Archive for the ‘music’ Category

Interview: The Greeting Committee.

April 20, 2016
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The Greeting Committee, 4/9/16

The Greeting Committee is an up-and-coming Kansas City-based band. They are signed to Harvest Records, which also features artists such as Glass Animals and Best Coast. They played SXSW and are playing Lollapalooza 2016. I go to a lot of shows, I’ve interviewed a ton of bands over the years. The Greeting Committee has something special. Their well-crafted indie rock and joyous live performances are gaining them fans nationwide.The future is bright for this band. The Greeting Committee features guitarist and lead singer Addie Sartino, bassist Pierce Turcotte, guitarist Brandon Yangmi, and drummer Austin Fraser. I recently sat down with the band to discuss the insanity of SXSW, signing with Harvest and their creative process.

I’m here with the legendary Greeting Committee here, up-and-coming, soon to be legendary, in my opinion, but they already know that. How did you all get started?
Addie: I wrote and performed music as a solo artist and I decided that it wasn’t fulfilling enough. I’d previously written music with Brandon Yangmi, our guitar player. When it came time to make a band, I knew he was the first person to call and from there he got Pierce Turcotte, our bass player, and Austin Fraser, our drummer.

Your EP, It’s Not All That Bad, is out now and doing well. You’re getting radio play, you’re really growing. How does your song writing process work? Do you start with lyrics first, melody first?
Brandon: Usually, it starts off with the music. Someone will bring an idea, me, Pierce or even Addie. One of us will bring an idea and we’ll kind of build it off of that. Usually, it’s like one idea and bringing in the rest of the band. We then mold it together as a whole band. We just kind of jam on stuff. Then, lyrics go on the top of the music that we’ve already written.

You guys really dig into your songs and that’s a beautiful thing to see. You’re really focused and I see a lot of bands that are not focused. You guys are locked in and that’s awesome. How often do you find yourselves writing?
Addie: Writing is more of a continuous project. It’s harder to write while we’re on the road. Since we’ve been on the road a short amount of time, it’s not that difficult. I would say writing is a continuous process and not something that we take breaks from. If we have an idea, we go with it. If not, we don’t put pressure on that.

That’s the thing about being creative, you just have to let it flow. You guys are signed to Harvest Records. How did you get hooked up with him? How did that happen?
Addie: The first email we got was from Republic Records and then Atlantic Records. After that, we spoke with Lazlo, who’s our manager, and he kind of made the connection with Harvest. He’s been best friends with Jacqueline, who is the general manager. They’ve been close for about 20 years or so. After having meetings with Republic, Atlantic and Harvest, it was just kind of clear which one was the best fit for us personally. Harvest just felt like home.

That’s awesome. There are some heavy hitters on Harvest, Best Coast and Glass Animals. These guys are melting kid’s faces off. You’re going to melt their faces off too. Have you guys started tracking your debut album yet? Are you writing right now?
Pierce: We have been writing, but not tracking anything.
Austin: We haven’t recorded anything, but we have been getting ideas and stuff. I think we’re going to record it over the summer. We haven’t recorded anything yet.

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The Greeting Committee, 4/9/16

Do you have favorite quoted motto that you live by?
Addie: Peyton Marek and I, she’s our tour manager, we just say, “Be a girl boss,” all the time. I don’t know if that works for the guys. I don’t know if they have their personal motto.
Austin: “I like Dirt.”

You’ll be seeing those boys soon enough. Are you pumped for Lollapalooza?
Addie: I am really excited for Lollapalooza. A lot of my favorite artists that I haven’t gotten a chance to see, like Daughter is on the same day as us. I am really excited for that.
Austin: I’m glad you got the “I Like Dirt” reference. Did you notice us go into it when we played MGMT’s) “Kids?”

Yeah, I did catch that. It was nice. You had a spacey jam segment.
Pierce: I just wanted someone to catch the “I like Dirt.”

