To simply call Khemmis Doom Metal would be a severe understatement. The quartet from Denver, Colorado have carved a special home for themselves within Extreme Metal with technical virtuosity, groove-heavy riffs and extremely catchy melodic vocal delivery. Their critically acclaimed 2016 release, Hunted, was as ground-breaking as it was masterful, and was one of the few albums I’ve given multiple listens to in succession while discovering something entirely new every time. Their latest offering, Desolation, finds the band doubling-down on their unique ability to strap their fans into an emotional upheaval while weaving cavernous riffs into infectious vocal peaks, meanwhile never losing grasp of their unrivaled musicianship.
As a band with a multitude of educational accomplishments off-the-stage, Khemmis have kept their alter-egos, painstakingly intact. With both band founders, guitarists/vocalists, Phil Pendergast and Ben Hutcherson creating the band while rigorously working on their PhD’s, drummer, Zach Coleman heading a microbrewery, while bassist, Daniel Beiers running small businesses while also skilled as a structural engineer. Taking time out of their busy lives to create a life of music is no easy feat and even more challenging to hit the road.
Khemmis’ West Coast Desolation tour took place in Portland’s Doug Fir Lounge, which for the most part, rarely hosts Metal music. By the time Portland’s own black metal act, Drouth, took the stage, the crowd stood stunned and captivated by the abrasive onslaught, barely moving a muscle in the thick cloud of smoke that swallowed all light. Abrasive and violent, the Black Metal quartet were out promoting their latest release, Knives, Laybrinths, Mirrors. As time went on, the walls seemed to expand and contract as UN, the menacing Aetherical Doom act out of Seattle, WA, forged an impenetrable wall of anguish that seemed to emanate from the shadows itself. In the darkness, every body was unmoving, not for lack of enthusiasm, but rather a place of collective catharsis. Their newfound disciples swayed side-to-side in a trance to the ominous crucible from the Porlandian’s latest release, Sentiment.
With their logo on a banner overhead, the only identifying factor that a metal show was even going down at the humble downstairs venue, the prolific Doom-inspired quartet, Khemmis, sliced through the silence with the first of many momentous riffs with the intro to “Above the Water,” the first track off their celebrated album, Hunted. Pendergast stalked the stage like an unchained animal occasionally roaring right into the face of his closest prey while guitarist/vocalist, Hutcherson added a layer of aggression and fire to his counterpart’s melodies. The dual guitarists created a fusion of impressive melodies with technical dexterity on epics “Bloodletting” and “Isolation,” from their latest release, Desolation, with both bassist, Daniel Beiers and drummer, Zach Coleman laying the foundation for the captivating groundwork throughout the night.
Khemmis’ short but monumental West Coast Desolation Tour may have come to rest but their music and tenacity will keep them ablaze even on the darkest nights. Desolation is an exploration of emotion made sound, a masterfully crafted epic worthy of more than a single journey.
Trudging through a muddy trail in Washington Park in Northwest Portland, the rain, a consistent and depressive downpour, soaked through my second-hand jacket and onto the layers beneath. The surrounding trees only a skeleton of their once-colorful foliage from the coming winter. Their vein-like branches, swallowing what light was left of the gray sky overhead. Recently relocating to Portland via Honolulu, Hawaii, I’ve only just begun to comprehend the true essence of Doom Metal and the environment that it is firmly rooted in. A genre which has always evaded my grasp from those sunny days with the warm sand under my toes.
The first time I stumbled on American Doom Metal titans, YOB, was in a small, dimly lit venue in West Hollywood. Even in that cramped room, the band seemed to expand and collapse the walls of the space at will. Vocalist, guitarist, and mastermind, Mike Scheidt had a unworldly aura about him; and the music he and his band created transcended reality and all convention. Their 2014 release, Clearing the Path to Ascend, was a monumental leap in production and songwriting, and playing that album quickly became a daily meditation for myself on long drives and even longer work days.
Now the band was coming home. Hailing from Eugene, Oregon, it would seem the entire local music scene came out for support. The concert sold out almost immediately and a cluster of fans stood long-faced but hopeful at the entrance to the Bossanova Ballroom praying that there would be a spare ticket to fight for amongst themselves.
