Ibeyi Find Rhythm in Life and Love

By pcsanchez7505

“You are loved little girl, you are,” sing French-Cuban duo Ibeyi in “Vale,” a single off their new album, “Ash,” released Sept. 29.

In a world where there are so many muddled voices shouting over one another, it’s refreshing to hear voices of clarity aimed right at the feminine psyche and conventional thinking.

Ibeyi, a band that consists of twin sisters Lisa-Kainde and Naomi Diaz, take their incredible voices to sing lullabies and rally cries that embrace and empower its listeners, locking us in a rhythmic and entrancing exclamation of love, equality and life.

“Ash” is a pivotal piece of work for the band, and the album washes over you in waves, flowing back and forth, bringing new and intriguing artifacts to fall in love with.

The album starts off with “I Carried This For Years,” a slow and entrancing intro. It sinks comfortably into “Away, Away,” a charismatic expression of happiness and discovery found only by the young (and young at heart).

There are sprinkles of youthful exuberance throughout the album, but Ibeyi also draw from personal experiences to discuss darker themes in vivid detail including the harrowing tune, “Deathless.”

If there is any testament to a musician’s songwriting ability it’s that one almost feels pulled into a Paris Metro train as lead singer Lisa-Kainde recounts a wrongful arrest when she was 16. You feel her fear just as painful and consuming as it was for Lisa-Kainde as she was roughly handled by a police officer who yelled obscenities at her and shook her purse open, accusing her of selling drugs. His only “suspicion” was her afro and skin color. Lisa-Kainde notes in a BBC interview how hesitant she was to write about her experience and what her sister and bandmate Naomi said to help her.

“I remember saying, ‘Why would I write a song about it? My story is nothing compared to what is happening to people every day,’” Lisa-Kainde said to BBC. “Then Naomi said something quite incredible. She said: ‘Lisa, you don’t need to be raped or be killed for it to be wrong. What happened to you was already wrong.’”

Along with personal experiences, Ibeyi carefully choose spoken word interludes to layer over intricate weavings of jazz inspired instrumentals and hip hop beats. The twins sample speeches from former First Lady Michelle Obama in the song “No Man is Big Enough for My Arms,” the title itself is a reference to Jennifer Clement’s “Window Basquiat,” a poetic biography.

“The measure of any society is how it treats its women and girls,” and other exerts loop, taken from a response from the former First Lady to then presidential candidate Donald Trump’s sexist and crude remarks about sexual assault. Throughout Lisa-Kainde and Naomi echo her sentiments “We create … we can fight … won’t stand still … won’t be shamed.”

Other influential female figures take form in a reading from Frida Kahlo’s diary in “Transmission/Michaelion.” This seven-minute epiphany ebbs and flows in harmonic convergence, making it one of the best songs on the album.

Other songs service as a comforting embrace. “Vale” is a soft lullaby that envelopes you in a dark, velvety night sky. It gives into a vulnerability and stands by your side with unwavering solidarity.

Ibeyi aim not only to move our minds, but our bodies as well. “Me Voy,” the girls first song entirely in Spanish, explodes with rhythm and sensuality, sharpened by the inclusion of Spanish rapper Mala Rodriguez.

“Ash” is also a product of Lisa-Kainde and Naomi’s roots. Born to French-Venezuelan singer Maya Dagnino and Cuban percussionist Anga Diaz, a member of the Buena Vista Social Club, the twins are heavily influenced by their parents – Lisa-Kainde was encouraged by her mother to pursue songwriting and Naomi picked up the bata drums and cajon after her father’s death. Ibeyi sing in Spanish, French, English and Yoruba, a Nigerian language their ancestors spoke before they were taken to Cuba as slaves in the 1700s.

While their music pays homage to their family and culture, Ibeyi leave plenty of room for modern influence (Frank Ocean and James Blake to name a few), allowing antiquity and modernity to collide in beautiful fragments.

“Ash” is an album one listens to many times over – different songs jump out in exclamation each time you go back. It sooths, stirs, awakens and offers its hand in solidarity. Like so many of us, it seems recent events in the past few years have heavily influenced Ibeyi. The result for these young ladies, barely in their early 20s, is an astounding album that leaves no stone unturned.

To hear more from Ibeyi, visit their website.

