Denver, Colo. sextet Flobots return with their third album, Survival Story. Set for a March 16 release via Universal Republic, it features a set of political barnstormers that will undoubtedly excite their fan base. The real question, however, is if they have a new set of songs as memorable as 2008’s breakout single “Handlebars.”
While you wait for the answer, chew over this chunk of bio:
Survival Story is a vision of hope for a world facing its limits. While others revel in the dystopian, the Flobots remain committed to their ability to rise together. Navigating the coming years will require new tools. It will require narratives that cause us to reexamine our priorities, redefine wealth, and re-inspire ourselves. It will require that we come together in the face of death and write the story of our own survival.
Holed up in Blasting Room studio in Ft. Collins, CO with Producer/Mixer Mario Caldato (Beastie Boys, Money Mark, One Day as a Lion), Flobots had a lot to get off their collective chests. They didn’t just tour the world they listened to it. From message boards to emails to comments left on social networking sites to actual conversations (remember those?), Flobots paid attention to what was being said. Andy believes, “Talking with the audience before and after shows gives us constant inspiration, and motivation, to keep doing what we do.”
Each and every person has a story to tell but struggle is a universal theme.
Tanya Morgan embarks on the “Hi-Fidelity” tour later this month, the “Hi-Fidelity” a reference to Donwill’s forthcoming album Don Cusack in High Fidelity. The East Coast run features support from Kooley High.
Since everything nowadays is prefaced with a YouTube teaser (albums, tours, mixtapes, actual videos), check below the jump for a commercial featuring the members of Kooley High.
Brainfeeder announced today that it is releasing a new album by Daedelus on March 23. It’s a seven-track effort titled Righteous Fists of Harmony, and it is inspired by the Boxer Rebellion in China. The label posted a video preview for the album, which is embedded above; the wondrous clip features the estimable Laura Darlington and was created by DestroyRockMusic Inc.
More details:
In this release for Flying Lotus’ up-and-coming label Brainfeeder, Daedelus presents a soundtrack-of-sorts to the Boxer Rebellion. What, you ask, could make such ancient history an inspiration for modern electronics? Well, Daedelus has found a strange relevance to our modern malady in these epic events of long ago…
After seventy years of China’s opium-related subjugation by Queen Victoria and her allies, a force of resistance fighters — termed “Boxers” by the British — rose to the challenge in 1898. Calling themselves “The Righteous Fists of Harmony,” this secret society of martial artists felt they held magical powers: they believed themselves bulletproof, able to fly, and capable of raising the dead (who would then fight alongside them). And so began the brief Boxer Rebellion; three years later 100,000 Boxers had fallen, their magic helpless against the cutting-edge machinery of war. The British prevailed only to face ultimate defeat, as their empire rapidly declined.
Daedelus endeavors to compose a requiem for the end — of beliefs, of lives, and of an era. This elegy for a bygone battle sheds light on our own contemporary conundrum: will our faith in modernity be our downfall? Are we blinded by this age of wonders, doomed to be destroyed by our ingenious inventions? Although Daedelus’ music has always juxtaposed organic and electronic elements, they war as never before on “Righteous Fists of Harmony,” a portrait of a tumultuous era that came crashing to a close.
Last week, Little Brother elaborated on its previously-announced plans for Leftback. It turns out that it won’t be an EP of leftovers from the Getback sessions, but a full-length album. After its release on April 20 via Hall of Justus (with distribution from Traffic), Phonte and Big Pooh will embark on a final set of tour dates.
Phonte revealed that Little Brother had effectively split up last June during an interview with 215mag.com. After the interviewer, Tayyib Smith, posted the story on Okayplayer.com’s message boards, Phonte confirmed the news in a response subsequent to comments. “It’s been 3 studio albums, a host of mixtape/mix-albums, a gang of label/internal group drama and we still survived through it all. For me it just feels like a ‘we came, we saw, we made our mark’ sorta thing. I don’t know if there’s anything left to prove,” he wrote.
Leftback was originally intended as a post-breakup addendum. Now, the group will give its fans a fourth and final album (not counting mixtapes and compilations such as The Chitlin Circuit and Separate But Equal) and a chance to say a proper farewell.