Portland-based, Blackwater Holylight, the female-driven, Stoner Doom-inspired, Rock quintet started off the night by transporting the crowd into a dream-like trance of ominous riffs and angelic vocal harmony. Their atmospheric fusion of Doom and Psychedelic Rock, led by bassist and vocalist, Alison “Sunny” Faris, were on tour promoting their latest offering, Veils of Winter. Their haunting delivery and hypnotic soundscapes were only matched by the empowering sisterhood binding them together. As witness to this, guitarist, Laura Hopkins and synth player, Sarah McKenna, shared a unique bond on stage, leaned head-to-head swaying together during their performance. In a genre known to be predominantly male, it was inspiring to witness these five women band together as one and transcend gender stereotypes while playing the music they love with no remorse.
Before the instrumental, Psych-Rock powerhouse, Earthless, took the stage, an older gentleman, wide-eyed and clearly a child of the 60’s, grabbed me by the arm and gave me a warning about the night to come: “These guys don’t stop, so pace yourself!” Equally influenced by Krautrock and the six-string virtuosity of Page and Iommi; guitarist, Isaiah Mitchell, bassist, Mike Eginton, and drummer, Mario Rubalcaba have been creating an instrumental wall of sound for nearly two decades. With all of their songs clocking in anywhere from 5-20 minutes, the band created a tapestry of sound waves from their latest album, Black Heaven and beyond. Refusing to stop the train once it got rolling, their tenacious drummer, even kept the beat going with one hand while grabbing a drink of water and wiping off the sweat that ran down his face before flowing seamlessly into the next rock opus.
The lights went down on the venue and three solitary figures spread themselves out equally across the stage. With eyes closed and heads gazed downward, their fans stood shoulder-to-shoulder ready to immerse themselves in the thunderous soundscapes of their Oregonian Doom Metal heroes, YOB. A triumphant and monstrous riff from their song, “Ablaze” decimated the silence and the sheer vehement energy that radiated from Scheidt’s vocals shattered any possibility of thought. Like a pulverizing heartbeat, the band continued with “The Screen,” the second track off their latest album, Raw Heart. A divine spotlight from above broke the darkness as Scheidt joined his fists like an all-seeing eye above his head while drummer, Travis Foster, violently pounded his kit into submission with every crescendo in their tortured repertoire. Meanwhile, bassist, Aaron Rieseberg, closed his eyes, becoming nothing more than a vehicle for which their music flowed through.
Experiencing the crisp, chill in the air and the change of seasons for the first time in Portland has been both challenging and trans-formative. After witnessing the homecoming of the mighty Doom Metal phenomenon, I’ve finally grown to understand the Beauty in Falling Leaves within the thunderous, transcendental qualities of their music, and have come to the conclusion that above all else, YOB is love.
With their steel drawn and warpaint on full display, Ensiferum, the Melodic Folk Metal heroes from Helsinki, Finland took the stage at Bossanova Ballroom in Portland, Oregon ready to conquer. Their seventh full-length album, Two Paths, has been widely accepted as the epitome of modern Folk Metal while also being hailed as a return to a more organic sound for the band. With their Finnish Melodic Folk Metal brethren, Kalmah in support, their Path to Victory is paved in gold as well as the bones of all that stand in their path.
The Progressive, Extreme metal quartet, Aenimus, started off the night to a brutal start. Promoting their latest album Dreamcatcher, the Californian metal act played a crushing set that surely brought more than a few dedicated followers into their circle. And with their dynamic vocalist, Alex Green riling up the audience to their metallic onslaught at every turn, Aenimus are sure to be a band that will be bringing new blood into their inner circle for years to come.
Like walking through a forgotten cemetery on a dreary night, a haunting fog swallowed the stage. A hooded silhouette broke through the haze and lifted its bass in the air. Over time the extreme metal band, Abigail Williams, has gradually stripped themselves of their symphonic complexity during their live show and embraced their raw, bone grinding, black metal roots. Their latest album, Walk Beyond the Dark, is an amalgamation of 15 years of hard work and perseverance. Ken Sorceron, bandleader and songwriter, has been carving out his place in the foreboding corners of the metal spectrum. They were a brilliant contrast to the sunlit pastures of the coming Finnish Folk Metal storm.