Source:: Ibeyi Find Rhythm in Life and Love

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Bedouine Shares her Perspective on Life and Music

By pcsanchez7505

It took Azniv Korkejian three years of craft, care and a lofty diligence to record her debut album. In that time, Korkejian, who plays under the stage name Bedouine, pieced together a road map of her soul, a sparkling shimmer of nostalgia and self-reflection that leads us to where she is now, nestled in the eclectic neighborhood of Echo Park where the cafés are full of creatives and the music scene has a different vibe every night.

“I think it might be contradictory with the record, with it being more about wandering or this sense of detachment, but I think that might be a collection of things when I was younger,” Korkejian says of her work, noting these days she feels more like a hermit than the nomad her album and stage name paint her to be.

Despite a love for quiet incubation, Korkejian has had a lot of new attention. Her debut work has been critically acclaimed by many, and it has garnered the attention of music icons (Roger Waters just to name one), her local peers and countless Angelinos.

When speaking to Korkejian about her music, she hardly seems fazed by it all. She was soft-spoken, humble and proud of her work. Each answer was slowly delivered, and follow up questions were met with more thinking – a laugh here and there was shared to let me know she was still thinking.

Her album has the same feeling. Moments of her life are revealed over time, building up after each verse. Her adolescence, past loves and temporary detachment make its way through an album that distills the soft spoken nature of 60s folk mixed with the lyrical prowess of classic country.

It’s a striking combination of sound for someone with such a diverse background. Born in Aleppo, Syria, Korkejian moved to Saudi Arabia where she lived in an American compound with her family. The gated area provided Korkejian the safety to explore and a sense of security in her surroundings. That changed, she noted, when her family won a green card lottery and immigrated to the United States.

“I think when I … moved to the states I was very confused about living somewhere that didn’t have boundaries,” Korkejian said. “Where I lived before, it was very insular. It was daunting leaving for that reason.”

In the states, Korkejian felt lost in her borderless surroundings. She developed a sense of detachment and a propensity to explore.

“I was curious. Since I didn’t feel very anchored at home when we moved at a really developing age, I felt that I could go anywhere,” Korkejian said. “It started to feel, well … kind of addicting … to go to a new place on my own, to see who I’d meet and see what kind of social circles I’d end up in. It became kind of exciting. It’s something I can’t really fathom anymore because that seems exhausting to me now.”

Memories of the city she was born in stuck with her though. In the song, “Summer Cold,” Korkejian laments over the loss of the city she once knew. It’s not a political statement or a narrative, she said, rather a means to express her confusion and frustration. It is a distillation of her raw emotions that confront her good memories of the city.

“What I miss and remember most about Aleppo now is just being close to my family because all my cousins were there,” Korkejian said. “We’d all stay at my grandma’s house, and in our culture the grandma is kind of like the nucleus of the family, and so all of our aunts, all of our cousins, they would take turns dropping in.”

Korkejian uses those memories in “Summer Cold,” ending the song with sounds of people walking in streets, distant chatter and other sounds she remembers hearing outside her grandma’s house.

Now, Korkejian has built her home in Los Angeles. She feels more grounded again, and acknowledges the almost accidental transition from sound editor to singer/songwriter.

“I think I never found music as a realistic goal. It’s certainly not what I moved to Los Angeles to do,” Korkejian said. “But after I had been here for [a while] and started meeting professional musicians, or people who were playing music for other people as a profession – they were still doing their personal projects even if it hadn’t taken off yet. That was kind of inspiring to me because I thought, it doesn’t have to be a realistic goal or a sustainable profession. It could just be a hobby of mine. That really took the pressure off of it, and it didn’t matter if it was logistically sound. I think seeing that inspired me. Even if these people were unemployed – not out of their own will – they’d still be chipping away at their project and taking that time seriously. I found that very humbling.”

Writing was always a hobby, as was playing music. In college she’d sit in with the local house band to sing classic country hits.

“I lived in Savannah Georgia where I went to school, and there was this really good scene for outlaw country,” Korkejian explained. “I think those experiences kind of found its way into my writing whether I realized it or not at the time.”

Her hobby quickly turned into a long and winding journey. In Los Angeles, a connection with producer Gus Seyffert (Beck, Norah Jones and Roger Waters) paved the way for her album that would make its way into the public’s psyche earlier this year.

The initial draw to Seyffert stemmed from a desire to record a few songs in tape. Her decision to work on an album with him helped hone the perfect sound for her collection of work.