Last night, El-P announced that Definitive Jux will soon go on hiatus, and that he plans to step down as its artistic director. Acknowledging industry rumors portending his label’s imminent demise, the co-owner, rapper, producer and symbol of one of the most acclaimed rap imprints of the past decade explained in a note titled “Of Hooptys and Hovercrafts,” “We are not closing, but we are changing.”
In the post — which went live around 10 p.m. EST February 2 but is dated February 3 — El-P didn’t fully explain what new form Definitive Jux will take. But it appears that it will turn into a catalog label focused on selling products created during the past decade.
Also unclear from the statement is whether Definitive Jux will stop releasing new material. It has a backlog of signed artists, including Despot, Activator, Danny!, and Cool Calm Pete. Many of them have waited years for Definitive Jux to issue their material. Those delays have fueled speculation that the company is becoming financially insolvent. In the post, El-P described such rumors as “mildly exaggerated.”
Other artists closely associated with Definitive Jux, including breadwinner Aesop Rock and Rob Sonic, are expected to release albums in 2010. El-P promised that its finalslate of projects includeKing of Hearts, a collection of the late Camu Tao’s final recordings, and “a DEF JUX remix compilation, a 10 year anniversary retrospective and some other goodies. But then as a traditional record label DEF JUX will effectively be put on hiatus.”
Well, this is a nice surprise. The great Gil Scott-Heron, author of classics such as “The Revolution Will Not Be Televised,” “Johannesburg,” and “The Bottle,” has had a well-chronicled bout with drugs in recent years, and eventually served a few stints in prison for possession. I think that most of us have written him off as a result, but thankfully he has rebounded with new art.
I’m New Here, set for release via Beggars Group on February 9, is Scott-Heron’s first album since 1994’s Spirits. Production — or, more accurately, spare musical backdrops — are lovingly provided by Beggars Group president Richard Russell. No Brian Jackson, though.
More from the bio:
On much of I’m New Here, Scott-Heron reflects on his life and this moment with his trademark vocal power and insight, sharing his visions among Russell’s flickering, electronic soundscapes which at various times conjure up thoughts of Burial and The xx, as well as a host of hip-hop influenced sounds. Against the low, buzzing miasma of “Crutch,” Scott-Heron observes a sidewalk junkie from both inside the addict’s head and out: “His eyes half-closed reveal his world of nod/A world of lonely men and no love, no God…” Against the metallic pulse of “Running,” he narrates a cold-sweat, 3 a.m. epiphany: “Because it’s easier to run/Easier than staying and finding out you’re the only one/Who didn’t run.” And, on the blues holler of future single “New York City is Killing Me,” he manages to sound like a raw-throated blues singer from a ‘30’s field recording and an existential narrator trapped in some post-industrial wasteland. Occasionally the electronics are stripped right back – as they are on the beautiful, heartfelt “I’ll Take Care Of You” – or on “I’m New Here”, a cover of indieband Smog, of all things, where Scott-Heron’s weathered baritone completely owns the lyrics, transforming them with the force of own history. At other times in stark contrast, they’re ramped right up – just listen to the crashing, hip-hop beat and primal vocal boom of “Me And The Devil”. Elsewhere, along with brief ruminations and tape-recorded insights, Scott-Heron sings over the airy, funk arrangements that recall his ‘70s work, given a modern day reboot by Russell. But through all of it runs the thoughtful, provocative and still rebellious voice of Gil Scott-Heron.
After nearly two decades collaborating on various Quannum projects, specifically husband Lyrics Born’s two solo albums, Joyo Velarde gets her solo shot. Set for release on February 16 via Quannum/Red Distribution, Love & Understanding features production from RJD2, Tommy Guerrero, Headnodic, Jumbo the Garbageman and, of course, LB.
Miss Velarde will perform a few spot dates in the Midwest this month with Lyrics Born. Since the latter is also planning an album release later this spring (currently titled As U Were), expect to see the couple on the road throughout much of 2010.
For now, though, here’s the bio:
Joyo was born in Manila but later relocated to the Bay Area, where she is known as the female voice behind the seminal independent label Quannum.
