This week's MONDO Magazine features my review of the Alex Goodman Quartet's new CD Roots. Go here to check it out!
(http://www.mondomagazine.net/music-r-goodmans.html)
Tuesday, November 13, 2007
Tuesday, October 9, 2007
New Groove Orchestra
Check out my review of The New Groove Orchestra's Illharmonic in MONDO Magazine!
Thursday, September 6, 2007
Major blog update
OK guys, here's the thing. I've been asked to be a freelance music writer for Toronto's MONDO Magazine, an online zine on par with weekly's like Montreal's Hour and The Mirror.
What this means is that while I'll still be writing fairly often, most of it won't actually appear here, but instead on the MONDO website. I'll put up a post here every time something of mine appears in the zine, which can be seen for free at mondomagazine.net. If I write something that won't appear there, I'll post it here.
So keep checking back here, browse the MONDO Magazine site, or email me to join the mailing list.
Thanks for reading,
Jake.
What this means is that while I'll still be writing fairly often, most of it won't actually appear here, but instead on the MONDO website. I'll put up a post here every time something of mine appears in the zine, which can be seen for free at mondomagazine.net. If I write something that won't appear there, I'll post it here.
So keep checking back here, browse the MONDO Magazine site, or email me to join the mailing list.
Thanks for reading,
Jake.
Thursday, August 30, 2007
Kamau
If you read my blog about Tumi & the Volume, you know I'm constantly searching for good, conscious hip-hop. You might also know that an emcee who's got both rhythm and intelligence is a rare commodity in today's world of bling-bling gangsta rap.
Toronto's Kamau is one of those rare breeds. After hearing his prophetic verse on "Ballad of Noah," the last track on k-os' Atlantis, I put Google to good use and tracked him down. Despite several collaborations with k-os, who has become an international star, Kamau has stayed under the radar. His first and only album, 2003's 00:01 First EP, has long been out of print, and all that is readily available are a few tunes on his MySpace and a couple of verses on the Pangea Project's album.
The few tunes that can be heard are like hidden treasures: a few minutes each of stunning poetry, grooves, and positive messages, with beats made from a mesh of smooth funk and jazz samples and live instruments. Kamau's voice is like no other, and he intertwines his rapping and singing so smoothly that his music may well be classified as R&B rather than hip-hop. The aptly titled "Invitation," the opening track on 00:01 First EP, introduces us to Kamau's poetic style: a pulsing rhythm of rhymes over a deep groove:
Toronto's Kamau is one of those rare breeds. After hearing his prophetic verse on "Ballad of Noah," the last track on k-os' Atlantis, I put Google to good use and tracked him down. Despite several collaborations with k-os, who has become an international star, Kamau has stayed under the radar. His first and only album, 2003's 00:01 First EP, has long been out of print, and all that is readily available are a few tunes on his MySpace and a couple of verses on the Pangea Project's album.
The few tunes that can be heard are like hidden treasures: a few minutes each of stunning poetry, grooves, and positive messages, with beats made from a mesh of smooth funk and jazz samples and live instruments. Kamau's voice is like no other, and he intertwines his rapping and singing so smoothly that his music may well be classified as R&B rather than hip-hop. The aptly titled "Invitation," the opening track on 00:01 First EP, introduces us to Kamau's poetic style: a pulsing rhythm of rhymes over a deep groove:
"I would like to invite you to be / introducing you to me / a man, a poet, an artist, an emcee / inticing you to be a soul of creativity / taking your only lonely life to the Nth degree. / I'd like to give you something to feel / something that's real / something that hasn't been encouraged by mass appeal."
Kamau may be off the map and out of the spotlight, but he is the real deal. Check out a few tracks from his 00:01 First EP below, and visit his MySpace for a few more recent tunes.
Thursday, August 16, 2007
Andrew Bird
How many singer/songwriters do you know who are famous for their whistling? I only know one, and that is Illinois multi-instrumentalist Andrew Bird. Notorious for his world-class whistling, the songwriter is also a master guitarist, singer, violinist, and glockenspiel player - and master is no overstatement. Trained in Suzuki violin method from a young age and holding a Bachelor of Music in violin performance, Bird has developed a huge indie following, and with his newest album, Armchair Apocrypha, some modest commercial success. But it is on his previous album, Andrew Bird and the Mysterious Production of Eggs, where his bizarre lyrics and eclectic instrumentation are at their best.
The album opens with a sweet violin introduction and moves quickly into "Sovay," a light guitar ballad with a slinky glockenspiel melody. From there, Mysterious Production of Eggs explores a range of sounds from catchy rock to edgy electric folk, and everything in between. Ubiquitous is a thick, multi-layered sound in which Bird's expert violin playing meshes with acoustic and electric guitars, sparse drums, glockenspiel, and most uniquely, whistling.
