snoop Dogg. The festival will be held from May 29-31 at the Napa Valley Expo. Along with this superbly diverse musical lineup, the festival will feature great food and a plethora of beers and wine. It’s sure to be one of the highlights of the early festival season in 2015. Take a look below to see who else will be playing at BottleRock this year.Early bird specials on tickets are sold out, but tickets to the public will go on sale January 8 at 10 am and can be purchased here.
Everyone Orchestra, conducted by the infamous Matt Butler, has announced a brief run of shows in California. This time, the band will feature Kris Myers (Umphrey’s McGee), Joel Cummins (Umphrey’s McGee), Jamie Kime (Zappa Plays Zappa), Ben Thomas (Zappa Plays Zappa) and Kai Eckhardt (John McLaughlin Trio/Garaj Mahal).The band has only announced three dates in Northern California, but the Everyone Orchestra family continues to grow, so hopefully the group will be on the rise on 2015! More information can be found on the official Everyone Orchestra website.Everyone Orchestra Northern California Run3/26 – Napa City Winery – Napa, CA 3/27 – Harlow’s – Sacramento, CA 3/28 – Great American Music Hall – San Francisco, CA
It’s a (funk) family affair! For one night only, Adam Deitch (Lettuce/Break Science/Pretty Lights Live) and his father, Bobby, will team up with Richie Hart (Dr. Lonnie Smith, Don Patterson) and his son, James, for a funky family throwdown as 33 1/3. Rounding out this powerful lineup are Adam “Shmeeans” Smirnoff (Lettuce), Deke Strauss, Peter Levin (Gregg Allman Band), Eddy Bishai and Jonathan Strange. 33 1/3’s album release party is going down at the Marlin Room at Webster Hall on May 19th — get tickets here.Richie Hart and Bobby Deitch go way back to the Berklee College of Music, where they were classmates in the mid 70s, when funk music was at an all-time high. The friends often recorded together, and even performed together with Bobby’s son Adam and Richie’s son James when Adam was 17 and James was just 9 years old! It wasn’t until last year that Richie contacted Bobby to join forces and the two reunited in order to recreate the fire and bring their special brand of funk to today’s younger audiences.As all things come full circle, Richie is now a professor of Guitar at Berklee, with former students including Lettuce’s Eric Krasno and Shmeeans! He has performed extensively with jazz greats such as Dr. Lonnie Smith, George Benson, Ron Carter, Hubert Laws and Freddie Hubbard.Aside from being Adam’s proud dad, Bobby has been performing and recording as a drummer for over 40 years. Bobby is also a songwriter, producer, author and music educator. He has performed with notable musicians in funk, jazz and pop bands throughout the US. He is currently a drummer and musical director for the renowned tribute to Ray Charles, “Forever Ray”; drummer for the rock band, The “New York Hitmen”; and drummer on the newly released CD “The Richard Sorce Project.”James has practically been born in to the music business. He has witnessed and spent his childhood and teenage years surrounded by countless jazz greats such as George Benson and Dr. Lonnie Smith. He left successful bands such as Platinum and Hudson so that he could perform in 33 1/3. He is also producer of the new 33 1/3 CD.Adam Deitch, Shmeeans and Peter Levin will open up the evening, followed by 33 1/3 (Bobby Deitch, Richie Hart, James Hart, Shmeeans, Peter Levin, Eddy Bishai and Deke Strauss) as the main act! Doors at 7 PM // Show is 18+. Get tickets here!Win (2) tickets by entering the contest below:
Indie rockers Moon Taxi have announced an extensive tour that runs beginning in the summer through the fall. The tour will hit a ton of venues throughout the country, including NYC’s Irving Plaza on September 10th and Austin City Limits.Apparently they’ve been taking a break to have some fun at the final Grateful Dead shows, as seen in the above photo from their Facebook page.The band is also on the heels of a forthcoming album, Daybreaker. Listen to the first single, “All Day All Night,” below.Moon Taxi Tour Dates:July 12 – Telluride, CO – The Ride FestivalJuly 16 – Pemberton, BC – Pemberton Music FestivalJuly 18 – Pemberton, BC – Pemberton Music FestivalJuly 25 – Macon, GA – Bragg JamJuly 30 – Indianapolis, IN – Rathskeller BiergartenAugust 02 – Chicago, IL – LollapaloozaAugust 06 – Nashville, TN – Ascend AmphitheaterAugust 20 – Augusta, GA – Jessye Norman AmphitheatreAugust 21 – Athens, GA – Georgia TheatreAugust 22 – Athens, GA – Georgia TheatreAugust 27 – Oxford, MS – The Lyric OxfordAugust 28 – Huntsville, AL – Historic Three CavesAugust 29 – Lexington, KY – Moontower Music FestivalAugust 30 – Sparta, KY – NiFi Music IgnitedSeptember 10 – New York, NY – Irving PlazaSeptember 11 – Philadelphia, PA – Theatre of the Living ArtsSeptember 12 – Silver Spring, MD – The FillmoreSeptember 13 – Raleigh, NC – Lincoln TheatreSeptember 17 – Baton Rouge, LA – Varsity TheatreSeptember 19 – Bristol, TN – Bristol Rhythm and Roots ReunionSeptember 26 – Columbia, SC – Music FarmSeptember 27 – Asheville, NC – The Orange PeelOctober 2-9 – Austin, TX – Austin City LimitsOctober 03 – Fayetteville, AR – George’s Majestic LoungeOctober 31 – Chattanooga, TN—Track 29