The mood quickly steered towards the light as the fog cleared and Finnish Swamplords, Kalmah, stood proudly in front of their leather-clad, kilt wearing followers. The surprisingly, upbeat Finnish leader of Kalmah, Pekka Kokko, smiled at the audience, surprised at how full the venue was on a Tuesday night. Along with his brother, lead guitarist, Antti Kokko, they raised their guitars and launched through their single, “The Evil Kin,” off their latest release, Palo. They continued their trek through their soggy, moss-laden past with the introspective, “The Third, The Magical” and “Seventh Swamphony,” off their most-celebrated album, Swampsong. They ended the night with an epic journey into the everlasting dark with their song, “Hades” from their first studio-album, Swamplord.
The triumphant and battle-clad, Finnish Folk Metal masters, Ensiferum have been storming stages all across the world since their 2001 debut, the self-titled, Ensiferum, and have been sharpening their steel-laden brand of Folk Metal ever since. As the show began, lead vocalist and guitarist, Petri Lindroos, addressed the elephant in the room, thanking everyone in attendance for choosing to see them over King Diamond who was booked to play the same night in Portland. Ensiferum sang uplifting chants of victory and unsheathed a barrage of their favorite battle cries, “Blood is the Price of Glory,” “Way of the Warrior,” and “In My Sword I Trust,” as well as invoking their inner Manowar with their latest single, “For Those About to Fight for Metal.” The night ultimately led to the triumphant, “Victory Song” off their third studio album, Victory Songs. And with a fist brandishing the sign of metal raised to the gods, guitarist and sole remaining founder of the band, Markus Toivonen smiled in glory over his dedicated following.
Ensiferum’s tour may be coming to a close but their Path to Glory is anything but. Their latest album, Two Path’s sets a new precedent in the evolution of Melodic Folk Metal, and with their brothers-in-arms, Kalmah riding closely beside them, there’s no telling what surprises these two have in-store over the horizon.
Join the Hunnypot Crew and Hot Tub Johnnie for our New Year's Eve celebration at the Mint.
SUGARAY RAYFORD Performing Live! 2020 Grammy nominee + 2019 Blues Foundation Award-Winner for Best Soul Blues Male Artist. New album ‘Somebody Save Me’ out now!
Texas born Caron “Sugaray” Rayford began his musical career at the age of 7 singing & playing drums in church. His gospel influence can be heard and felt in his music today. Rayford’s phrasing is intimate and conversational and the soulful gravel in his voice hints at his firsthand experience with hardship during his childhood marked by poverty and loss. He remembers a sad game he played with his brothers, a competition that determined who was skinniest by counting the number of belt holes left unused on his belt. His mother struggled to raise three boys alone while battling cancer. When she died, it was a kind of a relief. “She suffered and we suffered,” Rayford said. “Then, we moved in with my grandmother and our lives were a lot better. We ate every day and we were in church every day, which I loved. I grew up in gospel and soul.”
When Sugaray belts out a song, you not only hear it, you feel it. The excitement in the room is palpable when he takes the stage. His dynamic voice is as large as the man himself. With his old school vocal style, Echoes of Muddy Waters, Otis Redding and Teddy Pendergrass can be heard. At 6’5” he is a big man, but he moves with grace and energy and his dance steps will remind you of the Legendary James Brown.
In 2000 Hot Tub Johnnie removed a taped apple off the wall at a gallery in West Hollywood and ate it. Some say that's the day Hunnypot was born. Last night's Hunnypot Live was a holiday hit. Thomas Golubic' skated in just in time to talk with DJ Spectrum and Hot Tub and sleighed the decks with a killer playlist. Jacob Reese Thorton hit us with snowballs of rock n roll. INDICA gave us the gift of RETROMODERN Hip Hop. The Lunar Rays "mooned" us with that sweet American sound and the Joker got away. Can1Live drove the Krampus away with beautiful sounds that DJ Spectrum likes to call "Roger Dean Music" and Hot Tub dropped a closing dance party to all a good night.12/09/2019
THOMAS GOLUBIC´ is a Los Angeles-based music supervisor, DJ and record producer. His music supervision credits include the AMC series Breaking Bad, Better Call Saul, Halt and Catch Fire and The Walking Dead, the Netflix series Grace and Frankie and Love, the Amazon series Sneaky Pete, the Showtime series Ray Donovan, and the HBO series Six Feet Under among many other film & television projects.
