___________________________________________________________________________________________We apologize. We are having technical issues with our comment sections and fan community and it is temporarily unavailable. We are actively working on these issues and hope to have it up and running soon. We are also working on enhancements to provide a better forum for our fans. We appreciate your patience and apologize for the inconvenience.
All-female artist collective SHIMASHIMA is turning heads everywhere. Featuring Lea Serres, Abri and Lexi Todd, the trio forms a creative hivemind that does business like a label, writes like a collective, and releases like an artist. The three collaborate powerfully, and each plan to release EPs at a Brooklyn-are release party next Saturday, April 30th.With this upcoming show in mind, we had the distinct privilege of sharing a song from Lea Serres ahead of the release. Titled “Are You Okay,” the song is a “modern electronic ballad that takes you on a journey, starting with Lea attempting to save a life, and ending with the realization that she can’t possibly do it herself.”Listen to the new song, below:In describing the song, the group says, “Lea’s airy soprano vocals float over wistful, swirling synth textures and a thoughtful Rhodes to discuss what it is like to simultaneously struggle with depression and fall in love with someone suicidal… ‘Are You Okay’ represents the darker side to SHIMASHIMA’s signature storytelling lyrical style.”There’s also a teaser video to go along with the track, which you can watch below:For more information about the upcoming release party, head here.
Setlist: The Disco Biscuits at Terminal West, Atlanta, GA – 4/21/16Set I: Let’s Go Crazy -> Munchkin Invasion, King Of The World -> Basis For A Day, Kitchen MittsSet II: Voices Insane, Voices Fakeout -> I-Man -> Voices Insane -> Tricycle -> Voices Fakeout -> I-ManEncore: Story of the World Photographer Dave Vann was on the scene to capture images from the show. Check out his highlights below, with a setlist and gallery to follow: Load remaining images Update 4/23: Pro-shot audio from the performance has surfaced! Listen to taper Matt Moricle’s audio below:The Disco Biscuits went to Georgia for this weekend’s SweetWater 420 Festival, but stopped first at the Terminal West venue for a pre-party performance to remember. Last night, the Biscuits wasted no time spreading their condolences, opening the show with their cover of Prince’s “Let’s Go Crazy.” The Purple Rain track has been played throughout the band’s past, including this great jam from February of 2014 at the Electric Factory.The Biscuits posted the following about their show:
Last year, an incredible lineup of musicians gathered for an all-star tribute to Jerry Garcia. The show featured all four surviving members of the Grateful Dead, as well as countless artists in the jam, folk and bluegrass scenes, all coming together in honor of the Dead’s guitarist. Titled “Dear Jerry,” the show at the Merriweather Post Pavilion was a truly memorable moment in music history.As organizers of that event are planning its official video release, they have been sharing videos from the celebration. The latest features Trampled By Turtles and their remarkable take on the Garcia/Hunter classic, “Brown Eyed Women.” The bottle was dusty indeed.Watch the newly-released video below, courtesy of Garcia’s Facebook page.
Funk army Turkuaz has been out on the road in full force this fall, touring alongside their British brethren, The New Mastersounds, for an all-out display of groovy music. The two bands toured through the Midwest over the Thanksgiving weekend, stopping at the Vogue Theatre in Indianapolis, IN for a Saturday night showcase. Both bands were on point, keeping the energy level high in the packed house.Phierce Photography was on hand to capture the magic of the performance! Check out the full gallery below, and don’t miss these two bands playing at NYC’s Terminal 5 on Friday December 2nd. More information can be found here. Load remaining images
The all-star Frank Zappa tribute band, Cosmik Playground, has announced a new exciting performance on Saturday, February 11th, 2017 at TRiP in Santa Monica, CA. Cosmik Playground is a band anchored by Arthur Barrow and Marcus Rezak with a rotating cast of musicians, and this upcoming performance has a great lineup in tow.For this show, dubbed “A Love Supreme,” the band will welcome Joel Cummins, Jason Hann and Aaron Provisor. The show will also feature opening support from Kid Culver. To get a taste of what Cosmik Playground can do, check out the video of “Inca Roads Solo > Thirteen > Cosmik Debris” from their recent performances featuring Chad Wackerman.For tickets and more information, you can head here. You can find more information about Cosmik Playground on their Facebook page.