Gilmour also has a handful of remaining tour dates over the course of the end of this year and into next. Take a look at where you’ll be able to catch him:12/12 – Sao Paulo, BR @ Allianz Parque12/14 – Curitiba, BR @ Pedreira Paulo Leminski12/16 – Porto Alegre, BR @ Arena do Gremio12/18 – Buenos Airs, AR @ Hipodromo de San Isidro12/20 – Santiago, CL @ Estadio Nacional03/24 – Los Angeles, CA @ Hollywood Bowl03/24 – Los Angeles, CA @ Hollywood Bowl03/31 – Toronto, ON @ Air Canada Centre04/01 – Toronto, ON @ Air Canada Centre04/04 – Chicago, IL @ United Center04/08 – Chicago, IL @ United Center04/11 – New York, NY @ Madison Square Garden04/12 – New York, NY @ Madison Square Garden Pink Floyd’s David Gilmour has been out promoting and playing material from his first new solo album in a decade, Rattle That Lock, recently performing with David Crosby and Graham Nash in London. Last night, Gilmour stopped by the BBC’s Later…with Jools Holland, a show that Gilmour has frequented over the years, and delighted viewers to versions of the album’s title track as well as “Today.” Take a watch:
The highly anticipated release of Radiohead’s first full-length studio album in nearly five years may finally be here. But that’s not the only thing fans can get excited about – the Grammy award-winning English alt-rock sensation is planning to tour in 2016, according to guitarist Jonny Greenwood.“We have finished recording of the new album but we keep reevaluating the work we’ve done,” Greenwood told Russian radio station Silver Radio. “We hope we’ll get it right soon, and after that we’ll start planning the next year’s tour.”Not much is known of the album, though photos recently revealed the band in the studio with a full-blown orchestra and composer Robert Ziegler, whom they had previously worked with on 2011’s The King of Limbs. Greenwood has also let on that an older song of theirs, “Lift”, could appear on the album, and drummer Phil Selway has suggested the possibility of bringing in outside collaborators, which the band has never done before.In the meantime, frontman Thom Yorke has been busy with his solo work, debuting new tunes live and even composing music for Broadway.[Via CoS]
Load remaining images Halloween weekend began perfectly last Thursday, October 29th, at Tractor Tavern in the Ballard neighborhood of Seattle, WA, with Turkuaz headlining and The Quick and Easy Boys and Fabulous Party Boys providing some funky support.When the Quick and Easy Boys took the stage, the crowd was thin and standing towards the back of the room. Within only a few short minutes, it was clear that they were not the type of band to let this get to them. Bassist Sean Badders wasted no time, filling the room with his deep, booming vocals while helping to create an infectious groove that got the small crowd moving. One song segued into another after a nice improv section, and Badders stepped back to the mic to deliver a wonderful falsetto. Anchored by guitarist Jimmy Russell’s harmony vocals, they pushed forward into more improvisation. Drummer Casey Anderson stole the show in this improv section with strong, jazzy cymbal work as he accelerated the tempo and pushed the band to new heights. The segment continued with Funkadelic inspired jamming, eventually giving way to a great cover of Frank Zappa’s “Willie the Pimp”.All in all, they did not pause once in the first 36 minutes after taking the stage, an impressive and unexpected feat. The deft segues and improvisational work left little doubt that this alt-rock trio is a jamband as well. At that point in the show, the Portland-based musicians introduced themselves to the crowd, and then broke it down again for another few tunes before leaving the stage with the crowd warmed up and ready to go.Seattle locals the Fabulous Party Boys took the stage next. The crowd had grown a larger by this point, and the band did a great job of keeping them dancing. Their wonderful horn section (including a tuba, trumpet and saxophone) gave them a nice, full sound that acted as the perfect bridge between the power trio jamming of the Quick and Easy Boys and the full wall-of-sound coming up next from the 9-piece Turkuaz. Vocalist Mama T was in the Halloween spirit a couple of days early with a shiny gold outfit and painted face. Her singing was soulful, but the lyrics were very fun and happy. Great tuba work by Jon Hansen allowed them to keep their groove remarkably smooth, and this helped them to totally pack the dancefloor area by the end of their set.At this point, the anticipation in the air was palpable. The crowd had gotten to dance quite a lot already, and people were ready to lose control of their bodies completely. As Turkuaz took the stage, with all 9 members each dressed in their own (different) solid color outfit, the atmosphere was electric. The band quickly launched into the first track off their latest LP, Digitonium, titled “Introduction”. This album saw them venture further into digital effects and wall-of-sound style production than their previous work, and that aspect was reproduced immaculately in the live setting. “Introduction” was stretched out a bit by a wind synthesizer solo from tenor saxophonist Greg Sanderson. Most of the crowd had never seen this instrument before and busting it out on the first song was a great indicator of how weird the rest of the set would become. Another Digitonium track, “Percy Thrills, the Moondog” came next and helped to really get the crowd moving again.The next segment saw some older material dusted off, with a resounding version of the title track of their previous