You did throw it in there. You’re loose enough too that it works. You guys are really in the moment live. It’s all about being good live. You’re going to rip Lollapalooza apart. Did you enjoy South by Southwest too?
Pierce: Yes, it was a lot of fun.
Austin: South by Southwest was insane. It was definitely a new experience. Besides the venues, just the whole city and the people. It was a great experience. We got treated really nicely. We played a Stubb’s Showcase where a notable artist, Charli XCX, was playing outside. That was a really fun performance. Everything was really fast paced. I’m glad we only dd two shows because I felt like if we did more, then there would have been a lot of things that we wouldn’t be prepared for.

You don’t get burned out. I know people that have done like 12 showcases. They feel like they’re going to die. I went a few years back. You feel great, but you’re falling asleep at the Korean taco truck. It’s like a Hunter S. Thompson music fest put on by Taco Bell. I’m watching Youth Lagoon and people in flannels are shoveling Taco Bell in their faces. It was confusing.
Brandon: That’s the life. People go down to South by Southwest just to sell stuff. They know tons of people will be down there.

So many voices all shouting. What advice would you give to the artists who just starting out? You guys are still young and you got the future in front of you.
Brandon: We are still starting out.
Addie: Play as many shows as you possibly can. You’re never too good or too above anything. Just play music and have fun doing it.
Austin: Practice a lot. Chemistry in the band is one of the most important things for a band.
Pierce: There can be very special things about each individual, but it’s also important how everyone kind of gets together and kind of bonds with the music too. Put in the work and stay humble.
Austin: I think it’s also important to really show off your individuality in the music too, because everyone comes from a different backgrounds. I think it is very important.
Brandon: You shouldn’t set roles for yourself. You shouldn’t be like, “No one else is doing this, I probably shouldn’t do it.” You should do do whatever you feel like you want to do.

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McClain Approved: The Greeting Committee “Hands Down.”

April 12, 2016
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The Greeting Committee at the Power & Light District, 4/9/16.

The Greeting Committee is a young indie rock band on the rise. The Kansas City-based band recently played SXSW and they are playing Lollapalooza 2016. The Greeting Committee features guitarist and lead singer Addie Sartino, bassist Pierce Turcotte, guitarist Brandon Yangmi, and drummer Austin Fraser. All of the band members are still in high school. They are signed to Los Angeles-based record label Harvest Records, which also features Best Coast and Glass Animals on its roster.

I recently caught the Greeting Committee’s headlining set at local radio station 96.5 the Buzz‘s Homegrown Buzz Music Showcase. Live, the songs have even more power and Addie’s vocals soar. I go to a lot of shows and the wonderful joy the Greeting Committee have playing is infectious. Those indie rock happy sensors go off in your body and gets you fired up. Their single “Hands Down” is a tight, well-crafted indie-pop song. It’s so inspiring to see a young band having fun doing what they love. The future is bright for the Greeting Committee.

Big Gigantic Bring the Saxy Dance Party to the Midland.

April 5, 2016
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Big Gigantic at the Midland, 4/2/16

Big Gigantic brought their live electronica jams to the Midland April 2nd. The Colorado-based drums and sax duo represent a fresh take on dance music. Big Gigantic’s sound is a mixture of dubstep, house, hip-hop and jazz. Their instrumentation and sound is a nice change of pace from the standard DJ playing beats. The songs flowed effortlessly and the mix of bass drops and breezy sax lines got the crowd moving.

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Big Gigantic at the Midland, 4/2/16

A lot of the set was focused on remixes and covers. Their remix of Major Lazer’s “Wave” was a highlight. It was a quality evening of party music. With their mix of sax and hard driving beats, Big Gigantic kept the crowd fired up and hype all night.

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Big Gigantic at the Midland, 4/2/16

“Wayne Coyne is in our yoga class. He is kind of distracting. He does yoga shirtless, wears yoga tights and has big hair. He’s very expressive.”

April 2, 2016
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The Flaming Lips at the 2009 Voodoo Music Experience (Photo credit: Ellen Maloney)

I heard a good Wayne Coyne story today. If you go to a lot of indie rock shows over the years, you probably end up with a Wayne Coyne story. The Flaming Lips are trippy indie rock legends. They have always created music with a weird and wonderful vision. Their live shows often explode into glorious expressions of joy.

I met Wayne briefly, in New Orleans, at the 2009 Voodoo Music Experience. He was wearing his signature suit and chilling out before heading onstage. A friend of mine’s father had recently passed and he happened to have been a big Flaming Lips fan. It was nice to be able to chat with Wayne. I told him that his music brings joy to so many people, myself included, and that my friend’s dad was a big fan.