Tractorbear is an effort by four lifelong friends from New York City to replicate a bit of the magic and mystery that defined The Disco Biscuits in the band’s infancy, long before they had a namesake festival, sold out Red Rocks, built apps, or jammed with members of the Grateful Dead. This doesn’t mean their setlists are stuck in 1999 (far from it in fact — they busted out the Biscuits’ latest number ‘The Champions” as an encore the first gig they got after the Biscuits debuted it). Rather, Tractorbear inhabits the same sheerly experimental space that once characterized the Disco Biscuits, completely uninhibited by the expectations of an arena-sized audience and beholden only to their desire to put something completely original out there on stage during each performance.In classic Biscuits fashion, Tractorbear was booked to close down the night at The Hall At MP following performances by Uncle Ebeneezer and The Allmost Brothers’ Band, as well as a separate gig for the more electronically-inclined new side-project of Aron Magner and Marc Brownstein with the members of Break Science — Breaking Biscuits — over at Brooklyn Bowl. Hitting the stage a bit after 12:30, the band was obviously expected to deliver a dance party. Before the group got started, however, they brought Corey Feldman of Uncle Ebeneezer on stage and performed a one-off cover of Audioslave’s “Like A Stone” in memory of Chris Cornell, whose suicide at the end of the week broke the hearts of a lot of kids whose formative years were in the early aughts. The lyrics certainly took on a new heaviness in the light of his passing.Beginning now in earnest, the band led off with a calm and patient “Shelby Rose.” Some fans were still filtering in through the MP’s glass doors, and as a warm summer breeze wafted its way through the club, some couples began to glide to the dance floor hand-in-hand while other friends exchanged bear hugs in the middle of a welcoming and grinning audience. The song is one of naive, giddy affection, and the band delivers it as such. With lyrics that border on treacle over a soundscape of devilishly insistent building frenzy, it felt like both a celebration of a pristine springy day and a subtle nod to the potentialities of a long warm night. This more sinister vein was explored as the jam morphed into a ripping and rolling “Tempest,” a song that is more of one pure, drawn-out peak than anything else, with a grimy and insatiable energy to its synths from Steven Lasker that got the crowd jumping. The segment ended with the frenzied chaotic conclusion of “Shelby Rose,” delivered with aplomb from guitarist James Dellisanti and a roar from a crowd that was now invigorated and brimming with friends.Up next, Tractorbear switched into a full-throated delivery of some of the most high-energy songs in the Biscuits’ catalog. First up was a roaring “Munchkin Invasion,” whose complex and fascinating jam was anchored by the stellar percussive talents of Jason Cohen, who managed to keep the band on the same page through a song that really seems to have two speeds: fast and reckless abandon. From deep within a jungle-y jam, the band found its way out on the tips of Paulie Katz’s bass-slapping fingers, who guided them into an all-out dance party in the form of “Rock Candy.” A perfect song to end a set on, the band walked off the stage after the last “Now we both got two” exclamation and into an adoring audience.The second set began sometime around two a.m., but far from seeming enervated, the audience looked its most full and enthusiastic. Starting out softly again, the band eased its way into a jam characterized by Delissanti and Lasker’s teasing of Eiffel 65’s “I’m Blue.” The absurdity of it drew some laughs, but the band’s chops certainly weren’t lacking as they started to stretch it out. The freeform jam eventually resolved itself into the end of “Confrontation,” a triumphant bit of music that signaled the beginning of an inverted version of the song. Though it started with the band attacking the beat, by its conclusion, “Confrontation” had proven to be one of the more fully realized jam vehicles of the night, showing off the sort of playfulness that a judgement-free stage presence can foster.Up next was a brief detour through the most unexplored