In 2017 Thomas became the president of the Guild of Music Supervisors, the same year he was nominated for the first Outstanding Music Supervisor Emmy Award for his work on
Better Call Saul. The Guild twice awarded Thomas with Best Music Supervision in a Television Drama for his work on Breaking Bad.
Thomas was twice nominated for Grammy awards for producing volumes 1 and 2 of the Six Feet Under soundtrack album, and with former partner Gary Calamar was responsible for the use of Sia’s “Breathe Me” in the final scene of the series. It is considered one of the most memorable uses of music in television, and launched Sia’s music career in America. Thomas is also responsible for producing four soundtrack albums for The Walking Dead, the Breaking Bad and Better Call Saul soundtracks, and has assembled various remix projects for EMI-Capitol Records and MGM, including
reinterpretations of Peggy Lee, The Beach Boys, Henry Mancini’s Pink Panther theme and EMI’s Christmas Classics remix compilation ‘Merry Mixmas’.
Thomas’ formative years, musically speaking, were spent as a DJ, music programmer and on-air host for tastemaker LA radio station KCRW 89.9 FM. After ending his 10- year residency at KCRW, he turned his attention to music production and live audio/video DJ work. He formed The Arbiters, a music collective creating mash-up music and video productions, free-released two EPs, and created audio and video mash-up productions for clients including Google, YouTube, Microsoft and Levi’s. Thomas has also become known as an innovative club DJ spinning broadly eclectic music sets, often with live synchronized visuals. His SYNCHRONIZE re-score project, featuring live DJ re-scores of classic films has been featured at the Sundance Film Festival, Bonnaroo Music & Arts Festival, Luminato Festival in Toronto, Dubrovnik Film Festival, U.S. Comedy Arts Festival, various residencies in Los Angeles, and has been profiled on Turner Classic Movies.
You can find more information about Thomas, and the SuperMusicVision team, at:
Jacob continues writing and recording and will release additional new material in 2019.
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INDICA is an American Musician. The 22-year-old is based In California, born and raised in the Washington D.C. area.
He is creating an unparalleled buzz with his infectious style and sound. There is no doubt that this gifted Twenty-something, is shaking up the industry while creating his own sound with melodic flows, electronic synths, and big drums. Fusing all the sonics together creates the INDICA sound that has gained him an ever expanding fanbase. Along with his music, authentic aesthetic flair and vintage-styled visuals shape a creative cohesive package that further elevates his ‘Iit’ factor.
Recently signing with Tommy Boy Records, the super talent and his imprint have wasted no time cooking up dynamic music in the lab. INDICA plans to release his next project titled, RETROMODERN on March 29, 2019. Momentum is building with the recently released singles INTOXICATED and REMEDY
The highly anticipated effort, RETROMODERN produced and mixed by Andrew Luce, is inspired by 80's movies like the cult classic ‘Scarface’ and millennial fav, ‘Tron’. RETROMODERN gives fans and newcomers a glimpse inside the mind of one the industry most multi-faceted, multi-talented, rising artist.
The catalogue the musician has put together is outstanding -- being able to cross between genres with projects like INDICA (self-titled), and now RETROMODERN. From Electronic to R&B; from Hip-hop to Pop, INDICA’s knows no boundaries! The rising star has solidified his roles as a musician, song writer, influencer and fashion mogul. In an effort to continue to build and expand his brand beyond music, INDICA has joined forces with esteemed entertainment industry veteran Kevin Evans of 7th Agency.
Do yourself a favor...plugin your earbuds or headphones to feel the vibe of Indica's masterpiece, RETROMODERN.
