In response to the sold out January 18th show at the Beacon Theater, Umphrey’s McGee has officially announced a show at the Brooklyn Bowl on Sunday January 20th. This show is in “celebration of 15 years of face-melting”, according to Umphrey’s McGee, and is bound to be intimate and truly wild all at once.The band will be returning to New York City after a night in Syracuse on January 19th. The band in known to have deep audience interaction, known for allowing the audience to conduct the band, and playing audience requests. Providing unforgettable hooks, steady jams, rock rhythms, and amazing improvisation, the Brooklyn Bowl performance is sure to be legendary.Umphrey’s McGee is concluding the east coast portion of their 2013 tour at the Brooklyn Bowl on Sunday, and continuing to the south and the west coast until March 2013. They recently confirmed their prescreens at Wakarusa as well.Tickets to see Umphrey’s McGee at Brooklyn Bowl go on sale tomorrow (Thursday), January 17, and 12:00p,m EST. Doors will be at 6pm, with show at 9pm. More information is available here. This is a 21+ show.by Arya Jha
TommorowWorld is being held Fri September 27-29th in Chattahoochee Hills, GA in South Fulton County. This 8,000-acre paradise is filled with well-established rolling pastures, lakes, and woodlands that run 12 miles along the Chattahoochee River. TomorrowWorld does have an age restriction of 21+. The gates open at 10am on Friday, for more information about what TomorrowWorld has to offer please visit http://www.tomorrowworld.com/node/106. Tickets go on Sale for Residents of the United States this Saturday, April 27th at 11am and you must be Pre-Registered. For more information about Tickets and where to Pre-Register please visit: http://www.tomorrowworld.com/node/113.TomorrowWorld Lineup:AlessoAxwellDelta HeavyDimitri Vegas & Like MikeExcisionFigureGramatikGrandtheftNiT GriTPorter RobinsonRuskoSavoySebastian IngrossoSound RemedyZomboyTomorrowWorld Video:
Thanks to a slow build to one of the biggest marketing pushes in recent memory, Daft Punk’s new album, Random Access Memories, feels like one of the most hyped albums of all time. The duo’s first proper album in over eight years (they also produced the 2010 soundtrack to the Disney’s Tron), has been the talk of the music world over the past few months as details slowly emerged. Those who had heard snippits of the album claimed it would “save electronic dance music” – could it possibly live up to the hype?Like with the rest of their albums, Daft Punk threw their fans a curve ball, completely switching up the styles that made them famous. Save electronic dance music? No, Daft Punk saved dance music, period. In the eight years since Human After All, the robotic synths and samples and heavy electro beats have become common place. Artists like Wolfgang Gartner, Justice, and Deadmau5 have all created tracks that create similar vibes to Daft Punk’s classics. So what did the legendary French duo do? They moved backwards, reminding music fans that there was dance music before Daft Punk. There was dance music before Felix Da Housecat and Junior Sanchez. There was dance music before the initials ‘EDM’ had any sort of meaning.With Random Access Memories, Daft Punk has, at the same time created a throwback album to the 1970′s disco scene, while also pushing the boundaries of what people consider ‘electronic dance music’ to be. You can feel it within moments of turning on the album. The songs are infectious – you can’t help but move – but it’s nothing like anything Daft Punk has released before – which should have been obvious from the album’s lead single, ‘Get Lucky’. If you were expecting more tracks like ‘Around The World’ and ‘Robot Rock’, then you may be disappointed. If you expected this album to “save electronic dance music”, you may be underwhelmed. If you expected a forward thinking album, which will instantly change the way you perceive dance music as a whole, then you’re in for a treat.The first track, ‘Give Life Back To Music’, announces the beginning of the album with a huge intro, before jumping right into the disco-funk feel that sets the tone for the rest of the album. The rhythm guitar work by Chic’s Nile Rogers instantly evokes the feeling of Chic’s classics like ‘He’s The Greatest Dancer’ and ‘Le Freak’. The robotic, repetitive use of the song’s title is really the only thing reminiscent of Daft Punk – the rest of the song is just pure funky disco. It sounds nothing like what you’d expect from Daft Punk, or any other mainstream EDM acts outside of the disco-revival acts like Breakbot. It re-defines what we come to expect from producers today. Music doesn’t need to have a “drop”. It just needs to make you want to dance.Many fans will complain about a few songs that feel more like 80′s ballads than anything close to dance music. Tracks like ‘The Game Of Love’ and ‘Within’, are fantastic pieces of music, expertly composed and produced, but just fall flat compared with the upbeat excellence of some of the other tracks. I think standing on their own, they are great songs, and in another genre, they may be considered stand out tracks – the keys, provided by Chilly Gonzales, on ‘Within’ are beautiful. But sandwiched in between such funky, danceable music, they are