nether regions of The Disco Biscuits’ ample song selection: “Chilled Briefly,” a song that — to this correspondent’s knowledge — has only ever been played once before, at Camp Bisco 7. Up next was a standalone “Mulberry’s Dream,” whose reggae vibes, carefree lyricism, and impish joyfulness make it a summer night’s absolute essence. The last segment of the night saw the band leave it all out on the stage for their fans who had managed to stick it out until the wee hours. Starting with a rocking “M.E.M.P.H.I.S.,” the band accelerated into a vertiginous “Cyclone,” a song that still maintained the driving, gritty, techno flavor that characterized it when it was first debuted by JM2 (a supergroup/side project of the Biscuits from more than a decade ago). To close the set, they wove their way out into the end of “Digital Buddha,” showing off their more orchestral, classical flavor and wowing any jam-band fans that might have been unfamiliar with the sheer complexity of some of the Biscuits’ compositions.After a “World Is Spinning” encore, fans headed out into the morning hours with beaming eyes to the sky and hearts full of wonder. Here was a band performing the songs of their idols, re-cast by their own hands and with their own tweaks on them. Up next for Tractorbear will be a show on June 17th at American Beauty in midtown, where they’ll debut a full set of their own originals, as well as perform another set of Biscuity goodness. We’ll see you there![Cover photo via Tractorbear’s Facebook page]Setlist: Tractorbear | The Hall at MP | New York, NY | 5/19/2017Set One: Like a Stone*. Shelby Rose > Tempest > Shelby Rose, Munchkin Invasion (unf) > Rock CandySet Two: Jam** > Confrontation (><) > Chilled Briefly, Mulberry’s Dream, MEMPHIS (unf) > Cyclone > Digital Buddha (end only)Encore: World is Spinning* = Audioslave cover. Featuring Corey Corey J. Feldman of Uncle Ebeneezer.** – With “I’m Blue” teases
Today, in the midst of his enormous “Us + Them” tour, Roger Waters has unveiled his powerful new video for “Wait for Her,” a song off the former Pink Floyd bassist’s new LP Is This the Life We Really Want? Check Out Spectacular Photos And Fan-Shot Videos From Roger Waters’ Georgia ShowThe video features footage Waters and his band performing the song in the studio interspersed with moving footage of a scarred flamenco dancer haunted by her memories as she prepares for a performance in her dressing room. Actress/dance Azzura, who also starred in the moody visual for Waters’ previous single, “The Last Refugee.“Wait For Her”‘s lyrics and the music video both drew influence from the late Palestinian poet Mahmoud Darwish‘s “Lessons From The Kama Sutra (Wait For Her).” According to Waters’ Film and Creative Director Sean Evans in a statement to Rolling Stone. “”When Roger wrote this song, his adaptation of the poem took on a sensual yet melancholy tone, and the video needed to represent that,” Evans said. “It needed to show femininity and sexuality but also needed to have an air of loss and pain, and longing for a time that was. We met Azzura, the actress/dancer, while doing a casting for the part in ‘The Last Refugee.’ That part called for a woman who was an experienced flamenco dancer and who could convincingly have a mother/daughter interaction with a child actress. Azzura was perfect: she’s a trained dancer and when not dancing, she works with kids. She did such a fantastic job during the filming of ‘The Last Refugee,’ that Roger and I wanted to include her in ‘Wait for Her.’ The song has a yearning that we felt a band performance alone wouldn’t quite address.”Evans also explained the dancer’s noticeable scar in the video: “That mark was important to the video – it is a symbol of the physical torment refugees endure.” He also referred to “Wait For Her” and “The Last Refugee” as companion pieces, saying that they were intentionally made with similar approaches “but are not mean to live in linear time with each other. Both were intentionally created that way and are meant to be open to interpretation.” He also hinted that he and Waters have further ideas for subsequent chapters in this “story.”You can watch the new video for “Wait for Her,” as well as the video for its companion piece, “The Last Refugee,” below via Roger Waters VEVO:“Wait For Her”“The Last Refugee”You can catch Roger Waters on the road throughout this year on his “Us + Them” 2017 tour. For a full list of upcoming tour dates, head to his website.[Cover photo via Carol Spagnuola][h/t – Rolling Stone]