“I knew going into it that he would be very knowledgeable and be very specific about the tones of the songs,” Korkejian said. “I think that’s one thing very specific to what he brought – the tones of this record. I think most importantly he left a lot of space in the record and let the songs speak for themselves. He didn’t use a heavy hand when producing which has everything to do with why the record sounds the way it does.”

Recording her record was drawn out over three years. There were no expectations, no time constraints or pressure from record labels.

“The recording process was probably really different for me than for others,” Korkejian said. “The hardest part was trying not to be too precious about it. I think especially when you have a lot of time, you tend to get attached to a song. It’s hard to let go of the wheel a little bit with their production, because they can start to take it somewhere and you’re like, ‘whoa, whoa whoa, that’s not what I was thinking.’ So, the challenging part is to just be open-minded. The easiest part is just showing up. It’s exciting. Most people look forward to it, and it’s often just a good time. With anything, I think about it like, just showing up is everything.”

After showing up consistently for three years, Korkejian now has time to enjoy positive praise as she gets ready for an upcoming solo tour. She is still finding her place as a Los Angeles musician, but she feels confident about what she’s put out so far.

“I felt like I was on to something or something worth exploring when I was,” Korkejian said. “And I was so happy with the product when we were done … I didn’t want to be too affected with the press whether it was good or bad. Thankfully it’s all been really good. It feels like I don’t know, reaffirming or something, like we did the right thing by putting it out.”

Korkejian will be touring under her stage name, Bedouine, this month, with two stops in Southern California, one in Los Angeles on Sept. 28 and one in Pioneertown on Sept. 29 For ticket information, or more news about her music, visit her website.

Source:: Bedouine Shares her Perspective on Life and Music

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Kesha Offers Us a Rainbow after the Rain

By pcsanchez7505

If you told me five years ago that I’d be writing an album review for Ke$ha, well I wouldn’t believe you. Her pop music was never the kind I could stomach – no offense to the person (every offense to the genre). To me, Ke$ha’s music was an audible representation of a glitter coated bottle full of trouble, late nights and regret.

Now, Kesha, on the other hand, seems to be someone entirely different. Her recent release, ‘Rainbow’ is still pretty poppy, but dropping the dollar sign and most of the autotune has done her sound a world of good.

All jokes aside, it’s no secret Kesha has been through a lot the past couple of years including a lengthy and messy legal battle with a truly scummy human being, AKA her former music manager and producer Lukas Gottwald. Kesha accused Gottwald of sexually abusing her, administering date-rape drugs and emotionally manipulating her; Gottwald denies these claims.

A legal battle so public and substantial would be soul-sucking for anyone, but Kesha has done something truly beautiful. She persevered.

Her new album addresses all this, not so much as a battle cry, but more as a ballad, a story of her struggles, one she can release to the world and let go of in her heart.

Her opening track tackles the elephant in the room. “Bastards” doesn’t mince words or leave any ambiguity. Kesha pours her pain into this slow starter, and finds hope somewhere along the way. Musically it’s a complete 180 from the tracks she’s been known for in the past. It isn’t self-indulgent, even though Kesha is speaking about personal matters. Instead it takes her experiences and opens it up to others.

“I’m so sick of crying … I could fight forever, but life’s too short … don’t let the bastards get you down,” Kesha sings.

Her following track pushes the album into full throttle giving fans an anthem song to sing over and over. “Let ‘Em Talk” throws up a middle finger to anyone in her way; past, present or future. She’s not thinking about you, but you will know she is doing better without you.

What follows next are more fast-paced songs to uplift and capture a carefree inhibition. Kesha pours her grit into catchy and upbeat singles ready for radio play and at home on repeat. Songs such as “Hymn” fill a void for the listless and give hope to the aimless.

In “Praying,” Kesha slows things down again to lament her suffering to rise above it, a little scathed but better off nevertheless.

“I’ll bring thunder, I’ll bring rain. When I’m finished they won’t even know your name,” Kesha sings.

“Praying” is squarely directed at Gottwald and his supposed actions, but it’s not a condemnation, rather it’s a reflection.

“I hope you’re somewhere praying. I hope your soul is changing. I hope you find your peace, falling on your knees, praying,” Kesha sings.