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Wayne Coyne, of the Flaming Lips, at the 2009 Voodoo Music Experience (Photo credit: Ellen Maloney)

I met a woman today from Oklahoma City. The Flaming Lips are based out of OKC. Like many people, she had a quality Wayne story, “Wayne Coyne is in our yoga class. He is kind of distracting. He does yoga shirtless, wears yoga tights and has big hair. He’s very expressive.” That will realign your chakras!

It is wonderful to be able to tell a musician that their music has a positive impact on you. If you like someone’s music and you get a chance to talk to them, speak from the heart and tel them why you enjoy it. It was interesting to hear a story about one of music’s weirdest and best artists. Wayne Coyne fearlessly freaking out his yoga class probably keeps the world in balance. People that bring their strange and honest creative visions to the world help to tip the scales away from the bland zone. Be yourself and remember to keep it weird!

Excision’s the Paradox Tour Brings the Bass and Joy to Kansas City.

March 28, 2016
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Excision in Kansas City, 3/25/16

Canadian bass music DJ and producer Excision brought the Paradox Tour to Kansas City on March 25th. He sold out the 3,000 capacity Midland Theatre. There was no chill. I am not a big dubstep/bass nerd, but the energy and passion for electronic music showcased on the Paradox Tour couldn’t be denied. It was a joyous night of stunning visual production, quality mixing and 150,000 watts of bass mayhem

Bear Grillz got the show rolling with a diverse mix of tunes. He smashed through a set while wearing a bear costume. So much (literal) beasting. Damn y’all, Snuggle goes hard!

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Bear Grillz in Kansas City, 3/25/16

Bear Grillz was followed back-to-back by Figure. The Indiana-based DJ really got the crowd moving with his hard-edged version of EDM.

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Figure in Kansas City, 2/25/16

Excision hit the crowd hard with his heavy take on bass music. His hour and 30 minute headlining set proved why he is one of the best mixers in today’s dance scene. The production really helped to create a fully immersive show. Excision played a lot of the tracks from his excellent Shambhala 2015 mix. The balcony was bouncing with joy to his vicious tunes.

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Excision in Kansas City, 3/25/16

I’ve been a fan of electronic music for a long time. It’s wonderful to see people getting down, having a good time and raving hard. When it comes down to it, quality dance music is all the joy it brings you. The Paradox Tour filled the Midland with a glorious evening of bass music.

The Red Hot Chili Peppers Should Play “Hollywood (Africa)” at Jazz Fest 2016.

March 24, 2016

According to Setlist.fm, the Red Hot Chili Peppers song “Hollywood (Africa)” has only been played live 39 times since 1985. The track is a cover of the Meters’ classic 1974 song “Africa.” The Chili Peppers version was featured on their 1985 album Freaky Styley.

The Chili Peppers have long had a love and appreciation of New Orleans funk. They jammed with the Meters at the 2006 Voodoo Music Experience, on a face melting version of “Handclapping Song.” The funk was insane. They also played “Apache Rose Peacock” live for the first time ever at that NOLA show. How epic would it be to see the Peppers break out their Meters cover at Jazz Fest 2016?

Interview: Excision.

March 23, 2016
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Excision (image via http://www.elseup.com

Excision is a Canadian DJ who combines many different styles of dance
music to form his own bass-heavy sound. His music transcends
genres and labels. From a mixing standpoint, he is one of the best live DJs I have ever seen. Excision discussed his first musical memory and his approach to creating a quality live show.
What was your first musical memory?
The first electronic music I heard that stood out to me was the
Prodigy’s “The Fat of the Land.” I loved it, but couldn’t find
anything else even close to it. It wasn’t until 2005 that I
discovered drum ‘n’ bass and the Vex’d album “Degenerate,” which
showed me the extent of what dubstep and all electronic music is
capable of.