Think Vanessa Williams meets Amel Larrieux (Groove Theory). Joyo blends soul and hip hop stylishly with her stunning vocal range at the forefront. Pulling from Minnie Riperton, Chaka Khan and Tina Marie as well as contemporary R&B singers like Alicia Keys, Solange, Angie Stone and Raheem DeVaughn, Joyo has truly mastered her craft. On “You Got Me (In the Mood)” Joyo reminds you of a female version of Marvin Gaye, while on “Lower Deck” she is truly reminiscent of Denise Williams on her hit song “Silly.” Joyo’s classical study with an opera company in Rome resonates throughout the album, particularly the track “On And On.”
Last year, Marco Polo killed it on his collaboration with Torae, Double Barrel. The producer returns on March 23, this time with Boot Camp Clik associate Ruste Juxx. Set for release via Duck Down Records, The eXXecution features guest shots from DJ Revolution, Ruck (a.k.a. Sean Price) and Rock from Heltah Skeltah, Freddie Foxxx and Black Moon.
Here’s a little bio hype:
Marco Polo & Ruste Juxx have combined forces to bring fans a serious dose of hardcore Hip Hop. The eXXecution is entirely produced by Marco Polo with Ruste Juxx providing gut-wrenching vocals over heavy hitting drums.
Marco Polo explains that a “simple studio session to play beats turned into Ruste Juxx recording 9 songs. The joints came out so crazy that we said let’s turn this into a full-length album. Working with Duck Down all these years it was only a matter of time before Juxx and I got to a specific project. The best part is the work happened organically. Nothing was forced. Ruste came through, heard beats, wrote, recorded…done deal. March 23rd is The eXXecution!”
Crown City Rockers rapper Rashaan Ahmad goes back on the road for a few Western Hemisphere dates. Coolzey, who just dropped his new album The Honey, opens.
Donwill adds the first chapter in his homage to the John Cusack vinyl-nerd classic High Fidelity. Props for the visual shot of David Bowie’s Aladdin Sane.
Directed by Marques Green. Taken from Don Cusack in High Fidelity, which drops March 26 on Interdependent Media.
Amp Live’s solo debut Murder at the Discotech drops March 16 on Child’s Play/Om Records. Sure, the Zion-I producer has dropped plenty of mashup mixtapes before — most notoriously the Radiohead mashup Rainydayz Remixes — but this is the first official collection of original material.
Cue the bio snippet:
The anticipated electronic and hip hop fused record features guest vocals by Mickey Factz, Zumbi of Zion I, Grouch, Eligh, Trackademicks, Fashawn, Myka Nyne, Hot Tub, Yak Ballz, My First Earthquake, Golda Supa Nova, Bambu, Dude Royal and more. Featuring the internet buzz hits ‘Gary is a Robot’ featuring Trackademicks (Fools Gold) & Mr. Micro and ‘Turn it Up’ featuring Mickey Factz (XXL hottest mcs to watch out for 2010), Murder at the Discotech is best defined as electro hop; melting dubstep, electro, hip hop and indy in to one pot.
In 2008, all three Tanya Morgan’s MCs dropped Internet mixtapes. But this year, they’ll issue their solo efforts officially. First up is Donwill: Set for release via Interdependent Media on March 23, Don Cusack in High Fidelity features production from TM cohort Von Pea, Keelay & Zaire, Brick Beats and A-Plus from Souls of Mischief.
More via the bio:
Don Cusack In High Fidelity is Donwill’s musical representation of the movie from which it took its name. Not only is High Fidelity Donwill’s personal favorite film, but he identified with John Cusack’s character, Rob Gordon, so much that he created an entire album inspired by the movie. Donwill incorporated personal stories of falling in love, fearing commitment, hating his job, and learning life lessons, to create a clever and deeply personal musical interpretation of the film. Skillfully and artfully crafted using direct subject matter and quotes from the cult classic, the 16-track personal odyssey will resonate not only with fans of the original movie but also with anyone who has spent time trying to figure out the opposite sex. “The album is based on being in a state of perpetual pre-mid-life crisis,” says Donwill. “Nothing in life will give you all the answers, but this album will help people find some of the answers they might be looking for.”