“Learn to Let Go” continues Kesha’s self-discovery as she makes peace with herself and the circumstances she faced. This song, and others on the album, serve as a sealed envelope that contains all of Kesha’s fears, regrets and triumphs. She hands it to us unapologetically and gives us a letter opener.

The album doesn’t stay stuck in Kesha’s past though. Songs in the latter half reflect on love, dancing and the finer things in life like the feeling of wearing nothing but your lover. While a handful of these songs cross the line into Kesha’s older territory (too much pop for me), others are downright delightful and sound almost like classic country hits.

“Hunt You Down” is very Cashlike with thumping guitar riffs and lyrics that don’t take itself too seriously. Kesha takes a drip from her glitter coated bottle and pours it over a persona that distills the likes of Johnny Cash and Loretta Lynn.

Others such as “Spaceships,” the closing track, are more serious and service Kesha best merging classic country with a modern pop sound, but it’s not quite the pop-country we hear today. It’s better than that, and even calls on classic country veteran Dolly Parton to lend a hand – Kesha collaborates with Parton to cover “Old Flames (Can’t Hold A Candle to You).”

Overall, Kesha seems adamant to uplift herself and her fans. While her album addresses the pain and struggles she’s been through, its voice is not that of an individual stuck playing the victim’s role, rather one who is done remaining helpless. She uplifts herself through her own volition and with the help of others. She offers her perspective and gives refuge to those searching for their own voice.

‘Rainbow’ can be distilled into a few key points: bad things happen, but it doesn’t always reflect who you are. It doesn’t define you, but what does is whether or not you’re able to overcome the bad things. To here more from Kesha’s new album, visit her website.

Source:: Kesha Offers Us a Rainbow after the Rain

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Creating Change for the Better

By pcsanchez7505

Chicano Batman is one of many bands to cast a stone in political waters. Their 2017 release, ‘Freedom is Free’ includes songs that advocate for equal treatment of all human beings and some that give criticism on capitol greed.

This is not a political blog, and I never intended to be a political person. Unfortunately, that is a luxury long gone.

Americans have a decision to make, and it’s a pressing one. We can choose to band together to promote the values intrinsic to making our country worth living in, values such as freedom of speech, equality and the absolute intolerance of hate, bigotry and racism. Or we can perpetuate the troubling events happening in this country. Inaction serves to promote the latter, and silence will only allow hatred to breed.

What happened in Charlottesville, Virginia this month cannot pass by without full condemnation, and we cannot let senseless violence to continue. The President refuses to sincerely condemn those who participated in the white nationalist/neo-nazi rally, so we must condemn it to our fullest extent.

Beyond our ethnicities, cultures, religions/non-religion and skin color, we are the same. We are people born to love, and when people are persecuted unjustly, we should stand up for them.

With that in mind, I’d like to share a few songs that promote love, acceptance and unity, and a few that give strong commentary on bigotry and racism.

7. “Brown Girl”:

This song from Aaradhna speaks to those who have ever felt different or been mistreated because of their skin color. In it, Aaradhna asserts her beauty within and without despite what others have said or assumed about her because of her skin color. Her song is a lovely reminder that beauty comes from who a person is, not what color his or her skin is.

6. “Same Love”:

Now, whether you like this style of music or not, “Same Love” by Macklemore and Ryan Lewis is at the very least a beautiful tribute to the testament of love felt by two human beings. Its prose is simple and message even simpler; love is love.

5. “One Day”:

Matisyahu’s music speaks to the good in us all. Whether you are religious or not, his music is always inspiring. “One Day” calls for courage in the face of hate. Even in days in confusion and darkness, there is a bigger picture to fight for, a better world that could be ours if we persevere.

4. “The Power of Equality”:

L.A. band Red Hot Chili Peppers have never shied away from controversy or sharing their opinions on everything from politics and injustice to sex and drugs. Their 1991 song “The Power of Equality” follows suit and is not apologetic or ambiguous in its criticism on racial tension and police brutality.

“Whatever happened to humanity?” singer Anthony Kiedis sings in the song’s closing chorus.

While this song may require some parental supervision, it lends its voice to the plight for social justice.

3. “Call It What It Is”:

Ben Harper and the Innocent Criminals do not mince words in his recent album and song “Call It What It Is” that reflects on police brutality and racism. The song is a chilling reminder that while the United States has made progress, there is still a long journey ahead on the road to equality.