album, Future 86. In the chorus of this song, frontman/guitarist Dave Brandwein states bluntly that “the future is coming now,” which is a statement that Turkuaz’s music certainly lends credence to. Their inimitable brand of funk is indeed far ahead of its time. Vocalists Sammi Garett and Shira Elias really took over as the band launched next into another Future 86 track, “Snap Your Fingers”.At this point nearly every member of the crowd was dancing with reckless abandon, as the power funk party came into full swing. The band masterfully dialed in a cover of Sly and the Family Stone’s “Babies Making Babies”, which featured baritone saxophonist Josh Schwartz soulfully screaming out the end vocal section, which was positively shocking to all in attendance. There were points during this where his voice sounded as if he had never put down his saxophone. The cover segued into “Lookin’ Tough, Feelin’ Good,” off their 2011 album, Zebert. This track is quite possibly their weirdest song, featuring a call and response style chorus of “Get out the womb! Get out the womb! Now cut the cord! Now cut the cord!” Guitarists Brandwein and Craig Brodhead used this weird energy to set the stage for an epic jazz style guitar battle. After a few minutes, drummer Michelangelo Carubba entered the spotlight as he began to interplay with the guitarists. His drumming was on display at its most powerful here as the three musicians worked through a complex series of synchronized pauses as seamlessly as if they were one person. They proved themselves unafraid to lay out the full extent of their Berklee education onstage, and the audience reacted with lots of enthusiasm.After a short pause, the band played a great rendition of Digitonium track “The Generator”. This song has some of the most impressive harmony vocals of any Turkuaz track, and showcased the full glut of vocal talent available onstage. The lyrical content of this song was particularly appropriate for the middle of their set, instructing the audience to start up the generator and keep chuggin’ along, even though it was getting late. Next up was a cover of Hot Chocolate’s 1978 hit “Every1’s a Winner”. This feel good tune continued the excellent vocal work from the dynamic duo of Garett and Elias, eventually giving way to an excellent, grooving jam lead by bassist Taylor Shell.Dave Brandwein took the spotlight back over as the band moved into “Coast to Coast” from their 2011 self-titled album. This was perhaps the most infectiously groovy tune of the evening, with Brandwein’s distorted, spoken-word style vocals telling an autobiographical story of starting a band and “moving down the road” on tour. This track is one of the most characteristic of their unique style in their entire catalog.The next track was an unreleased original, “Gogo Mr. Dodo”. This tune was fairly horn-focused, featured a nice dual saxophone part, and definitely offered trumpet and keyboard player Chris Brouwers a chance to shine as well. The band returned to Digitonium next by playing “Digital Love”, an 80s disco-funk style track that featured heavy synthesizer use from Brouwers and Brodhead. The talk-box vocals were a really neat effect that helped this track act as a time machine to an 80s nightclub. To close the set, they chose to play “Chatte Lunatique”, another track off Zebert. This song was one of the most fun of the night, with Brandwein and Brodhead playing a super danceable dual-guitar funk riff throughout. By the end, the whole room was singing along about the “crazy cat.”The band took the stage once more, and Brandwein and Shell both smiled big and began a beautiful rendition of the Al Green song “Take Me to the River”, as per my request to Brandwein before the show. This classic was, of course, redefined when the Talking Heads covered it in a funk/soul/pop style on their 1978 album, More Songs About Buildings and Food. Turkuaz’s version draws the most heavily from that cover, and what we heard was unquestionably the most authentic Talking Heads cover. Brandwein, Garett and Elias absolutely nailed the vocal parts, and the atmosphere was positively jubilant for those of us who stuck it out until the end. All 9 band members went out of their way to recreate the dizzying, percussive effects seen onstage in the Stop Making Sense Talking Heads live film. It is always wonderful to see artists pay tribute some of their favorite influences, and this evening we were lucky enough to see takes on Turkuaz’s two biggest influences, Sly and the Family Stone and the Talking Heads.Following the conclusion of the encore, I got to stick around and meet the majority of the band. They were all extremely gracious and excited to talk to the fans. It was great to see that this level of interactivity was not just an onstage persona, but that they are all actually that nice of human beings. Seeing them take my song request made my entire day, and I will always remember this as the night that Turkuaz took me from a big fan to devotee status. If you have yet to see them, all I can say is that you should change that. This unstoppable freight train of a band will certainly be in a city near you sometime in the not-too-distant future. This time, you have been warned not to let anything get in the way of seeing one of the highest energy live performances out there. Words by Coleman Schwartz, check out the full gallery of photos below, courtesy of Scott Shrader: