Date Palms membersGregg Kowalsky (keyboards, electronics) and Marielle Jakobsons (violin, flute, electronics) have finally embarked on their latest album project with Thrill Jockey Records in The Dusted Sessions. The expansion of the duo format has taken shape with their new LP, including Ben Bracken on electric bass, Michael Elrod on tanpura and Noah Philips on electric guitar. This is the first time Date Palms has fused guitar into the bands existence and is a very welcomed addition from the results achieved. The essence of psychedelia and eastern traditional music is the defining mystery piece of the puzzle that creates a unique voice for the group. Deep meditations into raga influenced voyages that slip back into the deep pastoral landscapes of North America. The cover of the album really says it all.
Clocking in at a little over 40 minutes, seven tracks comprise the entirety of The Dusted Sessions. With inspiration for the first track by a sojourn to the Yuba River, “Yuba Source Part I” is a majestic beginning to this spiritually based record. The rich tapestry of the east introduces the song with a delicate and abstract aura from tanpura player Michael Elrod and the sonic musings of Gregg and Marielle, aligning the piece into a very cosmic position. The introduction of bassist Ben Bracken really centers the floating nature of the intro and allows for all of the melodic instrumentation to identify itself. Violin caresses the composition over with compelling emotional statement after another. Noah Philips plays a perfect counterpart to the violin and bass anchor, extracting beautiful harmonics and chord phrases from his axe. I think of the celestial and meditative jazz odyssey of 60′s and 70′s era John McLaughin in the presentation of the guitar, especially the work he completed with Miles Davis on In A Silent Way. The tempo for “Yuba Source Part I” is set at a slower pace, allowing many of the drifting tones to really shine bright and clear. Elevated doesn’t even begin to describe the feeling this 10+ minute track evokes.
“Six Hands to the Light” is the second track on the album and the shortest of the record. It’s more space bound and less driven towards an emergence of east or west. Singular bass notes lock the piece into a structured state while a plethora of keyboards and electronics create a tapestry of cosmic sound. Part II of the “Yuba Source” is welcomed after this piece, coming back to the influence of the east. The guitar chords and violin lines are gorgeous with that meditative drone of the tanpura trailing in the background. “Yuba Reprise” takes on the same sense of melodic flow but with more open space present between the instrumentation. “Night Riding the Skyline” is the next track and the longest of the album. The usage of electronic drum tracks gives the music an entirely different aura from the rest of the album with the touch of the east still present from the violin that connects it to the whole. The bass is somewhat haunting, grinding away through its sequence of notes with a raw vibe.
“Dusted Down” is the song on the album that really drives me into another state of consciousness. The guitar sheeting is very integral to the texture of the whole, ripping through the center of the music as bass firmly establishes its presence as the glue to it all. The violin paints a picture of eastern influence yet again, moving in patterns of hypnotic forms. “Exodus Due West” is the most minimal track of the album and guides the album into another state of eastern influence. Very subtle electronics is grafted inside of this spiritual state to surreal affect. The flute playing is mind blowing and really sets the tone for pathways into music that you can’t learn from formal studies into music theory. Traditional and the experimental aligning as one for ethereal sounds of the 21st century.
The Dusted Sessions strips away any notion of pop composition and stands for something much deeper in essence and spiritual validity. I feel very alive yet relaxed when fully submerged inside of the album and the act of thought ceases to exist for a soothing sonic experience. A warming sound bath that lets all sides of the emotional spectrum hang out in that sophisticated and cultured manner. One of the best albums I have heard on the Thrill Jockey imprint for 2013.
More details and purchasing information can be found at Thrill Jockey
Future Static presents Deep Space Volume 5
Compiled and Mixed by Kenn Deaton
“Butterfly with brokenn wings… “
No track-listing this time around, just your ears and an open mind required…
“Saltland stakes out an unaffected, meditative, clear-eyed and earnest space where minimalism, dream-pop, drone, shoegaze, confessional folk, chamber music, and ambient/electronic coexist and coalesce.” - Constellation Records
Satland is a new beginning for Montreal’s Rebecca Foon and Jamie Thompson. Rebecca Foon is a gifted pianist, vocalist and cellist whose work in Esmerine, Thee Silver Mt Zion and Set Fire To Flames has afforded her a sense of respect in the creative communities of the world that is years in the making. Jamie Thompson is another member of Esmerine and is the rhythm backbone to this new project, staying true to the past and present states of electronic and acoustic percussion for minimally transfixing and tasteful rhythms. Individually, the two have stayed close with the Constellation Records imprint over the years and are comfortably nestled away in the networks of the vast system the label holds and those that extend far outside of it. It was only natural that Satland has released the vocal and instrumentally dense debut voyage I Thought It Was Us But It Was All Of Us with the imprint last month. A plethora of musicians were brought in for these home recordings, featuring a field of instrumentation that includes guitar, bass flute, saxophone, kalimba, dulcimer, harp, bass guitar, keyboard, violin, glockenspiel, trumpet and programming. The album shines with a passionately engraved level of restrain and beauty in every moment, showcasing an astonishing blend of primitive and advanced settings of sounds.