In March, the Fox Theatre in Boulder, Colorado, celebrated its 25th anniversary, inviting an extensive list of big-name acts that have played the venue over the years, including The String Cheese Incident, The Motet, Leftover Salmon, and The Greyboy Allstars, to return to the 600-person venue. The Fox will celebrate its 25th one more time before 2017 ends, as on, Saturday, December 9th, Shockra will bring it back to the earliest days of the jam scene (purchase tickets here).For those that may be too young to remember, Shockra—who played one of the first shows ever at The Fox—helped forge the earliest beginnings of the jam scene back in the late 80’s. Shockra frequently collaborated with acts like Phish, Blues Traveler, Widespread Panic, and Col. Bruce Hampton and the Aquarium Rescue Unit, with many of these act sitting in with each other, touring together, and throwing late-night jam-sessions, making for a wildly creative and inspired environment for all the musicians involved.We got to chat with drummer Dave Watts (who would later go on to found Colorado’s own The Motet), Felix Rentschler (guitar), Edwin Hurwitz (bassist), and Jeff Grove (tenor sax/vocals) about the early beginnings of Shockra, as well as the group’s epic collaborations with members of Phish and Aquarium Rescue Unit and playing old-school venues such as The Wetlands, The Middle East, and more.Live For Live Music: How did Shockra come together?Jeff Grove: Around ‘84 or ‘85, I was starting a blues-based band with Fabian Hollander. We had tried a number of people when a bass player we knew turned us on to Edwin. He quickly brought along Felix and Jonathan Abel (who became the first drummer of Shockra). You guys brought the funk, and the jam-band sensibility way back then. We started gigging around the scene, but things got played out after a year, and we all moved on.Edwin Hurwitz: Shockra came together almost by default. In 1988, I was offered a gig in a blues band called Graffiti. Jeff Grove was the singer/sax player. We needed a drummer, so I called up my friend Jonathan Abel from my days at Berklee. We played a few gigs, and it seemed like we could still use another member, so I called up Felix Rentschler—another partner in crime from Berklee. After a while, Jonathan, Felix, and I were itching to play some more adventurous music, so we moved on from Graffiti and started rehearsing, playing parties, and generally figuring out what kind of fun we could have.We decided we needed a keyboard player and played with a bunch of them, but nothing really clicked. One day, I went with my roommate to see her brother play a solo piano bar gig in the financial district of Boston. I asked him to play “Falling Grace,” and he went for it. That was Dan Coutu. I knew right away he was up for anything, and he should come jam with us. This version of Shockra played around Boston and up into New Hampshire and Vermont for about year, with some epic gigs, including loft parties in the South End, benefits for various causes (including a marijuana legalization rally that just happened to be scheduled right next to a Boy Scout gathering), colleges, and wherever we could.Then Jonathan decided to move on, and we cast about for a new drummer. I think we auditioned something like fifty people without finding anyone. We took the last of our cash and went camping in the White Mountains, wondering if we’d ever find someone funky and powerful enough. When we got back, Dave Watts answered our flyer, and it was clear he had what we were looking for. At that moment, Shockra was born.L4LM: You guys were playing during the early beginnings of what we now know as the jam scene. Could you tell there was something special going on at the time?Edwin: Absolutely. Even beyond what became the jam scene, there was a ton of great music in Boston, New York, and all around the East Coast. There was lots of cross-pollination between styles and scenes. While the pop music of the 80’s and 90’s was happening, there was a strong underground growing that embraced