On this record, Andrew Bird has created something new. With aspects of folk, rock, classical music, and country, Mysterious Production of Eggs defies categorization. Even more spectacular are Bird's solo live shows: accompanied only by a multi-track recorder, Bird plays and loops violin and guitar to create a lush texture, then loops his voice and whistling to produce gorgeous, harmonized melodies.
Here is a sampling of Andrew Bird and the Mysterious Production of Eggs.
The album opens with a sweet violin introduction and moves quickly into "Sovay," a light guitar ballad with a slinky glockenspiel melody. From there, Mysterious Production of Eggs explores a range of sounds from catchy rock to edgy electric folk, and everything in between. Ubiquitous is a thick, multi-layered sound in which Bird's expert violin playing meshes with acoustic and electric guitars, sparse drums, glockenspiel, and most uniquely, whistling.
On this record, Andrew Bird has created something new. With aspects of folk, rock, classical music, and country, Mysterious Production of Eggs defies categorization. Even more spectacular are Bird's solo live shows: accompanied only by a multi-track recorder, Bird plays and loops violin and guitar to create a lush texture, then loops his voice and whistling to produce gorgeous, harmonized melodies.
Here is a sampling of Andrew Bird and the Mysterious Production of Eggs.
Tuesday, August 7, 2007
Matthew Good Band
Does anyone remember the Matthew Good Band? You know, those guys with a string of hits in the mid-90s before Matt Good became a solo artist / angry political activist? Well, I remember them. MGB is one of the most underrated modern Canadian rock bands in history. With hit tunes like "Apparitions" and "Load Me Up," most people lump the now defunct alt-rock band in with one-hit wonders like Semisonic and The Verve Pipe - but MGB was so much more than a string of radio singles.
Since dissolving the Matthew Good Band in 2001, Good has released three solo albums - and not one of them has even a fraction of the depth and imagination of MGB. Matt Good is still a tremendous singer/songwriter, but it was his collaboration with MGB guitarist/keyboardist Dave Genn that made his songs so potent (most MGB tunes are in fact credited to Good/Genn). Genn's unique guitar playing is stamped all over MGB's four studio albums with increasing ferocity, culminating on the group's final album, 2001's The Audio of Being. MGB disbanded almost immediately after releasing their final record, much as The Beatles did subsequent to Let It Be, and for much the same reason.
In their 6 years as the Matthew Good Band, Good, Genn, bassist Rich Priske and drummer Ian Browne recorded four full length studio albums and three EPs, won several Juno awards, and garnered continual critical acclaim. Check out a chronological sampling of their career below.
Since dissolving the Matthew Good Band in 2001, Good has released three solo albums - and not one of them has even a fraction of the depth and imagination of MGB. Matt Good is still a tremendous singer/songwriter, but it was his collaboration with MGB guitarist/keyboardist Dave Genn that made his songs so potent (most MGB tunes are in fact credited to Good/Genn). Genn's unique guitar playing is stamped all over MGB's four studio albums with increasing ferocity, culminating on the group's final album, 2001's The Audio of Being. MGB disbanded almost immediately after releasing their final record, much as The Beatles did subsequent to Let It Be, and for much the same reason.
In their 6 years as the Matthew Good Band, Good, Genn, bassist Rich Priske and drummer Ian Browne recorded four full length studio albums and three EPs, won several Juno awards, and garnered continual critical acclaim. Check out a chronological sampling of their career below.
Monday, August 6, 2007
Ariane Moffatt
When you hear a really well produced, intricately layered studio album, it's hard to imagine those tunes being played live. The fact is, technology has made it possible for a solo artist to sound like an entire band; for a quartet to sound like a symphony. And save for bringing an entire orchestra on tour, artists aren't always able to replicate their complex studio efforts in the live setting.
But on Ariane Moffatt's 2005 live DVD, "À la Station C," she proves that anything is possible. Over the course of the 2 hour show, Ari and her live band - guitarist Joseph Marchard, bassist J-F Lemieux, drummer Tony Albino, and keyboardist/programmer Francis Collard - flawlessly perform songs from her first album, Aquanaute - an album of boundless intricacy and production techniques. The group's effortless mesh of pop, trip-hop, and jazz provide an organic base for Moffatt's catchy, introspective tunes. Among the 16 tunes played are several new songs - including a cover of Gilles Vigneault's "Grand Cerf-Volant," with a poetry reading by bassist Lemieux over a musical interlude.
Not only is the musical performance on this DVD exceptional, but the cinematography is unparalleled. Warm shots and close-ups give a sense of intimacy to Moffatt's live show, with much focus being placed on the instruments as well as the musicians. Adding to the warmth is the band's stage setup, which features several well-placed rugs and a vibrant fish in a fishbowl atop Moffatt's grand piano (evidently the inspiration for Aquanaute).