I started producing and DJing at the time, dropped out of the business
degree program I was taking at the University of British Columbia and
decided that this was what I needed to do. My parents weren’t too
impressed, but they had some level of faith when they saw I was
putting in 12 hours a day to get better. Living in Kelowna, I didn’t
know a single other DJ for over a year and didn’t meet any other
producers until I was touring in 2007. It was 2005 when I started and
although the Internet had a few places you could read up on various
techniques, it definitely wasn’t like today where there is a YouTube
tutorial for everything. Learning how to produce the sounds of your
imagination is a long, arduous process that I wouldn’t recommend to
anyone who isn’t willing to sacrifice a big chunk of their life.

How is your live setup differ from your studio setup?
The new stage “The Executioner” has been in progress since April of
last year. When we built Xvision, we learned what projection mapping
is truly capable of, and with a bit bigger budget this year we were
able to produce something far more complex. We wanted to get away
from the 2D “trippy visualizations” as much as possible. My team and
I felt that we had learned enough from Xvision to tackle the entire
project ourselves.

I worked with Ben from Beama and went through 66 revisions before we
finally settled on the current design. I then went and hired 50 or so
animators from around the world, created storyboards of what we wanted
each animation to look like, how we wanted it to sync with a specific
song and spent a huge amount of time on each of them really dialing it
in. Justin is our Mr. Fixit guy who knows a lot about a ton of
different things. He handled the window to the DJ booth, which goes
up and down based at the push of a button, as well as the panels that
open and close to reveal lasers within the stage, as well as CO2 jets,
crazy, low-lying fog machines, and even snow machines! A Canadian
crew can’t truly put on a high production value show without snow.
Justin also helped with the Serato/Ableton dual setup.

I wanted to keep everything as close to a traditional DJ setup as
possible, and still have the freedom to play whatever tracks in
whatever order the crowd wants them. We use Serato music videos for
70 songs; usually I get through 55 in a set. Each of these videos stay
in perfect sync with the attached song and the Serato video technology
is perfect so far. Where we ran into trouble was creating a fully
synced lighting show. We bridged Ableton to Serato and hacked a bunch
of things in order to get the time code sent out to the lighting desk
and trigger all the cues. The result is a system that gives me full
freedom to cater to the crowd and still be a real DJ, but at the same
time give a fully synced audio-visual show.

You might think this has been done before, but every artist I’ve seen,
and I’ve seen nearly all of them, have a 100% pre-planned set that
they literally just press a play button at the beginning of the show
and fake it for 90 minutes. Fuck that!

Due to how long it takes for movie-grade animations to be created, I
had to be careful about which songs I had them made for. I won’t ruin
the surprise, but it’s going to be an epic set that stays true to my
roots, but still has enough diversity to make everyone happy. Expect
to leave exhausted.

The Executioner features every bit of cutting edge technology that we
can cram into it, and it’s our goal to deliver an experience that is
as close as you will get to the future of EDM in today’s world. As far
as the future years and years ahead goes, we will always be working
hard to stay at least a few steps ahead of the rest of the industry.

You tour constantly. What have been some of your favorite moments on the road?
The most memorable achievements that first come to mind are headlining
shows playing to 10 or 20 thousand people at epic venues like Red
Rocks in Colorado or The Gorge in Washington. Looking out onto the
crowd and the awesome view and seeing so many people rocking out to
such nasty music is a pretty righteous feeling.

McClain Approved: Underworld “Low Burn.”

March 22, 2016

Underworld is my favorite band. The English duo is composed of lyricist/vocalist Karl Hyde and multi-instrumentalist/producer Rick Smith. Active since 1980, Underworld has always had a more mature take on dance music. It’s still a party, but a weird and wonderful one. I collect Underworld live bootlegs and I have almost everything they have released. Underworld has a very signature sound. Some of their tracks focus on minimal ambient pulses, while others are full blown rave epics. The lyrics often float by in fragments, like a strange dream. Unlike a lot of other dance music, there can be a wonderful subtlety to Underworld’s music.

A recent piece in the Guardian describes a major turning point in Underworld’s career;

The following sounds like a convenient myth, but it’s true: in 1990 Smith’s total income was £120, and his wife, Tracy, convinced him to change tack and make music he liked. “The best thing that ever happened to me,” Smith says. Interested in techno, he started working with young DJ Darren Emerson, and his world turned around. Hyde went along with him: “After 10 years of being conscious of what’s in the charts, what the record labels want, what we think we should be doing, which people didn’t get anyway, the minute our music got honest and personal, it became open to people.”