2. “This Land is Your Land”:

I can’t recommend this cover enough. East L.A. band Chicano Batman takes Woody Guthrie’s iconic folk song and gives it a powerful Chicano-soul flare while singer Bardo Martinez weaves in new lyrics in Spanish. The band’s cover not only gives the song a modern twist, they give new purpose to the song originally written in 1940.

“No existe nadie, que puede pararme por el camino de libertad/ no one exists who can stop me from the road to freedom,” sings Martinez.

1. “Man in the Mirror”:

The only way to create change or to promote justice is to first look within. That doesn’t mean to take personal responsibility for everything, but to stand up and create the change we want to see. Using our strengths to work together to stand up for others and ourselves is the only way to preserve our fundamental rights. Leave it to the late Michael Jackson and his powerful song “Man in the Mirror” to remind us that we all have the power to promote goodness in the world.

Source:: Creating Change for the Better

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Four Upcoming Shows to Catch in L.A.

By pcsanchez7505

While summer is winding down, there are still several shows coming up before we hit fall. From newcomers to veteran musicians, the next 30 days will bring a lot of great music to Southern California including local favorites and longtime acts from around the world. Just in case, you need a few suggestions, here are four shows to catch within the next few weeks.

1. Sylvan Esso

On Aug. 25 Sylvan Esso will make a stop at the Hollywood Palladium. The electro-indie due released their sophomore album ‘What Now?’ earlier this year. Sylvan Esso incorporate raw vocals (the band stresses the absence of autotune) and a variety of artificial sound to create interesting pop-inspired music. Visit Sylvan Esso’s website for more information.

2. Fitz and the Tantrums:

Local L.A. band Fitz and the Tantrums will perform at the Forum on Aug. 31. A Fitz and the Tantrums show is always a high energy, inclusive and exciting experience for fans. The band’s discography is full of up tune hits that are easily enjoyed by people of all ages, and each member of the band gives 100 percent of themselves on stage. For more information, visit the band’s website.

3. Thee Oh Sees:

If you’re looking for something a little edgier, Thee Oh Sees will be playing at the Teragram Ballroom on Aug. 31. The Teragram is one of L.A.’s newest venues located just outside of downtown. Thee Oh Sees create a high energy, high-impact collision of sound that propels fans to move in a similar fashion. Visit Thee Oh Sees’ website for ticket information.

4. Together Pangea:

This band is relatively young, but already has three albums under their belt and are on the cusp of releasing a new album at the end of this month. From singles like “Better Find Out” to “Money On It,” the band has a Strokes vibe with a hint of punk. Together Pangea will bring their young, fresh energy to the El Rey Theatre in Los Angeles on Sept. 15. Visit Together Pangea’s website for ticket info and more music.

Source:: Four Upcoming Shows to Catch in L.A.

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Bedouine Breaks Through with Debut Release

By pcsanchez7505

Azniz Korkejian performing in Hollywood

It’s hard to believe Azniv Korkejian’s latest release is also her first. The young artist uses her debut album to pack in a breathtaking amount of perspective and wide-eyed wonderment. Love, wanderlust and solitude dominate this retrofitted folk album, and after hearing Korkejian’s debut work, it’s easy to understand why she chose to name her album and musical project Bedouine.

Korkejian is in fact, a nomadic songwriter, taking on the world with an untethered feminine psyche. In her travels and music, she seems to have found experience, safety and purpose.

Although she’s now taken up roots in the vibrant music community of Echo Park (minutes from downtown Los Angeles), her music remains borderless, free to wander, to explore, and even to divulge little tidbits of wisdom.

‘Bedouine’ reflects a modest contentment between the artist and her world that is indicative of Korkejian’s heroine journey.

Our introduction to her music starts off quiet, nice and quiet. Her opening track greets us with soft spoken and shy lyrics brimming with an understated confidence. “Nice and Quiet” moves us past the surface of white noise and ushers us into a consciousness that is undisturbed and serene.

Her follow up track, “One of These Days,” oozes with all the potential of a breakthrough single. It’s a little faster, a little more direct, and highlights Bedouine’s propensity to craft clever prose.

“If I’m talking sweet to you, you know I’d like to hear it too. It’s funny honey, to think it’s a passing phase.”

In “Back to You,” she gives us a peak into her nomadic past. It’s an objective, yet personal account of odd cultural or colloquial factions that shift from one place to another.