rock, funk, African music, Indian music, jazz, and anything else that could be brought into the mix.Clubs like The Middle East, Johnny D’s, the Paradise, etc., had incredibly eclectic mixes of bands. In New York, The Wetlands was taking off and looking at their schedule was a “Who’s Who” of all the bands coming up. The great thing about it was that every band was really different. There was no generic sense of jam band, and every band was there for the community. There was very little sense of competition and a lot of hanging out and sharing of musical influences and jamming strategies. While it was clear that something was beginning to happen, it felt very organic.L4LM: There was also a lot of cross-pollination with groups like Phish, Aquarium Rescue Unit, Blues Traveler, and Widespread Panic. Shockra even had all members of Phish sit-in for the entire second set of your show at K.D. Churchill’s in Burlington back in ’92. What was that like?Edwin: While these bands were all on the way up, remember that in the early 90’s, they were still essentially underground bands. Rolling Stone magazine covers and huge venues were still in the future. The whole thing felt very natural—everyone was not just accessible but excited about coming together and collaborating. All the bands you mention and more were exploring a way to have a life in music that wasn’t just playing the game of success—a way to be completely authentic and true to the music first and foremost.Having sit-ins with bands like Phish and ARU were just opportunities to have fun. It wasn’t exciting because they were “famous” but because it was exciting to play music with like-minded people—with friends—and to see what we could come up with in the moment. All of them were up for everything. We especially took advantage of that with Jon Fishman, who readily agreed to do whatever crazy idea we had—from reading passages from James Joyce or Buckminster Fuller to lurking behind a door with a trombone, ready to come out blasting every time we knocked. It was a lot of fun.L4LM: The Burlington and greater Northeast music scene really seemed to be, and still even to this day, an extremely creative environment. It certainly sounds like it was a fertile environment for creativity. Felix Rentschler: I don’t know a lot about the Burlington scene, but I loved getting invited to the Phish house to jam and plan out a sit-in at our show. The next morning I got to sit in with Trey and Matt from the Jazz Mandolin Project at a little brunch spot.Edwin: Also, hanging out with Phish and discussing rehearsal techniques was pretty cool, too.L4LM: What are some of your most memorable moments playing with Shockra?Felix: Memorable highlights include after-hour parties at Neptune, hanging out, and jamming with members of many bands, such as Phish, Widespread Panic, Aquarium Rescue Unit, and local Boston bands. Also, Jon Fishman joining us on vacuum cleaner at the Wetlands, and Jimmy Herring and Oteil Burbridge sitting in with us in Ohio.Dave Watts: Touring out to Colorado for the first time was an incredible experience for us. Phish gave us their mailing list to promote the tour, so we had great crowds everywhere we went. Because of a snowstorm in Telluride, we stayed longer and played four shows in a row at the Fly Me to the Moon Saloon. That was definitely a mind-expanding experience for us.L4LM: There is a Shockra flyer hanging up in The Fox, which happens to also be one of the first shows ever put on at the venue. How does it feel to be bringing it back to The Fox twenty-five years later?Dave: It’s a great feeling to know that this music, which we put our hearts and souls into so many years ago, still lives on. The support that we still get from our fans is the reason we are doing this show. It’s exciting to revisit these songs and envision them with (quite) a few more years of musical maturity and experience under our belts. It’s also exciting to have an opportunity to perform these songs in front of a younger audience, some of whom probably weren’t even alive when this material was written!Tickets for Shockra at The Fox Theatre on December 9th are on sale now and can be purchase here. For show updates and additional information, join the Facebook Event page.Check out this full recording