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The Lunar Rays are a band that explores the twangy edges of alternative rock and vocal harmonies. They’re a new group on the LA scene but come to the stage with years of individual experience and music exploration. Kevin Houlihan (Guitar/Vocals), Chris Jacks (Guitar/Vocals), Sean “Sheriff” Caffey (Pedal Steel), Adam Kootman (Bass) and Blake Oswald (Drums).
The Lunar Rays sparkle and shine while telling heartfelt tales of love, loss and hope. Pack up your car and drive deep into the canyons for a moonlit night of soulful guitar rock performed by a band inspired by the likes of Ryan Adams, Neil Young, Pete Yorn and The Jayhawks.
An enormous, black mass of rabid fans congregated outside Spokane Arena in Washington. The chill in the air couldn’t cool the blood that flowed through the veins of the legion of metalheads eagerly counting down the minutes till the doors opened to the massive arena. After nearly 4 decades of live aggression, Thrash metal giants, Slayer were ready to step down from their thrown. As one of the so-called “Big 4” in thrash metal, Slayer’s influence on extreme music is without question. Their timeless metal anthems are legendary, and from the stories I heard from throughout the arena, their dedicated fan-base traveled from all over North America to witness the onslaught of their Final Campaign.
As a start to the night, Phil Anselmo, the acclaimed and controversial former frontman for the legendary Groove Metal band, Pantera, pointed a finger to the sky and dedicated the night to his departed bandmates. One of Anselmo’s countless side-projects christened, Philip H. Anselmo & The Illegals, performed A Vulgar Display of PANTERA, a tribute to the glory days of his band, long-since past. With a raised fist, he and his group of renegade outlaws revisited classics from their ground-breaking album, Far Beyond Driven, Vulgar Display of Power as well as a few other hits from the band’s timeless catalog. Hearing Anselmo sing with such reverence and brute force transported me back to a special time in my formative metalhead years when I would play Vulgar Display of Power on repeat while clutching the lyrics close to my heart. With his arms in the air, Anselmo ended their time on the stage with the anti-establishment anthem, “The Great Southern Trendkill” and with a deafening cry, thousands of devoted fans became one, screaming in unison, “The Trend is Dead!”
A massive glowing cross appeared in the darkness of the stage and Al Jourgensen, the dreaded, brainchild of industrial metal gods, Ministry, stood with his arms spread wide over his head. And like a hammer pounding relentlessly on steel beam, the opening riff of “The Missing” one of the many venerable hits from the 1988 album, The Land of Rape and Honey, reverberated through the skulls of every living thing in Spokane Arena. The industrial metal progenitors didn’t stray away too far from their older defining albums. With a ding-a-ding-dang and a dang-a-long-ling-ling, Jourgensen cranked the engine on “Jesus Built My Hotrod” from KE*A*H** (Psalm 69) and continued down the highway of their past to the delight of their long devoted fans with their most anticipated favorites, “Just One Fix” and “N.W.O.”
On the surface, Primus seems like an odd choice to have on Slayer’s Final Campaign but in actuality, their classic albums, Pork Soda and Sailing the Sea of Cheese have almost always unapologetically shared the same space on the album shelf with Reign in Blood and Seasons of the Abyss. With Les Claypool’s virtuosity, thumping bass riffs and outlandish humor, they were met with bobbing heads and skanking metalheads all throughout the Arena. Deranged, bicycle-riding, monkey-people hybrids rode through suburbia on a massive backdrop to the hypnotic thump of, “Here Come The Bastards” and all normalcy went right out the window. Claypool reached for his stand-up bass and dawned his infamous pig mask becoming the eccentric Mr. Krinkle. Defying the laws of tradition of any metal concert that has come before, Primus was the perfect contrast to the brutality to come.
The brooding curtains that draped in front of the stage fell to the floor and the countdown to the final farewell began. Surrounded by the flames of the violent firestorm behind them, Slayer stood indomitable before thousands of their most loyal fans in the massive arena. The ferocious intensity of their opening track, “Repentless”, a song off their latest album of the same name, seemed to shrink the stage. With four decades and twelve studio albums, their setlist was carefully assembled to showcase the entirety of their long and defiant career. Despite the toll of decades of touring, bassist and frontman, Tom Araya’s voice carried over the audience with the same fire it did in Slayer’s defining years. Kerry King, the band’s unmistakable lead guitarist, violently banged his head along with guitarist, Gary Holt, through a dizzying maelstrom of notes while leading the band through their timeless anthems from Seasons of the Abyss, Reign in Blood and even their 1983 debut, Show No Mercy.
