Tag Archive for 'brooklyn'

Daniel - The Sounds In My Head

tsimh.jpgBeing a fan of eclectic, non-mainstream music throughout the years people always ask me, “How do you find out about stuff like this?” There is no one answer since they are so many sources that influence musical tastes. Like most people who love music, I enjoy stumbling upon things myself. Of course there have to be other sources involved or I would be living in bubble not discovering anything new. I occasionally listen to the radio: two great stations in my area WFMU and WFUV are great jump starts because they have real DJs picking out music. Some other essential learning places can be small record shops, eMusic, independent magazines and now podcasts are great place to absorb the knowledge of others and become influenced by something unexpected. When podcasts first became popular at the end of 2004 I jumped on the bandwagon and subscribed to a bunch of them. I had a shows synched in iTunes and to my iPod set for my morning commute: my local weather, headline news, movie reviews and of course some music programs, all managed to refresh after I listened to them. Within a very short time it became a hassle to skip forward through last month’s out-dated news, old weather reports and reviews of movies now already on DVD. Now less than two years later there are only a few podcasts that I am still “subscribed to” and are in my regular listening rotation. A magician doesn’t reveal his secrets unless he’s Penn Jillette or that masked guy from Fox a couple years ago but I am going to let you in on a little tip. One of the few podcasts that I am still listening to regularly is a treasure trove of new discoveries. It’s a short podcast called The Sounds in My Head put out weekly every Monday by a guy named Daniel in Brooklyn.

Daniel begins each of his shows with his slogan is “A weekly music show featuring songs and bands you might have missed.” He doesn’t just play stuff that is brand new but TSiMH features music that we may have overlooked. Daniel buys all the music himself which means he is a true music fan and is doing this because he loves it, just like us here at C-Pop. He doesn’t bombard his listeners with tons of songs as the shows are usually under 20 minutes and some random theme specials throughout the year under 40 minutes. Taking cues from hip radio stations, Daniel doesn’t use a fake announcer voice or try to sound like someone he’s not; which means he talks like a real person. He has a relaxed, amiable, smooth voice, which is the glue of his program. He doesn’t focus on one particular genre but seems to prefer indie power pop. Some of his favorite bands are Luna, They Might Be Giants, Squirrel Nut Zippers, Rilo Kiley and C-Pop fav Holly Gollightly. Although he doesn’t play these artists every week, or even every month for that matter, as a listener to his show you become aware of what his favorite music is. Sometimes he’ll play more than one song by an artist if he’s really digging the music to show the depth of an album. He gives you a little tidbit or some history, so you begin absorbing his knowledge whether you realize it or not. Daniel will let you know when album contains only one good song or if it’s chocked-filled with goodies. In between songs he likes to segue in topical snippets from the Daily Show, CNN, Air America that most certainly reflect a liberal opinion; which is fine with me. He’ll also throw in some funny stuff by comedians; lately he’s been featuring Patton Oswalt. Through TSiMH I have discovered new and old artists such The Bees, Jamie Lidell, Saturday Looks Good To Me, Research, Bettye Swann among many others.

He tries to play music that isn’t on the Top 40 but doesn’t always succeed since he doesn’t listen to radio. His July third episode featured two songs by Gnarls Barkley’s. I missed that show; but on that day I gave one of my mixed CDs featuring new stuff from 2006 to all of my friends at a July fourth party. One of my friends, who I was unsure of his musical tastes, said, “I really like that new song Crazy”. His daughter and him caught it on the radio and downloaded the video. I said, “Yep, it’s on there track two!” Although I had read about the song in Entertainment Weekly a couple weeks earlier, which is not always such a great source for new music. I didn’t think the song was popular yet or if it would ever be after reading the review, so I was taken back a bit even though I was aiming for a general audience. A couple weeks later I heard Daniel apologizing for putting “Crazy” on his show explaining that he heard it in on a Top 40 station while he was in a cab after publishing the show. I have come to the conclusion that it’s okay to play stuff that is popular or suddenly becomes pop, it just means we’re right.

Earlier this year Daniel had a friend of his take over the show for one episode. His friend did a great job but what I found interesting was his opinion of Daniel’s show. As TSiMH’s guest host would play his music picks he apologized for playing music that Daniel never would. Curiously, I wondered about that since Daniel seems to play everything which is why I’ve been a listener of TSiMH for such a long time. When you’ve listened to a bunch of his shows and have invited the sounds into your head, I urge you take a listen to his show 30 Hours In Prospect Park which is really long with no songs, except background music and features Daniel talking about his cat; Yes his cat! When I read description I thought I would have no interest and would end up turning it off. Within a few minutes I was captivated and felt like I was listening to an old Jean Shepherd radio show.

If you don’t have time to discover music anymore because you’re too busy, you have kids or maybe a job, or if you can manage to find time to discover new music and your doing it all the time like myself take 20 minutes and listen to the sounds in Daniel’s head, some of them are in mine too.
The Sounds in My Head
Check out this weeks themed episode on Southeast Asian Music.

Oneida - Happy New Year

cover3.jpgAbout the only all-encompossing genre label that might stick to Oneida is experimental. From album to album, you just never know what to expect from this compelling Brooklyn band. On their eighth long player, Happy New Year, they mix up a batch of some wicked krautrockin’ psych folk concoctions.