from a Shockra show at Burlington’s K.D. Churchill’s back in ’92, which sees the members of Phish sit-in during the entire second set of the show:[via taper james_dineen]Setlist: Shockra | K.D. Churchill’s | Burlington, VT | 2/1/92Set One: Give It Up, Spread The Word->Dimension Extension, Tone Clone*Set Two: Sippin Pippa*->The Worms Crawl In *, Don’t Let It Stop Ya ** With all members of PhishNotes via phish.net: On February 1st, the members of Phish joined Shockra for their show at K.D. Churchill’s in Burlington. Mike was taking lessons in slap bass from Shockra’s bassist Edwin around that time and the two bands were spending some time together with Shockra opening some classic Phish concerts in the Northeast in 1991. On the 1st, Phish took the stage with Shockra for their second set, performing Shockra staples like “Tone Clone,” “Don’t Let it Stop Ya,” and “Underground People” as well as some funky, syncopated jamming. This was the first of a number of live jams the bands played together through the years at Boston’s Neptune House and later at Shockra club performances in 1992 and 1993.Enter To Win A Pair Of Tickets:
Today, R&B/soul singer Allen Stone dropped his latest single (and third of 2018), “Taste Of You”, an upbeat soul track featuring Jamie Lidell. Stone and Lidell are no strangers to one another, as the Washington-based artist’s “Warriors” single (released in June) was also produced by the English-born musician and singer. The release of this new music will lead to a new full-length album from Stone, expected to drop sometime in 2019.Stone has been a mainstay on the music charts this year with the releases of “Warriors” and “Brown Eyed Lover”, the latter of which featured American Idol contestant Dennis Lorenzo. The release of “Taste Of You” via ATO Records comes alongside a two-month North American fall tour, which began last week and will continue the next two nights at Los Angeles’ Fonda Theatre.Discussing his inspiration for the track, Stone stated: “I had the opportunity to play an Aretha Franklin tribute show at Carnegie Hall last year and I was privileged to sing ‘Say A Little Prayer’. What an iconic song! Getting to play that song in such an inspiring environment made me want to write a song just like. This was my attempt. My personal tribute. Love you Aretha.”Listen to “Taste Of You” below:<span data-mce-type=”bookmark” style=”display: inline-block; width: 0px; overflow: hidden; line-height: 0;” class=”mce_SELRES_start”></span>Allen Stone Tour Dates:10/17 – Los Angeles, CA @ Fonda Theatre10/18 – Los Angeles, CA @ Fonda Theatre ^ [SOLD OUT]10/20 – San Diego, CA @ Humphreys Concerts by the Bay ^ [SOLD OUT]10/21 – Tucson, AZ @ 191 Toole ^10/23 – Oklahoma City, OK @ Tower Theatre ^10/24 – San Antonio, TX @ Rustic ^10/26 – Dallas, TX @ The Statler Ballroom ^10/27 – Austin, TX @ Emo’s ^10/28 – Houston, TX @ House of Blues ^10/31 – Mobile, AL @ Soul Kitchen ^11/02 – Orlando, FL @ Beacham Theater ^11/03 – Tampa, FL @ The Ritz Ybor ^11/04 – Ft. Lauderdale, FL @ Revolution Live ^11/06 – Atlanta, GA @ Center Stage ^11/07 – Charleston, SC @ Music Farm ^11/08 – Nashville, TN @ Cannery Ballroom ^ [SOLD OUT]11/10 – Chattanooga, TN @ Robert Kirk Walker Theatre ^ [SOLD OUT]11/11 – Knoxville, TN @ The Mill & Mine ^11/13 – Columbia, SC @ The Senate ^11/14 – Raleigh, NC @ Lincoln Theatre ^11/15 – Norfolk, VA @ The NorVa ^11/17 – Brooklyn, NY @ Brooklyn Steel ^11/18 – Asbury Park, NJ @ House of Independents ^11/20 – Harrisburg, PA @ Capitol Room ^11/21 – Washington, DC @ 9:30 Club ^11/23 – Boston, MA @ Royale ^11/24 – Philadelphia, PA @ Theatre of Living Arts ^11/25 – Munhall, PA @ Carnegie of Homestead Music Hall ^11/27 – Toronto, ON @ Phoenix Concert Theatre ^11/28 – Detroit, MI @ Majestic Café ^11/30 – Cleveland, OH @ House of Blues ^12/01 – Chicago, IL @ The Vic Theatre ^12/02 – Minneapolis, MN @ Varsity Theater ^12/04 – St. Louis, MO @ Delmar ^12/05 – Kansas City, MO @ Knuckleheads Saloon ^12/07 – Denver, CO @ Gothic Theatre ^12/08 – Salt Lake City, UT @ The Complex ^12/09 – Boise, ID @ Egyptian Theatre ^12/11 – Spokane, WA @ Knitting Factory ^12/12 – Vancouver, BC @ Commodore Ballroom ^12/16 – Seattle, WA @ Neptune Theatre [SOLD OUT]12/17 – Seattle, WA @ Neptune Theatre [SOLD OUT]^ Nick Waterhouse supports