As Raekwon told Red Bull Academy Radio in an interview earlier this year, his latest release, 'Shaolin vs. Wu-Tang' (named after Gordon Liu's 1981 martial arts flick), addresses the longtime infighting between himself and his group, Wu-Tang Clan. Metaphorically, the "hip-hopera" pits the group's collaborative roots against ever-present conflicts that disjointed the clan. But, musically it seems Raekwon's making peace with himself and, hopefully, his fellow Wu-mates.
I want to talk more about how to find a rhythm in your life and music cycle. I've been doing music full time for about two and a half years now (by the grace of God), and one of the first things I've learned in adapting to the change in lifestyle is the necessity of a daily and weekly rhythm.
The National is finally coming home. The Brooklyn-based band of Cincinnati natives are headlining this year’s MusicNOW festival, which, like The National’s slow, steady rise to prominence, has evolved into one of the more unique and anticipated musical events in the Midwest.
When Elvis Costello and the Imposters take the Taft Theatre stage Monday night, they’ll be toting — and touting — the Spectacular Spinning Songbook, a carnival-size, Roulette Wheel-like prop listing the titles of 40 of the hundreds of songs Costello has recorded and performed in his 30-plus years in music. Hits, obscurities, covers — anything is game. Audience members take the stage one at a time, give a spin and the band plays whatever song the wheel randomly selects.
When producer R.H. Valentino Sweeten, better known as “KontraX,” hosted the first Beat Lounge Beat Battle at Clifton Heights’ Baba Budan’s, he says he saw himself as a “people person” wanting to integrate local Hip Hop and not as a promoter. After the first Beat Lounge’s successful turnout, the bar booked the event every third Saturday for two years.
It's not often that someone sketches out his or her life path as a 13-year-old and sees the results materialize in adulthood, but Shilpa Ray is an exception. At that age, the New Jersey-bred, Brooklyn-based musician heard The Velvet Underground for the first time, an event that had a massive impact on her.
One of Kry Kids’ live trademarks is a structural complexity that finds everyone but Donaldson moving constantly between instruments and roles. Like a well-choreographed but also intuitive ballet, the switch-ups are planned and practiced but come across graceful and natural enough to not be a momentum killer.
Many adjectives accurately describe Tha Funk Capitol of the World, Bootsy Collins’ first new album in five years. “Commemorative,” “visionary,” “eclectic,” “explosive,” “star-studded.” But just one word embraces everything within Funk Capitol’s 75-minute duration: “conceptual.”
Jukebox the Ghost seems to be under so many influences that it should have a designated driver. Just two years after the band’s accomplished debut, Let Live and Let Ghosts, the Philadelphia trio’s sophomore album, Everything Under the Sun, was easily one of the most surprising albums of 2010.
The Black Angels’ music often sounds as if the world is coming to an end, which is just how singer Alex Maas likes it. The Austin, Texas-bred band has been spreading its ominous, reverb-drenched drones for more than five years now, along the way converting a flock of passionate followers who likewise believe that 1966 was popular music’s creative apex.
It's been 26 years since the Nintendo Entertainment System came to North America, accomplishing the kind of colossal feats that few products do. In another example of how profound the Nintendo's impact was, a thriving subculture is still dedicated to tapping into the machine’s rudimentary sonic palette to make new Electronic music compositions. Chiptune (aka Chip Music) existed before the NES, but today the genre is predominantly associated with that console.
Over the past 30 years, Peter Mayer has created an impressive body of music within the Cincinnati scene but has hardly enjoyed the rewards or reputation as his similarly vintaged peer group. He's succeeded on his own terms but he wouldn't mind a touch of recognition for his labors.
Whenever Michael Leonard’s at a loss for words, he apologizes because he knows he’s a reticent talker. But during performances like his set opening for Method Man and Redman at Madison Theater, Leonard’s MC alter-ego, Vincent Vega, commands crowds. Named after John Travolta’s hit-man character from Pulp Fiction, Vega is a lion-heart behind the mic and damn confident he’s a lyrical assassin.
Just over two years ago, Joy Williams and John Paul White were maintaining separate and fairly successful solo careers. Williams had been singing since her teenage years and had a number of hits in the Inspirational genre, but had tired of the category’s constraints. White had established himself as a rising singer/songwriter, while recording an album for Capitol, but he was hopeful for the future.
Call Kaki King a guitar god. It’s OK — Rolling Stone did. To her, it’s a compliment, though she’s not entirely sure what to make of such a lofty tag. “When someone says you’re a ‘Guitar This’ or a ‘Guitar Warrior Princess,’ ” the 31-year-old Georgia native says, “it means that someone had something nice to say and didn’t really know how to say it. I take it as a compliment and walk away from it."