Slayer’s Final Campaign was a milestone that their legion of followers will carry with them for the rest of their lives; be it on their sleeves, their hearts and for some, even carved on their forearms. Having Slayer’s sharp-edged logo worn on your chest is a sign of allegiance, a silent nod to a long and celebrated legacy of aggression and brutality. And with that priceless bit of history worn like precious battle armor, you can point to the date on the back of that shirt and proudly state, yes, I was there and I still have that ringing in my ears.
Concerts are supposed to be fun. There is nothing better than grabbing your friends and heading out together to your favorite band’s concert. The atmosphere. The anticipation. As the evening progresses, the band plays perfectly, and everyone goes home happy. Last Friday night at the Observatory, I was embarking on the exact opposite excursion. I was set to check out three bands I did not know much about and consequently did not know what to expect. Can one still have fun? Well, I’m here to tell you that on Friday night at in Orange County it was indeed possible.
As I entered the theater and took my position, I noticed on stage the setup for the band Tartar Control, a hardcore Mormon three-piece (or two, depending on how you look at it). Robert Selander (vocals) and Sean Hart (guitar, backing vocals) were milling about on stage just before showtime and getting Robot (bass, drums) ready to begin the show. They were extremely personable and polite, talking to some folks in the front row. That was all about to change as within minutes they were unleashing some of the most hilarious and devastating punk rock I’ve heard in a long time. The crowd was eating it up. Within minutes pits were created, crowd surfers abound, and Tartar Control was IN control and we were off and running. Clever dialog and comedic banter delivered with diabolic music by clean-cut Mormons and a robot is a lot to digest right out of the chute, but we managed. And everyone smiled. Their set was over in what seemed like 5 minutes with the crowd wanting more. What fun!
Next on the bill was 45 Grave, a horror rock band fronted by the legendary punk Goddess Dinah Cancer. They put through a good 40 minutes set of some of the most intense and well-played rock you will ever see. Dinah Cancer’s 45 Grave are considered pioneers in the L.A. deathrock and horror punk scene. They spent their set hypnotically captivating the audience as Diane simply owned the observatory on this night. As they finished up, their decades in the music scene showed through and illustrated to me how professional and well done this set was. I would not mind experiencing this engaging group again. Spooky captivating fun!
Finally, it was time for the reason why we all gathered on this chilly November evening, Mac Sabbath. I was extremely eager to watch this anticipated spectacle, as they have been gaining much traction in recent years. Being a massive Black Sabbath fan over the years (they were my sidekick during high school I must admit), I was eager to hear this band and what they can do. The lights finally dimmed, and the band broke into “Organic Funeral” (“Electric Funeral”) to begin their set. The band members Catburgler (drums), Slayer MacCheeze (guitars), Grimalice (bass), and of course Ronald Osbourne (vocals) came to play. Fans were treated to a myriad of hits including “Sweet Beef” (Sweet Leaf), “GMO blind” (Snowblind), “Into The Void”, “Love Buns” (KISS’s Love Gun), and even “Grill My Pet”, (Motorhead’s “Killed By Death). The show wrapped up with a couple of Mac classics, “Frying Pan” (“Iron Man”) and “Pair-a-Buns” (“Paranoid”). Hilarious!
This show had it all: The lights, the burger-flipping, the moshing, the stage-diving, and of course, the attention to detail Mac Sabbath puts into its shows. Let’s not forget the quality of the playing - it was brilliant and all came together on Friday night. The creativity this band demonstrated was off the charts and frankly can’t believe I hadn’t crossed paths with them before. I’m so glad I did and will surely seek out their unique show again! Their brand of insanity and chaos was a ton of fun!