very easy to skip. The same can be said about ‘Motherboard’, which is just an awesome, ambient, chilled-out production, but which may also warrant a skip in favor of the more upbeat tracks on the album.By now, you’ve probably heard ‘Get Lucky’ a thousand times. However, Pharrell’s other contribution to the album, ‘Lose Yourself to Dance’, may even be the better song. The feels like it could have been produced for Michael Jackson or Morris Day, with chilled out funky guitar grooves, and Pharrell’s vocals being beautifully complimented by the vocoder work. It’s definitely one of the highlights of the album, showing how Daft Punk’s forward thinking sound can co-exist with this throwback disco vibe. The song slowly builds and builds, however unlike modern EDM, there’s no drop. The song just gets bigger and bigger as more musical elements are added, each complimenting the next perfectly. That’s definitely a theme of the album – the songs slowly build throughout, almost shadily, until you realize just how ‘big’ the song has become.The track that everyone is talking about is ‘Giorgio By Moroder’, which sets a monologue by legendary producer Giorgio Morder (responsible for Donna Summer’s classics ‘Love To Love You Baby’ and ‘On The Radio, among others), explaining the progression of his career, to a beat. Once the monologue is over, the beat picks up into one of the more ‘Daft Punky’ songs on the album – albeit with an 80′s nod to Moroder’s hits from the decade, like ‘Rush Rush’ by Debbie Harry and ‘Scarface (Push It To The Limit)’ by Paul Engemann. The lead synths are very robotic, but the background evokes that 80′s vibe that is associated with Moroder. About six minutes into the song, after a quick interlude, the song returns bigger and bolder than ever, with expert studio drum work and a string section, again building the song into something huge without any sort of drop. The song ends with almost a jam session between the bass, drums, and turntable scratches. It’s a nine minute masterpiece that will eventually be placed along with Daft Punk’s classics – I can only imagine what this song will sound like in a live setting with all the different sounds and the fantastic live drum and guitar work. When people look at a nine minute song, they may expect tons of looping, but the last three minutes of this song is where it really becomes a masterpiece.The penultimate track, ‘Doin’ It Right’, is the closest thing to classic Daft Punk on the album. It’s a minimalist beat, which is really lead by the vocals of Panda Bear from Animal Collective. Like Pharrell, his vocals perfectly compliment the robotic vocoder work of Daft Punk on the song. The song will probably be overlooked due to it’s spot right before the album’s last track, ‘Contact’. The song starts with 80′s synths and the voice of Eugene Cernan from the Apollo 17 mission, recording his views from space. From there, we hit the song that I think everyone was really looking for in this album. Deep synths, ambient noise, roaring drums, and a slow build that totally pays off in the end. This song very well could have served as the first song on the album and been just as effective, announcing the start of the musical journey, but it’s placement at the end cements the ‘save the best for last’ mentality. While not as inherently funky or danceable as ‘Give Life Back To Music’ or ‘Get Lucky’, this song is just fantastic. It’s the natural progression of Daft Punk that I think everyone expected. Almost a nod to the fans, telling them, now 13 tracks into the album, that they have still have the capacity to make a monster track full of samples and synths – they just chose to make a disco album.Daft Punk is one of those bands that refuse to do the same things twice. In a recent interview with GQ, when asked about Skrillex, Daft Punk’s Thomas Bangalter responded “Here’s someone that is trying to create something new and to not follow something.” That’s what Daft Punk always strives to do. For the past eight years, so many producers, influenced by Daft Punk, have created similar music, over and over again – if Daft Punk created music in the same vein of 2005′s Human After All, it would sound too similar to to what everyone else is making today. Instead, they switched it up, going the opposite direction, throwing it back to the 70′s and 80′s. It’s almost as if they issued a challenge to their contemporaries – “Hey guys, we got the kids dancing to disco. Now put down your laptops and try making some music with real guitar and drums.”With Random Access Memories, Daft Punk reminds us all that there was dance music before there was ‘electronic dance music’. There was Studio 54 before there was Pacha. There was Donna Summer before Swedish House Mafia. Dance music isn’t defined by turntables or laptops, it’s defined by the sounds that come out from it. Did Daft Punk save electronic dance music? I don’t think that was the point. But instead, it shows a whole generation of young producers, all trying to be the next Skrillex or the next Afrojack, that they can create dance music without following the footsteps of the modern DJ. You just need to create music that people want to dance to. Like the lyrics from ‘Doin’ It Right’ say, ‘everybody will be dancing if you’re doing it right.”