I Thought It Was Us But It Was All Of Us finds its origins in the year of 2010 as new compositions started to emerge in Foon’s body of works with various groups and a new outlet was needed for these new pieces. Working out of her home for a majority of the tracks found on the debut LP, Foon and Thompson shaped a bulk of the pieces in 2011 and have toured the world sense. Refining their sound to what it is now, Satland have finally revealed their debut album to the masses and it’s a gorgeous experimental chamber group recording that flows with a plethora of outside influences. Cascading blasts of post-rock energy create a stirring vortex of emotions while ambient excursions into glacier worlds radiates energy in more subdued forms in the next. Shimmering waves of guitar chords, pulsing bass lines, elegant pastoral violin, hypnotic cello and other worldly vocals are just a few of the beautiful components that are captured on I Thought It Was Us But It Was All Of Us.
“Golden Alley” begins the album in a pulsing and vibrant manner, showering in cascading melodic lines and lush organic percussion. A mystique tied to folk, psychedelia and other dreamy forms of music arises in the vocal and musical work, hinting at eras of the past with the type of texture that can only be extracted from the now. The rhythms are electronically driven but slide and grace through the song with a sense of the human soul. With half of the track instrumentally based, “Golden Alley” is a glorious beginning that sets the mood for the remainder of the ride and the in and out affair between vocal passages and instrumental forms that will shape. “Treehouse Schemes” and “Colour The Night Sky” take on the same type of vibrant percussive approach as the albums opener and are the uplifting beacons of light that allow a remainder of the album to flourish in more subdued forms. “I Thought It Was Us,” “Unholy,” “But It Was All Of Us” and “ICA” all carry a very heavy weight of emotion with a much restrained sense of layering and composition building. Saturation occurs in smooth sustained layers that waver but not never deviate into other realms. When percussion is present in these pieces, it is to only enhance the impact and speed of how this sentiment of darker emotion is delivered. The inclusion of saxophonist Colin Stetson on the first two pieces of the album is an incredible touch to the album considering his talents and unique phrasing to sound. The closing track “Hearts Mend” closes the album out with another graceful swan movement of sound that truly captures the integrity of the entire album. I feel an immediate rush of energy when I hear all of the swirling tones, the powerful vocals and sultry bass work that leads to the rising section of vocals. The vocal progressions that lift into the heavens are some of the most exhilarating spiritual sounds I have ever heard from the Constellation camp, taking me back to the first time I heard Alice Coltrane and many other spiritual practitioners of modern music.
The grace and delicate moments of I Thought It Was Us But It Was All Of Us capture my senses immediately and put me deep inside of another plain of thought. A portal to a completely different world is manifested in the eight songs, widening up a layer of music that is smooth and relaxing in every form possible. The award winning engineer Mark Lawson took part in the sound grafting and mixing of this record with Foon at her apartment studio in Montreal Six Saint V, crafting spacious terrains where ambiance and smooth colors reach out with tentacles in every direction. Panoramic but raw and lo-fi driven yet full of life, a very personal aura is displayed at the core of it all. I Thought It Was Us But It Was All Of Us is another addition in the Constellation Records archives that will stand the test of time.
Iceberg Slim: Portrait of a Pimp examines the legendary life of the notorious pimp and author of seven ground-breaking books. It includes insightful interviews with well-known artists, scholars, friends and family members that create a riveting tapestry as colorful as the subject himself. The autobiographical work of Iceberg Slim is considered to be the genesis of blaxploitation films and gangster rap and it continues to influence artists today.