The album is filled with these bittersweet moments. From honey in her tea to “dusty eyes” that captivate her, there is a sentimentality in her work that reveals both inexperience and maturity; a prevalent duality that discloses a separation between her age and demeanor.

By the time you get to “Solitary Daughter,” you aren’t surprised to find it reads more like poetry than lyrics. It’s a track full of descriptive verses and metaphors set in motion by subtle guitar riffs. As Korkejian gains momentum, the song becomes as light as air; an expression of solitary exuberance.

“I don’t want your pity, concern or your scorn. I’m calm by my lonesome. I feel right at home. And when the wind blows, I get to dancing. My fun is the rhythm of air when it’s prancing,” Bedouine sings.

The album’s tone breaks away momentarily to include a haunting commentary on current events. “Summer Cold,” a protest song is a lamentation written in reaction to Syrian terrorists using American made weapons. Born in Aleppo, Syria, Korkejian expresses her sorrow and frustration with breathtaking grace.

“Is this the end? I don’t want anything, ever, to do with them …”

“Summer Cold” is an outlier though, and the rest of the album remains sentimental, if not nostalgic. ‘Bedouine’ ends with “Skyline,” a captivating song that ends the album with a soothing punctuation mark.

Her musical prowess shines through in the form of delicate guitar picking and nurturing instrumentals including rolling drums and softened horns. These instrumentals fill up the background while Korkejian woos us with charming vocals.

Korkejian easily becomes the heroine of your wanderlust saga as she invite you into her thoughts. Her music reflects a shifting perspective catalyzed by travel and personal growth where the pace of the music is as steady as her lyrics.

In ‘Bedouine,’ Korkejian doesn’t reinvent the singer/songwriter wheel, but she does smooth the path it travels on.

Source:: Bedouine Breaks Through with Debut Release

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Alexandra Savior Captures a Mood

By pcsanchez7505

When you grow up feeling out of place, you can either run and hide or find a way to stand out.

Singer/songwriter Alexandra Savior has chosen the latter, starting her music career early. By the time she was 17, she had caught the attention of established musicians and professionals including one Courtney Love.

After signing with Columbia records Savior set out to record her debut album. She teamed up with Arctic Monkeys frontman Alex Turner and producer James Ford to create a dusty, slinky slew of an album.

‘Belladonna of Sadness,’ was quietly released in April, and is a moody and brooding collection of work not to be ignored.

Now, it’s important to note Turner’s influence in Savior’s breakout album is very apparent. Heavy bass and haunting chord progressions can be found a plenty in this album, and there are several lyrics that would feel right at home in an Arctic Monkeys or even Last Shadow Puppets (another Turner collaboration) song.

This isn’t to say the album is bad or even familiar. Rather it comes across as a side project of someone else, as opposed to the debut album of a new face. That being said, ‘Belladonna of Sadness’ is a fun and twisted ride. Turner’s cleverness and influence guides the album into a stage of maturity, while Savior’s alluring vocals add an air of mystique.

“Mirage,” the opening track, ushers us into a kaleidoscopic view, one where fragmented shapes and bursts of light shift across our subconscious.

She follows with “Bones,” a sensual breath of fresh air, and one of several standout tracks that reflects Savior’s influence on her own album. The song is slow and understated, and fascination, desperation and desire are all wrapped neatly into a spiraling tune.

Opposite to the almost innocent feel of “Bones” is “Shades,” an aloof observation of how one feels when they know their actions aren’t the best.

“I sort of wish that is was raining, so that I could pull the hood up on my coat/I’m always happy to be leaving/Must be the company I’m keeping,” sings Savior.

“Shades” is the perfect song the change your perspective; as the day goes on, walking home after a night out provides the best time to reflect … if only you could find your damn shades.

The next few songs in the album, “Girlie,” “Frankie,” and “M.T.M.E” sort of blend together as a twisted ode to Los Angeles and the people you find; some you were looking for and others who just appeared.

Throughout the album, Savior finds ways to separate herself from her mentor’s influence. “Cupid,” “Till Your Mine” and “Mystery Girl” all ooze with a sensual, feminine perspective. In these tracks, mesmerizing vocals pull you in as abstract lyrics paint an eerie picture, one that mirrors the set of your favorite horror movie. Savior herself notes she was aiming for a slightly “murderous” feel as well as flashes of a feminine voice.