The dazzling husband-wife duo from Chi-town, Orchard Lounge, made a marvelous return after a mini-hiatus, on April 25 at Slake NYC. Produced and promoted by Mr. Bugsly, this event was definitely highly anticipated by all OL fans in and around the tri-state area.It’s always interesting to experience favorite performers in a venue they’ve never played before. Over months and years past, OL has spun at NYC venues such as Club 39, Hudson Terrace, Highline Ballroom, and more recently Output Club in Brooklyn. However, it was the multitude of rooms at Slake NYC that literally provided an infinite number of dance floors and couches absolutely essential for an proper Orchard Lounge set. If you’ve never been to Slake, this is a multi-room, multi-level venue with a unique vibe to each nook and cranny.Tucci got the night started with an energetically deep set in the main room, and really did a great job of warming up the crowd in preparation for Orchard Lounge. Queen B and Spencer (Orchard Lounge) arrived around 2am, and wasted zero time getting their distinctive groove started. New York City was more ecstatic than ever to have the pair back in town; an OL set never disappoints.If you’re already craving more, fear not; you can catch Orchard Lounge Sept 5-7 at Catskill Chill Music Festival in upstate Hancock, NY. [Photo Credit: Slake NYC ]
Brock told L4LM that, ” I formed this group with the intention of having a great band. Not one that just looked like the members of the Doors with mediocre musicians. We don’t wear costumes or recite pretend banter in between songs, as if we were the doors back in 1968. The focus is on the delivery and performance of the music and re-creating the original sound with the exact same instruments that the doors used. Fans want to hear that music relived live on stage as it was. Most people that come and see us never had a chance to see the doors or may not of even been alive at the time they played.As the band ripped through numbers including Touch Me, Riders on the Storm, Crystal Ship, Love Her Madly, and Light My Fire, it once again seemed to be the autumn after the summer of love. By the time The End was played as an encore, some grizzled veterans and a new generation were convinced that they had mysteriously seen Jim in his prime each evening. Each player in the band impressed with the mastery of their instrument at different parts in the festivities. Dave Brock was chosen to star in The Jim Morrison Rock Opera by the show’s producers, who were no less than the late singer’s sister, Anna Morrison Graham, and her husband. After his stint in the show, Brock formed Wild Child, and carved a legendary niche recreating the bands’ performances. The production was so spontaneous and precise, former Doors Robby Krieger and Ray Manzarek added Brock to their own band. No less than Doors member Robby Krieger said that, “Wild Child is as close as you’ll get to the real thing.” Brock handled lead vocals for the former Doors from 2010 to 2013.Audio effects opened each show with sounds of choppers, bringing to mind Francis Ford Coppolla’s 1979 film ‘Apocalypse Now’. At the Paramount, the show opened with Break on Through, and the musical portals of perception seemed to take the crowd back to 1967 and Southern California. Hello I Love You, Love Me Two Times, and Twentieth Century Fox followed in quick succession. The band then barely let the audience catch their breath before launching into Berthold Brecht’s Alabama Song, moving straight into Willie Dixon’s Back Door Man. At the Gramercy, New York City’s grit and the darker theatre led to an appropriate ambiance for the show. This evening opened with Roadhouse Blues, and the bulk of the crowd chose to dance in front of the stage, rather than take advantage of the seating at the rear of the venue. Audience members drank ‘Break on Throughs’, and sang and danced along to the numbers. The band found a groove from the get-go that takes many groups half a show to find. “We are brand-new in the East Coast market”, related Brock. “But there of a lot of fans here that have seen or heard of us on the West Coast. So at the beginning of the shows there have been some skeptical eyes in the audience, but that all vanishes after the first or second song”. From keeping our eyes on the audiences, L4LM couldn’t agree more. “We look forward toward next shows and Silver Spring, Baltimore, Boston and New Haven. We plan on coming back in the spring.”Band members include Brock on lead vocals, Kit Potamkin on Keyboards and bass, Gene White on drums, and Pat Hennessy on guitar. Brock added, “We are traveling right now on a pretty strict schedule. Seven cities in ten days spread across the East Coast.” The tour concludes on August 17th at Toad’s Place in Connecticut. Live For Live Music loved Wild Child two times this week. If you ever get the chance to see them live, don’t let it pass you by. We are left wondering if perhaps Brock will handle the vocals for the remaining Doors Robby Krieger and John Densmore at some point in the future. We certainly hope so. Words by Bob Wilson, Photos by Wayne HerrschaftThe group’s website can be found at: wildchild.info Jim Morrison warbled to ‘cancel his subscription to the resurrection’, and then left us on July 3rd, 1971. Dave Brock and Wild Child turned both the Paramount and Gramercy Theatres into the Whisky A Go-Go on August 8th and 9th respectively, and brought Jim back in a way he might not have ever dreamed possible. Brock was in the running to play Jim in Oliver Stone’s 1991 film The Doors, and did play him in 1992’s film ‘Death Becomes Her’. Dave Brock’s representation of the Lizard King is so skilled and visually accurate that if Morrison hasn’t been cloned, it made it seem a good idea to check for contents in the grave at Pere Lachaise Cemetery.