There are some extreme contrasts over the course of the album. “Distress,” for example, sounds either like a trippy version of Simon and Garfunkle’s “Sounds of Silence” or chanting monks from the Temple of Psilocybin. I can’t decide which. Compare that with the jaw dropping seven-plus minute epic, “Up With People,” which is crammed full of hyper skittery rhythms, minimalist guitar and sax(?) leads, and a chorus that sounds like Love and Rocket’s cover of “Ball of Confusion.” Such disparate songs don’t seem like they’d cohere. The prevailing psych vibe, especially in the detached vocals, holds it all together pretty well.

Oneida are restless, adventurous, and always interesting in their approach to rock music. I’ve gone from wishing more of their stuff sounded like the garage-psych of songs like “All Arounder” on their ‘01 release Anthem on the Moon, to really appreciating the diversity of their sonic journeys. Happy New Year is another challenging but satisfying trip through their strange musical land.

Mixtape track- “Up With People” is truly a stunner.
Freebies- Woo-hoo! Grab yourself a copy of “Up With People” from the band’s site.

Karsh Kale - Broken English

Broken English I’ll admit that I had some serious reservations about this album after sampling the single “Manifest” as I found the inclusion of lackluster rhyming to be a tad off-putting and it did not help my impressions of the album much on first listen that this track is the opener. That being said, the rest of the tracks on the album quickly changed my bias and even warmed my slightly to the single I had maligned. Broken English is Kale’s super star album featuring cameos from many of his labelmates at Six Degrees Records and possessing a decidedly radio friendly slant though maintaining the Bollywood influenced worldliness that his work is known for, though it is interesting to note that as cultures continue to cross pollinate music such as this sounds less exotic each day which isn’t to say that it is mundane, just more familiar. From the Kale’s page at Six Degrees Records:

Recently, Karsh Kale has been increasingly adamant that words like “exotic” don’t really apply to his music. “This music comes from New York,” he told one writer. “It really shouldn’t be treated differently from any other music that comes from New York.” And he’s right: it’s the Bhangra and Bollywood of Jackson Heights, the hip hop of Brooklyn and the South Bronx, the electronica of the Chelsea nightclubs, and the rock-n-roll of the Lower East Side.

Broken English spans multiple genres and often in the span of a single song. “Free Fall” is a dance track that spins wildly about with a catchy pop hook with Trixie Reiss offering a vocal performance that locks tightly to the bump and grind of the drum programming. Layered on top of it is a lush flute arrangement that cools the tempo slightly and provides a nice backdrop for Sabiha Khan’s Indian vocals. It is a piece infectious confectionery possessing actual substance and is by far one of my favorite tracks on the album as well as from Kale’s catalog.

“City Lights” finds Kale mining completely new material as the track is a straight ahead power ballad, though not in the traditional 80’s definition of the genre. Rather it is more of a blend of Rock and Electronica, similar in feel to what was popularized by bands like Garbage in the mid 90’s, but still maintaining a contemporary feel. Todd Michaelsen provides the vocals and while on earlier tracks he sounds like he is channeling Thom Yorke, “Dancing at Sunset” being the prime example, here he sounds as if he is projecting his personality and his voice fits well with the crunching guitars and reverb drenched piano and string swells. The commercial feel of the track is tempered by the inclusion of Indian style arrangements that flesh out the performance. On another ballad Dierdre of Ekova fame lends her talent to “Innocence and Power” which seems tailor made for her ethereal voice with soft string pads, flutes, and hushed piano line all supported by a glitchy drum and bass rhythms and serves to remind the listener at Kale’s talent of composing for and around artists.

By the last track Broken English had won me over. It is a testament to Kale’s strength as a composer and a producer to create an album that sounds at once familiar and new by blending so many varied musical traditions into one appealing Pop construct. Very highly recommended.

You can pick it up at either eMusic or Amazon.

J-Live - The Hear After

J-Live - The Hear AfterThe thing about J-Live that strikes me the most is his ability to make his words dance. There is a sort of alchemy that takes place when the words move from the page to the mic where they come alive swinging, swaying, and skipping about the beats where other emcees just hold onto the beat to carry them through to the end.  J-Live bobs and weaves about it occasionally mockingly as he drops into other voices, other times driving the beat along with his double-time patter. On The Hear After, which dropped in late summer last year, he maintains that ability as well as weaving a multitude of new stories about the New York Philadelphia corridor expounding on social issues as well as relating personal stories such as his time spent teaching in the Brooklyn public school system.

Production on the album is solid as most tracks lock in tightly to the rhymes supporting the emcees, never overpowering them or taking away from their work. “Whoever” has the backing track that stands out the most for me with it swaying Latin rhythms that are evocative of a summer’s afternoon at a Nuyorcian block party. Brass lines punctuate the syllables of the rhymes, timbales add bounce, and all while flutes swirl about like a light breeze. The track is infectious particularly as it rounds the corner to the last bars hammering the chorus home like a band vamping as the finale nears.

Usually, I dislike skits or tracks that are built around the skit concept as they often become tired over repeated listenings however the piece that he put together with his wife, Kola Rock. “Listening” is an intimate number, playing out as a long distance call home where the two trade stanzas, building the threads into a cohesive whole that stresses the importance of listening in order to learn about what has brought them to the place in which they now stand. Kola Rock demonstrates herself as a talented emcee and poet.  I am hopeful that her work will see a release of its own in the near future.

The Hear After is not an album for those who are wrapped up in the mindset that Hip-Hop needs to be about slinging rocks and flashing Glocks, as he stresses in “Sidewalks” not everyone is willing to play into stereotypes and on this album he certainly does not pander to the images playing out on MTV. That said, The Hear After is an album that begs to be listened to as J-Live proves himself to be highly literate and an extremely capable emcee.





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