DIR Jorge Hinojosa
EXEC Jorge Hinojosa, Ice-T
CAST Iceberg Slim, Chris Rock, Ice-T, Snoop Dogg, Quincy Jones, Henry Rollins
ED Danny Bresnik
MUSIC DJ Shadow, Cunninlynguists and The Cinematic Orchestra
Learn more about the documentary by clicking here.
In Theater July 19
Dave Chappelle is making his big return! And as secluded as he was during his time out of the limelight, he’s back in full force with some pretty awesome friends joining him on the Oddball Comedy and Curiosity Tour, presented by Funny or Die and Live Nation. Hitting up 13 cities, Dave Chappelle, the Flight of the Conchords (who have also kept a very low profile since the end of their highly popular television series), and a group of their very funny friends will be hitting the road and touring most of the country beginning late August into September. According to their promo clip, this will be a full-on touring festival that will feature two stages and a bevy of performers. Check out the dates below and set a reminder to buy tickets this coming Friday because this will be one very, very popular tour.
- August 23 – Austin, TX @ austin360 Amphitheater
- August 24 – Houston, TX @ Cynthia Woods Mitchell Pavilion
- August 25 – Dallas, TX @ Gexa Energy Pavilion
- August 30 – Pittsburgh, PA @ First Niagara Pavilion
- August 31 – Tinley Park, IL @ First Midwest Bank Amphitheater
- September 1 – Detroit, MI @ DTE Energy Music Theatre
- September 6 – Camden, NJ @ Susquehanna Bank Center
- September 7 – Holmdel, NJ @ PNC Bank Arts Center
- September 8 – Mansfield, MA @ Comcast Center
- September 13 – Denver, CO @ Fiddler’s Green Amphitheatre
- September 15 – Irvine, CA @ Verizon Wireless Amphitheatre
- September 20 – Mountain View, CA @ Shoreline Amphitheater
- September 22 – Phoenix, AZ @ Desert Sky Pavilion
For more info:
*Article compiled by Sandra Barerrea
Based on Jordan Belfort’s memoirs, “The Wolf of Wall Street” chronicles the ex-stockbroker’s rise and fall in the 1980s’ financial scene, along with his hard-partying lifestyle and tumultuous personal life.
DIR Martin Scorsese
EXEC Georgia Kacandes, Alexandra Milchan, Irwin Winkler
PROD Riza Aziz, Leonardo DiCaprio, Joey McFarland, Martin Scorsese, Emma Tillinger Koskoff
SCR Terence Winter (The Sopranos), Jordan Belfort
DP Rodrigo Prieto
CAST Leonardo DiCaprio, Matthew McConaughey, Jon Bernthal,Jonah Hill, Kyle Chandler, Chris Kerson, Jon Favreau, Ethan Suplee, Jean Dujardin, Michael Jefferson, Margot Robbie, Shea Whigham, Rob Reiner, Spike Jonze
ED Thelma Schoonmaker
PROD DES Bob Shaw
MUSIC Howard Shore
Learn more about the film by clicking here.
Dublab Mix Series: Sound & Colour Lab Vol 3: Manifestations
Compiled and mixed by Erik Otis
Sound Colour Vibration proudly presents the third volume in our dublab and SACVS mix series Sound & Colour Lab. Titled after the first track included from Brainfeeder recording artist Mono/Poly, Manifestations covers European prog, spiritual jazz, experimental hip hop, dub, Brazilian fusion, 21st century post-rock, 70′s folk, rural blues and so much more, there’s a little something from all over the globe compiled on Manifestations. We absolutely could not live without music and these are some of the reasons why. Enjoy!
Stream vol. 3 of Sound & Colour Lab via dublab by Clicking Here
Manifestations Track Listing
- Mono/Poly – Manifestations
- Demon Slayer – The Real
- Nosferatu – No. 4
- Blackalicious ft Saul Williams – Release (pt 2)
- Alhaji K. Frimpong – Kyenkyen Bi Adi Mawu
- Greenthink – Lionesque (HangingwHarry&Cookie)
- Bembeya Jazz National – Alalake
- Docteur Nico & Orchestre African Fiesta – Pauline
- Hermeto Pascoal – Pavane
- Spirit – The Other Song
- Godspeed You! Black Emperor – Their Helicopters’ Sing
- Pablove Black – Dread Head
- Jesse Futerman – Used To Be Thinkin’
- Eddie “Lockjaw” Davis – Tin Tin Deo
- Linda Perhacs – Morning Colors
- Robert Pete Williams – Somebody Help Poor Me
*Artwork by Leigh J. McCloskey (