This weekend was the NBA All-Star Celebrity Game taking place at Madison Square Garden in NYC. Arcade Fire frontman Win Butler led his team, the West, to an 8-point victory against the East. Other players included Common, Kevin Hart, Nick Cannon and Ansel Elgort, with Spike Lee coaching.The West won against the East 59-51, with Butler producing 12 rebounds and 8 points.Hart on the East took home the fan-voted MVP award. Following the game, Butler’s brother and bandmate Will Butler tweeted: Watch footage from the game here.
Legendary guitarist Jack White is taking a page from Prince’s playbook. White will play five spontaneous concerts across the country, but the information regarding those shows will not be announced until the day of.The shows will come before White will be “taking a break from performing live for a long period of time,” according to a press release. White has been touring heavily since the 2014 release of Lazaretto, so the break is certainly deserved.Jack White Covers Rage Against the Machine At Coachella; Begs Crowd To Put Phones AwayHere’s what we do know about the five shows: they’ll come at the end of his tour, they’ll be in states that White has yet to perform in, they’ll be all acoustic, and tickets will be sold for $3.00 on a first come first served basis.White will also be accompanied by a new cast of musicians, including Fats Kaplin, Lillie Mae Rische, and Dominic Davis, and all of them will be amplified only by ribbon microphones.Jack White, T-Bone Burnett, and Robert Redford Release Must-See Movie TrailerFans are advised to check White’s Third Man Records Twitter account for show announcements. The five shows will all take place after White’s headlining performance at Coachella next weekend.
We recently discovered what may easily be the coolest restaurant in the country: Guyute’s. Named after the Phish song “Guyute”, this restaurant in Oklahoma City, OK is serving up dishes like the “Ugly Pig” or “Walfredo Pizza” on the regular.In fact, once we found the menu, we couldn’t stop counting all of the musical references. Not just Phish, but the Grateful Dead, Widespread Panic, Wu Tang Clan, The Disco Biscuits, The Eagles, The Cranberries and even a side project of drummer Jon Fishman’s, Pork Tornado.We’re also digging the extensive beer collection, not to mention the “China Cat” cocktail on the drinks menu.For more information on this restaurant, be sure to check out their website!
Load remaining images YUGEN’s unique combination of hip-hop, jazz, soul, and electronic genres, mixed with the talent and chemistry of six educated musicians, creates an unforgettable live experience that will force even the most stubborn crowd member’s head to nod. Tuesday night’s performance at Gasa Gasa was no exception, as YUGEN opened up for Chicago’s own Sidewalk Chalk to begin a three-show tour from New Orleans to Oxford and Tupelo, Mississippi. The late-night crowd lined up at the door as both bands were still loading their equipment into the venue; everyone was ready to see their favorite live hip-hop artists make the room bounce.From beginning to end, YUGEN’s set captivated the audience, Joao Amos (emcee, rapper) drawing the large Tuesday night crowd close to the stage and leading the dance party that would soon erupt. Even without their sixth member, Scott Clemens (saxophone), the rest of YUGEN, including Micah Jasper (guitar), Kevin Clifford (drums), Duncan Troast (keyboard), and Nic Lefebvre (bass), seemed to have no problem keeping the energy high as crowds demanded an encore, incessantly screaming “one more song!” until they got what they wanted. After a full set of originals, quick-thinking YUGEN closed out their set by bringing Parker Mulherin of Mulherin to the stage from the audience to perform their arrangement of James Blake’s “Life Round Here”, getting the whole house to bounce with them.Sidewalk Chalk’s subsequent set continued to fuel the party as Rico Sisney (emcee) and Maggie Vagle (vocals) led the group of expert-musicians through a dynamic set of originals, arrangements, and covers, all with Sidewalk Chalk’s live stamp on them. The rising Chicago stars caught the New Orleans crowd’s full attention as Sisney challenged audience members to bring items to the stage — including a beer can, perscription glasses, a pocket mirror, and a lamp — about which the confident and talented rapper freestyled seamlessly to the live backbeat of Action Bronson’s “Baby Blue”.Live For Live NOLA recently had an exclusive interview with YUGEN band leader, producer, and