Ariane Moffatt later released Le coeur dans la tête, her follow-up to Aquanaute, which received top reviews all over Québec. This second studio effort is as well-written and performed as its predecessor, but neither studio album can compare to the organic, intimate feel of Ari's live DVD.
Below are three samples from the show, in audio only: two of Moffatt's singles, "Hasard" and "Fracture du crâne," and "Sur ton parallèle," complete with an extended jazz fusion jam. If you dig the tunes, go out and pick up the DVD - the visual is well worth the money.
But on Ariane Moffatt's 2005 live DVD, "À la Station C," she proves that anything is possible. Over the course of the 2 hour show, Ari and her live band - guitarist Joseph Marchard, bassist J-F Lemieux, drummer Tony Albino, and keyboardist/programmer Francis Collard - flawlessly perform songs from her first album, Aquanaute - an album of boundless intricacy and production techniques. The group's effortless mesh of pop, trip-hop, and jazz provide an organic base for Moffatt's catchy, introspective tunes. Among the 16 tunes played are several new songs - including a cover of Gilles Vigneault's "Grand Cerf-Volant," with a poetry reading by bassist Lemieux over a musical interlude.
Not only is the musical performance on this DVD exceptional, but the cinematography is unparalleled. Warm shots and close-ups give a sense of intimacy to Moffatt's live show, with much focus being placed on the instruments as well as the musicians. Adding to the warmth is the band's stage setup, which features several well-placed rugs and a vibrant fish in a fishbowl atop Moffatt's grand piano (evidently the inspiration for Aquanaute).
Ariane Moffatt later released Le coeur dans la tête, her follow-up to Aquanaute, which received top reviews all over Québec. This second studio effort is as well-written and performed as its predecessor, but neither studio album can compare to the organic, intimate feel of Ari's live DVD.
Below are three samples from the show, in audio only: two of Moffatt's singles, "Hasard" and "Fracture du crâne," and "Sur ton parallèle," complete with an extended jazz fusion jam. If you dig the tunes, go out and pick up the DVD - the visual is well worth the money.
Tuesday, July 31, 2007
No Place Like Soulive
Not all fanatics are Trekkies or Star Wars aficionados. The Internet may be crowded with message boards and chat rooms buzzing with polls asking "who was the best captain of the Enterprise," but believe me, the number of times that some college kids have seen the Dave Matthews Band live rivals the dozens of times some sci-fi fans have seen Star Wars.
That's right, Jam Band fan bases are fanatical too. Some kids can rattle off Phish setlists dating back to 1989 from memory, some can name every segue that the Grateful Dead ever performed, and all have forged unwaivering opinions about their favourite jam band.
So when I tell you that "No Place Like Soul" is the gutsiest move that Soulive has ever made, you might understand why. Since forming in 1999, Soulive has been a core trio - Eric Krasno on guitar and brothers Alan and Neal Evans on drums and keyboards, respectively - with a rotating host of guest horn players, singers, and rappers. Despite the occasional guest vocalist, the core band has always remained a funk inspired jam-band.
But on "No Place Like Soul," Soulive has welcomed a full-time singer into their ranks: a bold soul named Toussaint who has transformed the band into a full-on soul/R&B outfit. This addition is accompanied by a label change, from the group's long-time Blue Note label to the famed - and, until recently, defunct - soul and blues label Stax.
The result is a remarkably fresh blend of motown, 70s funk, and R&B. The band has never sounded tighter, and Toussaint's unique (though sometimes nasal) voice intertwines perfectly with the meticulous instrumental arrangements. Most inspiring, though, is the calibre of songs on "No Place Like Soul" - the members of Soulive have already proven to be virtuosic players, but this new record establishes them as similarly talented songwriters. Tunes like "Mary," "Don't Tell Me" and album opener "Waterfall" have the catchy hooks and thoughtful lyrics that make up great songs, while the album's two raging instrumentals are as fierce and tight as the rest of the band's catalog.
Though this new record is certainly more mainstream than Soulive's previous work, it's a far cry from a sellout album. Rather, it is the manifestation of growth from a decade-old band trying something new. And even though the change might alienate some fanatical fans, "No Place Like Soul" is a leap in the right direction.
Check out three tracks below: album opener "Waterfall," Sly Stone inspired "Yeah Yeah," and "Outrage," one of the funkiest instrumentals the band has ever recorded.
That's right, Jam Band fan bases are fanatical too. Some kids can rattle off Phish setlists dating back to 1989 from memory, some can name every segue that the Grateful Dead ever performed, and all have forged unwaivering opinions about their favourite jam band.
So when I tell you that "No Place Like Soul" is the gutsiest move that Soulive has ever made, you might understand why. Since forming in 1999, Soulive has been a core trio - Eric Krasno on guitar and brothers Alan and Neal Evans on drums and keyboards, respectively - with a rotating host of guest horn players, singers, and rappers. Despite the occasional guest vocalist, the core band has always remained a funk inspired jam-band.