Being true to themselves helped Underworld connect with people in an honest way. It’s inspiring. Hyde and Smith don’t create tracks with cliche buildups or chase EDM trends. Underworld exists within their own musical space. Their latest album, Barbara Barbara, We Face a Shining Future, showcases many of the qualities that make Underworld so great. It is one of the best albums of the year. The slow building track “Low Burn” is my favorite song off of the album. The stream-of-consciousness lyrics and the rolling beats mesh together beautifully and could only come from Underworld. The future is shining and it will be glorious.

McClain Approved: Garmiani “Bomb A Drop.”

March 22, 2016
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Garmiani (image via http://www.salacioussound.com

When the weather gets warmer, my taste in tunes starts shifting back to my love of dance music. When it comes to dances tunes, I’m looking for forward momentum and quality production.  It’s always fun to see what new tracks stand out from the pack and really grab my attention.

Garmiani is a Swedish bass DJ and producer. I love the dancehall-trap fusion vibes of his track “Bomb A Drop.” He samples Ding Dong’s “Badman Forward Badman Pull Up,” but amps things up to a whole different level. It sounds like the kind of track Major Lazer should still be creating. The production is a bit left-of-center in places, but the tune still goes hard. Garmiani really brings the energy and “Bomb A Drop” sounds like a hard-hitting summer anthem in the making.

McClain Approved: The Meters “It Ain’t No Use.”

March 10, 2016
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The Meters (image via http://www.kalamu.com)

McClain Approved is a column where I give you the rundown on an artist you need to know and share a track from them.

“I know some people who think that KC and the Sunshine Band is funky and that’s just WRONG,” my friend said with disdain. It’s true. Once you have seen the glory of real funk, it is a complete game changer. A lot of people are funk deficient and they don’t even realize it. I consider myself a funk evangelist. Seeing something raw and real can forever change your outlook.

Tapping into New Orleans and NOLA funk helped me transcend my squareness. NOLA reshaped and upgraded my personal understanding of funk. Funk itself can be hard to define, because there are so many subtleties and varieties. However, for me, it is all about the groove. I call bad funk “flaccid, sad trombone funk.” WAHHHH WAHHHHHH. This is unacceptable. A person can become a funk snob, and that is a beautiful thing. It’s like learning to speak a whole new language. New Orleans expands your idea of what funk can be and how funky things can become. We have seen shows were the funk goes beyond reality and into a whole different level. Once you know, you know. It is like a funk enlightenment. There is no going back.

You might ask, “McClain, who is the funkiest band to ever come from NOLA?” It’s the Meters, of course. The Meters helped to invent funk. They took second line rhythms and R&B grooves and injected them with their own brand of real, organic funk. Their loose but tight sound could only come from NOLA. The Meters were formed in 1966, in New Orleans. The members of the Meters are keyboardist Art Neville, bassist George Porter Jr., drummer Zigaboo Modeliste, and guitarist Leo Nocentelli. Percussionist/vocalist Cyril Neville joined the group in 1970. I have been fortunate to have interviewed several members of the Meters over the years. They are gracious, passionate about music and truly tapped into another way of thinking. Their musical innovation and positive mindset are inspiring. Even today, the members of the Meters are still pushing funk forward. The group disbanded in 1977, but have reunited several times since. They are playing a night show at the Orpheum Theater, in New Orleans, during Jazz Fest 2016. The Meters are beloved by many musicians, but seem overlooked by a lot of music fans.

The Meters have a song that serves as a mission statement for me, “Funkify Your Life.” The lyrics almost act as a manifesto, “Fukify your life, get on down. You can be the funkiest in town.” I mean, why the hell wouldn’t you want to be the funkiest in town? When you sit down and think about it, being funkier is the only sensible option. Be better, be more, funkify your life!

I wanted to share a deeper Meters cut with you. This 1975 live version of “It Ain’t No Use” was recorded on the Queen Mary. The band’s interplay is really on point here. George and Zigaboo take the funk into new realms on this version. THEY GET DOWN! Once you learn about the Meters, your life will forever be funkified.