original member, Micah Jasper, to talk about the band’s past, present, and future. Jasper, who recently signed a deal with Tony Maserati’s Mirrorball Entertainment, explains that the band has changed drastically from the guitarist’s original project, a progressive jazz trio involving mostly improvisational and jam-based grooves that was “much more left of center than what it is now.” After the loss of both bass player and drummer, Jasper was left to ruminate on the future existence and direction of YUGEN. As he became more interested in production techniques, Jasper became close friends with emcee, Joao Amos, and began to rebuild YUGEN from the ground up. Jasper “wanted a new sound” that filled a more recognizable genre profile while maintaining an air of originality; Jasper explains: “for a while it was just me and Joao, but as other pieces of the band came together, the sound seemed to develop with the group.” At six men strong, a newly reformed YUGEN began recording their 2013 debut EP, Save The Sunlight, available for preview and purchase here.Since the release of their EP — described by the band as the spawn of “various electronic tracks, film scores, boom-bap skeletal structures, and daydreamed ideas” — YUGEN has performed all over New Orleans, as well as toured the east coast, playing venues in New York City and Boston. Their original sound and masterful live musicianship has been praised in OffBeat Magazine, The Vinyl District, & Revive-Music. YUGEN has established their presence as a juxtaposition of live and electronic music, with elements of hip-hop, soul, funk, and R&B, creating a recognizable sound that fans can’t get enough of. Their live show makes apparent the chemistry and camaraderie between bandmembers, each piece coordinating perfectly with the others to produce moments of musicality only formed by the most adept of musicians. It is this telekinetic energy between YUGEN members that immediately draws your attention and support.Their new single, “WastingWorld” — exclusive preview below — is a composition that Micah Jasper and Duncan Troast had written almost a year prior, yet did not see the light of day until this summer. “WastingWorld” stays true to YUGEN’s unique sound as Joao Amos raps over an ethereal background of reversed synth, guitar harmonies, and a gritty bass line, glued together by a J-Dilla style backbeat combining live and electronic drum samples. The finished single is the only song released from what was to be a new YUGEN EP. Jasper explains: “We were unsure about the other songs on the EP; they were just ‘too out’ for us. This was the only song that we were all completely satisfied with.” YUGEN’s selectivity in the music they release is something that the band is trying to be more strict about; “with the abundance of music available”, Jasper says, “we are trying to be VERY intentional with everything we do, not carelessly make music that we end up scrapping.” The specifics of YUGEN’s future seem to be uncertain, as each member is involved in projects and companies nation-wide. But according to Jasper, YUGEN will continue to collaborate on their next record either in person or electronically, aiming for a big release in 2016. In the meantime, fans will have to wait patiently for new music, and keep a lookout for upcoming shows. The future looks bright for the New Orleans collective as they continue their pursuit to make heads nod around the world. For more information or to purchase their music, find YUGEN on Facebook, Soundcloud, and Bandcamp.Words by Charlie McMillan, Photos by Brandon Xuereb. Full Gallery:
Last June, The Motet and Lettuce teamed up for a epic funky throwdown at the one and only Red Rocks Amphitheatre in Morrison, CO. Despite a full-fledged hail storm falling on the sold-out crowd, the musical energy in the venue was downright electric, as both bands delivered funk-laden sets to an eager audience.Certainly one of the highlights of the set was a “Get Down Tonight”/”Jungle Boogie” mash-up, bringing the beloved disco songs together with that indisputable Motet charm to close out their set. Check out the video below, as captured by The Motet:Don’t miss the funk ensemble on the road this fall, including an exciting tribute to music from 1977 on Halloween! Details here.Set List: The Motet at Red Rocks Amphitheatre, Morrison, CO – 6/5/15Funny Bone > Knock It Down, Cloak ‘N’ Dagger, Fight The Power, Rynodub, 123 > Just Around The Corner, Sexx Laws > Keep On Don’t Stoppin’, Get Down Tonight > Jungle Boogie Jazz