But on "No Place Like Soul," Soulive has welcomed a full-time singer into their ranks: a bold soul named Toussaint who has transformed the band into a full-on soul/R&B outfit. This addition is accompanied by a label change, from the group's long-time Blue Note label to the famed - and, until recently, defunct - soul and blues label Stax.
The result is a remarkably fresh blend of motown, 70s funk, and R&B. The band has never sounded tighter, and Toussaint's unique (though sometimes nasal) voice intertwines perfectly with the meticulous instrumental arrangements. Most inspiring, though, is the calibre of songs on "No Place Like Soul" - the members of Soulive have already proven to be virtuosic players, but this new record establishes them as similarly talented songwriters. Tunes like "Mary," "Don't Tell Me" and album opener "Waterfall" have the catchy hooks and thoughtful lyrics that make up great songs, while the album's two raging instrumentals are as fierce and tight as the rest of the band's catalog.
Though this new record is certainly more mainstream than Soulive's previous work, it's a far cry from a sellout album. Rather, it is the manifestation of growth from a decade-old band trying something new. And even though the change might alienate some fanatical fans, "No Place Like Soul" is a leap in the right direction.
Check out three tracks below: album opener "Waterfall," Sly Stone inspired "Yeah Yeah," and "Outrage," one of the funkiest instrumentals the band has ever recorded.
Monday, July 30, 2007
Tumi & The Volume
MySpace may seem like a place for emo adolescents and webcam girls, but it's actually an amazing resource for promoting (and discovering) music. In an effort to discover some really organic, conscious hip-hop, I checked out my favourite emcee's myspace - Toronto's k-os - and explored his "top friends." A few clicks and several over-produced beats later, I stumbled across South Africa's Tumi & The Volume.
Their website's sparse gray background was a welcome change from the flashy wallpaper of gangstas and hundred-dollar bills I'd seen before, and the simplicity of the band's friendly yellow logo (complete with cartoon goats) perked my interest. As soon as the funky vibes of "Signs" started playing, I knew I'd discovered something genuine.
Tumi & The Volume is a collaboration between Johannesburg, South Africa rapper/poet Tumi Molekane and members of African dub outfit 340ml. Together, the group manages to fuse funk, R&B, rock, and of course, hip-hop, to produce one of the most honest and musical rap albums to date. The bulk of Tumi's eloquent rhymes teach his listeners about the state of Africa, touching on ever-visceral topics of poverty, starvation, rape, and murder - but through it all, Tumi manages to spread positivity and optimism.
But don't let the subject matter bring you down - in fact, Tumi & The Volume won't let you. Their self-titled debut album moves so quickly from rhyme to hook that you can't help but stomp your feet and dance around.
"Tumi & The Volume" is on sale through Universal records at any record store and on iTunes. Though it's hard to pick favourites off this album, here are two tracks that absolutely can't be missed.
Their website's sparse gray background was a welcome change from the flashy wallpaper of gangstas and hundred-dollar bills I'd seen before, and the simplicity of the band's friendly yellow logo (complete with cartoon goats) perked my interest. As soon as the funky vibes of "Signs" started playing, I knew I'd discovered something genuine.
Tumi & The Volume is a collaboration between Johannesburg, South Africa rapper/poet Tumi Molekane and members of African dub outfit 340ml. Together, the group manages to fuse funk, R&B, rock, and of course, hip-hop, to produce one of the most honest and musical rap albums to date. The bulk of Tumi's eloquent rhymes teach his listeners about the state of Africa, touching on ever-visceral topics of poverty, starvation, rape, and murder - but through it all, Tumi manages to spread positivity and optimism.
But don't let the subject matter bring you down - in fact, Tumi & The Volume won't let you. Their self-titled debut album moves so quickly from rhyme to hook that you can't help but stomp your feet and dance around.
"Tumi & The Volume" is on sale through Universal records at any record store and on iTunes. Though it's hard to pick favourites off this album, here are two tracks that absolutely can't be missed.
Welcome to Musicopolis!
Hey everyone, and welcome to my music blog!
I spend a lot of time looking for new and unique music, and I thought it might be fun to share some of what I find with my friends. So check this blog often for new music from Musicopolis - I'll post reviews, recommendations, and sound clips.
If you like the music I'm writing about, send this blog to your friends!
I hope you guys enjoy what I have to offer ;)
~ Jake.
I spend a lot of time looking for new and unique music, and I thought it might be fun to share some of what I find with my friends. So check this blog often for new music from Musicopolis - I'll post reviews, recommendations, and sound clips.
If you like the music I'm writing about, send this blog to your friends!
I hope you guys enjoy what I have to offer ;)
~ Jake.
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