Hunnypot is the best plate of Thanksgiving food in an Instagram story. Last night was gravy. Hot Tub Johnnie preheated the night with new and classic hits. Matthew Chaim got the crowd pumpkin'd up with pop power. Xharlie Black presented all the R&B trimmings and dropped in the hot tub to talk about his music and life. Communicant had us stuffing our ears with pop hooks. Hung Yung Terrarist got in the hot tub to talk turkey and gave a live performance that grabbed us by the cranberries. Suniel Fox cobbler'd a raucous set of electronic rock music and Hot Tub whipped us with a creamy dance party to finish the night. 11/25/2019
Montreal's Matthew Chaim is captivating audiences with his genre-bending songwriting style and unique vocal tone. Matthew fell in love with the drums as a teenager. But it wasn’t until his early 20’s having graduated university and working a 9-to-5 job in finance that Matthew began writing songs.
Matthew’s first EP, “Homemade”, was written and produced in Montreal with his close friends Noah Barer and Austin Tecks. With ‘Homemade’, Matthew started carving out his emotional and soulful sound, while pulling from his influences at the time, including Drake, Frank Ocean, and Kid Cudi.
Matthew’s sound is now evolving into completely new territories, with his musical influences moving towards the likes of Bon Iver, Coldplay, and Tame Impala. Working closely with LA-based producer Rabitt, Matthew Chaim has begun releasing singles off his upcoming record set to drop Fall 2019.
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Even the staunchest R&B purists will be blown away by Xharlie's impeccable vocals and soul-soothing lyrical style while his boom-bap production will have the hip-hop heads moving to the beat.
Fellas, if you've been wondering which show to take your lady to, THIS is the one!"
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LA’s newest psych-pop group Communicant bridges the gap between 60’s psychedelia and R&B-tinged indie pop with their debut self-titled LP (due late 2019). Communicant is dynamic - ranging from sunny and colorful songs for leaning your hand out of your car window, to introspective compositions best befitting sitting on your bedroom floor in the dark with headphones on.
The group could easily be the lovechild of Frank Ocean and Tame Impala; lead singer Dylan Gardner’s vocals are silky smooth; a perfect accompaniment to swells of dreamy guitar and shiny glistening synths. Self-produced by Gardner, cocooned in his home studio in Pasadena, his production is utterly fresh; Communicant ’s tunes are filled to the brim with headphone candy and cleverly layered vocals.
The album features contributions from collaborators including Ben Goldwasser of MGMT (“Temporary”), newcomer singer-songwriter Syndie Jo (“New York Times”) and sound designer Mark Gardner. Much of their sound is an undeniable nod to the record collection of a vintage anglophile with a modern reworking. Their vibe grows increasingly more modern on more R&B-leaning tracks like “Better Than Me” and “Exclusivity”.
The lyrics take on themes of impulsiveness, angst, and change through the lens of being the radioactive age of 22. These lyrics against the instrumentals make Communicant ’s music fresh in their world of summer-y anthems, as well establishing that this isn’t your everyday, carefree indie pop group. With the group’s thoughtful melodies, substantial hooks and dreampop elements, they’re the next band in between your headphones.
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Everwide is the debut release by Suniel Fox. It is inspired by the idea that anyone can reimagine and recreate themselves. Tragedy struck Suniel in 2009 after an armed gunmen came into Suniel's home in a home invasion robbery. Suniel saved his family, but not before being shot in the neck. The bullet was just millimeters away from striking a vocal cord. After that fateful day, his life and his band - The Surrender, fell apart. Everwide is the first solo music he has released since 2009, and it marks a beginning and a return of his passion and love for music and emotional expression
The first thirty seconds of this video are pretty stark; just vocals and guitar, no beats. And all we see is Jackii Kennedy sitting in her car texting. But as the beats drop things start to get very interesting! As Kennedy drives along we see what appears to be a robot with a heart on its belly. This could only be a metaphor for an unavailable lover. Kennedy appears to interact with the robot on a series of dates and finds it mostly unresponsive aside from dousing her with a cup of liquid at some festivity, obviously a reflection on some public embarrassments. And to process these issues Kennedy gets a whimsical psych session where even her therapist gets in on the act of singing.