Overall, ‘Belladonna’ of Sadness’ is just as it is; a collection of hazy desert-rock with a feminine perspective and rambling man sort of vibe. If you’re a fan of Turner, or like music that sounds at home in a mature Halloween playlist, Savior’s debut album is worth a listen.

For more information about Savior and ‘Belladonna of Sadness,’ visit Saviors website.

Source:: Alexandra Savior Captures a Mood

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Cataldo: The Band You’d Be Proud of

By pcsanchez7505

After releasing his latest LP, Cataldo’s frontman Eric Anderson took his new songs and some old friends on the road for a west coast tour. The band landed in L.A. last week to play an intimate show at the Resident in downtown’s Arts District.

The Seattle musicians seemed right at home in the small, well-lit bar nestled between small cafes and artist co-op stores, and the chilly weather was just right for Cataldo’s discography, a collection of work cultivated in the cloudy Pacific Northwest.

The night started out with local bands Cassandra Violet and Preston Graves who gave a short, but fun performance. Cataldo followed suit and serenaded a small but mighty crowd for a late night performance.

Anderson began the night with singles off the band’s newest release, opening with “Room Without a Flame” and “Little Heartbeat.” Both singles, left fans in a cheerful mood.

“I can’t help but love this damn song,” said a smiling fan as Anderson dove into an all too innocent and sweet love song.

The night’s set comprised mostly of songs from the band’s newest album ‘Keepers,’ but Anderson made sure to sprinkle in favorites from the past. “Gilded Oldies,” “My Heart is Calling” and “Other Side” were all on the bill.

Throughout the night Anderson and Co. built a rapport with fans that made you feel like you were in a room surrounded by old friend. The crowd was captivated by Cataldo’s music, and Anderson led the way to help create a unique moment for his supporters.

After following his music career for several years, Cataldo’s performance felt like a rare peek into the scope of Anderson’s talent as a lyricist and song composer. Almost every song was accompanied by insight, and not once did anyone lose interest in what Anderson had to say, or how he performed each tune.

DSC_9481Anderson’s bandmates were equally as impressive. Each member brought their own interpretation, their own spark to Anderson’s music.

On stage Anderson composed himself with a diligent hospitality and quiet candor. And though their performance was small, Anderson showcased his ability to connect with people through his music.

Cataldo’s stop at the Resident was a reunion long overdue. Friends and longtime supporters congregated over stories and experiences, and the band’s honest and quirky stage presence left none dissatisfied.

Anderson ended the night with a solo performance of “Signal Flare,” off his first album. The single was a soft and sincere token of appreciation to everyone in attendance.

“We’re just guys in our 30s doing our best,” Anderson joked.

While I have a feeling Cataldo won’t be back in Southern California for some time, I hope we continue to hear more from the band, and I look forward to the next time our paths cross. For more information about Cataldo’s music, visit their bandcamp page.

Source:: Cataldo: The Band You’d Be Proud of

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Chicano Batman Leaves Pomona with Good Vibes

By pcsanchez7505

It’s not hard to appreciate a band who gives their all on stage, a band who sweeps you up in its insatiable energy. And when that band is Chicano Batman, you find yourself moving to every song hoping that at the end of each tune, there is another to follow.

After a two weekend stint at a dusty desert music festival (AKA Coachella), Chicano Batman made one last stop in Southern California. The band, whose new album continues to make waves among fans and critics, played a sold out show at the Pomona Glass House.

The four-piece group from east Los Angeles is one that doesn’t seem to believe in barriers. On stage, they are a spiraling whirlwind, a dervish of moving parts that sweep through a venue with ease.

Lead singer Bardo Martinez never loses his smile or intensity and plays his keyboard and guitar with a frantic, passionate energy. Guitarist Carlos Arévalo and bass player Eduardo Arenas are more collective on stage but jump into action at a moment’s notice. Gabriel Villa’s drumbeats are at the center of it all, the furnace that fuels the fire.

The band’s show in Pomona was nothing short of spectacular. Along with opening bands Brainstory and Slipping Into Darkness, Chicano Batman felt at home in front of an eclectic audience. They swam between albums and moved fans of all ages, pulling them into a soul-soothing consciousness.