UK cut-n-paste dynamo DJ Yoda is about to make a rare visit to the States for a very short series of gigs. Check him out if you happen to be in his proximity.
Originally scheduled for October 13, 2009, Kidz in the Hall’s third album Land of Make Believe now drops March 9 on Duck Down Records. Guests include established artists MC Lyte, Marsha Ambrosius and Just Blaze; as well as blog-buoyed upstarts Colin Munroe, the Kid Daytona, Donnis and Chip tha Ripper.
Here are a few details:
Kidz In The Hall are embarking on their next journey into the LAND OF MAKE BELIEVE. For Naledge, MC of Kidz In The Hall, he sees the project as “the moment we have worked for has come to a crossroad. We strive for success in this music industry, but we have never taken time to look ourselves in the mirror and analyze what this industry has made us. As a lyricist, I used this album to serve as a soundtrack to my aspirations and to my downfalls, but also as a chance to evaluate who I am as a man compared to whom I envisioned myself to be.”
Examining the current climate of our world today, LAND OF MAKE BELIEVE, is a timely reminder for us all to take a step back and analyze how we can strive to be better and achieve more. Double-O highlights this further by saying that “The Land of Make Believe is different things for different people. For us it is the space between where we are now as artists and where we feel we should be. It’s the idea that until you actually get to your destination or goal you have to act like you are already there.”
The first single from the album, “FLICKIN”, currently available at iTunes worldwide, is a prime example of dichotomy of imagination and reality. The title is a colloquial Chicago term. Naledge explains “Flickin’” is the idea that at any point in time something is photo-ready or picturesque. When I was younger it was used to describe a person’s car, shoes, haircut, or outfit. Any material possession with physical beauty.” “Confidence is key” Double-0 adds, “The song should make you feel good when you look in the mirror regardless of what you have on.”
Eyedea & Abilities continue to tour behind last year’s By The Throat. One-man band and Andrew Bird collaborator Dosh opens.
Want to read an official missive? Have at it:
2009 was a landmark year for Minnesota-based duo Eyedea and Abilities – the group made a rousing comeback from a five-year hiatus with the release of their new album By The Throat, their most progressive and refined effort to date. The live appearances that followed the album’s release (including several dates with Atmosphere) once again proved the duo’s penchant for intense, emotionally draining performances.
In keeping with the Rhymesayers’ penchant for relentless touring schedules, the duo are heading out on a three week run of dates that will see them crossing into Canada as well as blanketing the West Coast and Southwest of the US. Audiences can expect nothing less than a frenetic bombast featuring the respected vocal talents of legendary MC Eyedea (renowned winner of HBO’s Blaze Battle, Scribble Jam, etc.) accompanied by the virtuosic accompaniment of DJ Abilities, long respected for his immaculate turntablism skills.
Kosha Dillz hits the road for another string of dates, this time in tow with Flex Matthews and Pig Pen. Many of the shows are support gigs for others but hey, as long as he gets it done. The New York rapper promises to dedicate some of the proceeds from the tour to victims of the Haiti earthquake disaster.
Here’s more from the press release:
In times of cold weather and despair, Kosha Dillz has decided to heat it up by taking a trip to the some of the most frigid and tropical places in America w/ Flex Mathews (DC rapper of the year). With guests ranging from Trevor Hall and Slick Rick to Del the Funky Homospaien and Mike Posner, the alternative DIY MC has set up each show as a fundraiser for Haiti earthquake victims with a donation box and portions of merchandise sales to go to victims. The tour spans across the entire USA from NJ to Hawaii, and aims to increase the awareness of the devastation in Haiti and raise over $10,000 dollars in humanitarian aid for the earthquake victims via real face to face contact, the way all heroes should interact.
Interesting if disorienting clip. I would have preferred to see more of Gil instead of all the skateboard kids dressed up for Day of the Dead. However, videos are a marketing tool, and Scott-Heron’s label obviously wants the young folks to pick up the album.
Directed by Coodie & Chike (the same team behind Mos Def’s recent “Casa Bey” clip) and Michael Sterling Eaton. Taken from I’m New Here, which drops February 9 on XL/Beggars Group.
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