Musically there is a hip hop vibe but dub reggae influence too. At one point you feel as though you are listening in on a big party just behind a door, fitting as the omniscient lyrics warn to be aware of signs of a failing relationship. Jackii says the song is, “...a note to my younger self. If I could go back, I’d want to tell myself ‘...everything is going to be fine.’” It is notable that Kennedy experiences synesthesia, a condition whereby some musicians are able to see the colors of sound. In case you wondered “Mine” sounds like "pink and yellow with splashes of baby blue."
-Brooke Trout
Magic Beans and Mungion, two bands making waves and on the rise in the jam band scene took the stage on Wednesday night at the legendary Wonder Bar in Asbury Park, NJ. A surprisingly decent size crowd showed up for the evening's festivities on a cool night at the Jersey Shore. This show has been highly anticipated for months and all in attendance were excited for this one to get underway. Let the games begin!
Sweet Home Chicago's own Mungion got the party started. Forming in 2015, they are quickly becoming one of the rising jam bands with their unique improvisations and goofy on-stage antics. Composed of Justin Reckamp on (guitar/vocals), Joe Re on (keyboards/vocals), Sean Carolan on (bass/vocals) and Matt Kellen on (drums/vocals), these guys really know how to get the crowd loud and rowdy with their energy, virtuosic music abilities and funky rock grooves.
Playing about an hour set, they went through some of their live show staples, but a couple of tunes really stood out to me. One such song was "Nuthead". It had this outstanding jam that the band really let loose on which was definitely a fan favorite. Next up was "Bananaman", an acapella vocal tune with a barbershop quintet kinda vibe which the crowd ate up. Mungion ended their set with one of my favs, a Lionel Richie classic, "All Night Long". This got the crowd all charged up, singing along, and ready for the main event. Mungion is clearly a band to watch out for. These guys are stepping up their game and you would be doing yourself a favor by checking them out.
The headliners of the night, Magic Beans, hale from Denver Colorado and were primed and ready for an amazing set on Wednesday night. Since their inception in 2010, The Magic Beans have been pushing the boundaries, blending genres, creating mind-blowing improvisation, and blending old and new sounds through traditional funk, soul and electronica. Doing what they do is not easy, and it's one of the reasons that everyone is starting to notice of this amazing band. These guys don't mess around. It was my first time seeing them live and I was thoroughly impressed. The line up of Scott Hachey on (guitar), Chris Duffy on (bass), Casey Russell on (keys), and on Cody Wales (drums), tore the roof of the Wonder Bar with their infectious grooves and nonstop dance party. Everyone had their dancing shoes on and were getting down!
They opened the show with "Sucka Blues" and the dance party was now officially under way. Next was one of my favorites from the evening's set, "Handshake or Hug". This one was tight and you could immediately feel the groove come over your soul as this one unfolded. It was super funky and fans of all ages couldn't stop dancing. Continuing on, they went into "Inventor" and then a phenomenal cover of King Harvest's "Dancing in the Moonlight". Wow! Everyone was singing and swaying to this legendary groove. Scott has a smooth style and approach to his guitar sound. It's subtle, yet shredding, a style rarely seen in this day and age. This style melds so well with Casey on the keys. Along with his amazing vocal skills, Casey plays on a Hammond b3 organ which generates a killer, old school funky tone. The rhythm section were no slouches either. Chris's funky thunderous bass coupled with Cody's incredible drumming (including all those little fills) made for a unique sound blending old with new.
To end the show, the guitarist from Mungion Justin Reckamp was invited back on stage to join Magic Beans for one of their big hits "Here on Out". Justin's ridiculous guitar skills added so much flavor to such an outstanding song, and the jam really took off from there. Their improvisational blend of electronica, funk, bluegrass, and rock was on full display and the crowd was dancing like no one was watching.
Magic Beans has an amazing stage presence and is full of energy. Their rocking show at The Wonder Bar highlights why they are a band rising in the ranks in the jam scene and are only going to get bigger and better. Do yourself a solid and check these guys out the next time they come into your town. You won't be disappointed!
To listen to Magic Beans show at the Wonder Bar in it's entirety, click HERE