Throughout the night, the band never lost momentum, but they did make room for a few important moments. Before the band played “La Jura” Martinez solemnly addressed the crowd. April 29, he noted, marked the 25th memorial of the L.A. Riots, an event spurned from fear, misunderstanding and a lack of trust between communities and the police force. Martinez acknowledged the sad event, and hoped to press forward from it.

Other moments were just as powerful including a rousing chant from the audience as the band played “Freedom is Free,” the title track off their new album.

‘Freedom is Free’ is beautiful and poignant collection of songs the band started writing in 2015. Drummer Gabriel Villa said the album’s conception was cemented before there was any real tension in the 2016 presidential election, and was focused more on people, not politics.

“We didn’t know what was going to happen,” Villa said. “We just saw some real issues we wanted to address, you know? Bardo is a real great lyricist. He writes the music and has a message he wants to deliver.”

Villa said current events such as the riots in Ferguson fueled the band’s album with ideas.

“At the time when we started writing a lot of the songs there was a lot of tension going on, you had [movements] like Black Lives Matter which is why we wrote songs like ‘La Jura’ and ‘Freedom is Free,’” Villa said. “There are so many people trying to tell you what freedom is … trying to make you believe you’re not free. But you are.”

‘Freedom is Free’ pulls mostly from soul influences, and Villa said the band really focused on writing a cohesive album, one with lyrics as strong as the melody.

“We started tapping into soul a long time ago … we all grew up listening to oldies and we all listened to [radio DJ] Art Laboe and he influenced not only us but many people in California,” Villa said.

The band’s interest in soul and Latino music creates a melting pot of sounds that is reflective in the band’s performances. Each show, including their stop at the Glass House, is a beautiful expression of the band’s commitment to staying fluid and open-minded as musicians and as people.

“Soul I think is one of the music styles that really taps into your heart. We explore different rhythms,” Villa said. “We all come from like different places with different influences. We like to celebrate that.”

For more information about Chicano Batman and their music, visit their website. The band will continue to play more festivals and shows this year including the FYF festival in Los Angeles.

Click to view slideshow.

Source:: Chicano Batman Leaves Pomona with Good Vibes

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Spring Bloom: New Singles and Songs

By pcsanchez7505


Wake Child is one of many artists with new music out.

New music this year continues to bloom, and from a diverse array of artists. Some cultivate music by drawing inspiration from the past while others aspire to create something completely new. Whatever the case, each artist on this song list is worth exploring.

5. “Kick Jump Twist” by Sylvan Esso

Kick Jump Twist” is one of many great songs off Sylvan Esso’s newest album ‘What Now.’ “Kick Jump Twist” is the most electronic sounding single on the album, melding together singer Amelia Meath’s mighty vocals and Nick Sanborn’s skills to combine the right electronic sounds.

4. “In the End” by Wake Child

Wake Child, a band cultured through several home states, has only been around for a little while, but their new single “In the End,” is a good opening statement to their future work. “In the End” is a psychedelic R&B mix that seamlessly weaves the two genres together. Band members Danny Silberstein, Terrell Hines and Austin Max hail from California, Georgia and Tennessee respectively, blend together their hometown sounds to create something warm and velvety.

3. “Ya Veran” by Quitapenas

Under the Californian sun band Quitapenas grew to become just like the light that provided them with inspiration. That band, whose name means “to remove worries,” is Quitapenas, an Afro-Latin inspired ensemble bringing smiles to all its listeners. “Ya Veran” is the band’s latest single, a toe-tapping, hip swinging number you could find at any reputable dance club or playing in the background at Abuelita’s house. Through the band’s diverse backgrounds, Quitapenas is a melting pot of sounds and influences that appeal to anyone with a lively side.

2. “Andromeda” by Gorillaz

“Andromeda” is one of four singles that prelude Gorillaz newest studio album, out April 28. The single features D.R.A.M. and is a retrofitted disco dreamland. The song is sharp, groovy and perfectly calculated to make you move. As a band that has been around for nearly two decades, “Andromeda” is the starry-eyed anomaly you’d expect from Gorillaz.

1. “Shine on Me” by Dan Auerbach

“Shine On Me” is the newest single for Dan Auerbach. Auerbach has a few years of solo work under his belt after co-founding The Black Keys and other musical projects, and “Shine On Me” is a sunny uptempo tune forecasting a bright new album for Auerbach, out in June. Also included, is a goofy music video playing up the song’s carefree tone.

Source:: Spring Bloom: New Singles and Songs

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