The Dream Is Over, PUP begins touring for their second album in Pontiac

pup

The life of a contemporary touring musician includes an abundance of grueling hurdles. Obstacles that paint life on the road differently than the lavished fame and fortuned experience that music striving millennials may have dreamed of.  A more realistic example of the experience is meticulously chronicled through the perspective of Canadian punk quintet Pup in the music video for their song, “Dark Days,” released last July.

The video is an animated glimpse of the band’s touring life. While tirelessly driving a tattered van through snowstorms and flashing passports, the late-twenties Torontonian buddies Facetime significant others on shattered phone screens and puke in empty dive bars from too much boozing between playing gigs and sleeping upright. Their journey has high moments as well, though it is hard to overlook the rock star dream’s inevitable “disillusionment,” as singer and rhythm guitarist Stefan Babcock would call it.

PUP 1
“I started realizing in my mid twenties that you’re faced with some sort of disillusionment at a certain point where you’ve grown up being told you can do anything you want and you think that, ‘when I grow up this is what I’m going to do,’ and at a certain point you face up to the fact that… man… you’re pretty much grown up!” said Babcock.

“And maybe those dreams were not realistic or not compatible with your lifestyle or your skill set,” he added, “but you just have to learn to adapt and it can be a pretty cold, hard reality check but that’s called growing up ya know?”
In hindsight, the video for Pup’s “Dark Days,” which is an uplifting, catchy punk anthem and highlight of their self-titled first full length, accurately depicts their last two years of perpetual globetrotting. That record earned plenty of critical praise including Rolling Stone’s Break Out Acts of 2014.
“Part of the success of that record probably was us just writing for ourselves,” said Babcock. “We didn’t expect the first record to be anything.”
On May 27, Pup will release their sophomore LP, which has many similar themes of “disillusionment and disappointment and frustration.”
It is theoretically titled, The Dream Is Over.
Babcock, who suffered a band—threatening vocal injury last July, titled the new record after a conversation he had with the doctor who diagnosed his hemorrhaging. His screaming style is one of the factors that forced Pup to drop out of several tour dates with Modern Baseball, Jeff Rosenstock and Tiny Moving Parts.
“I don’t think there’s a technical way to do what I do,” said Babcock.
“The way I sing is technically incorrect but it sounds the way it does because I do it and I’m not really willing to forfeit that,” he added.
The band’s constant gigging was the contributing factor.
“There were times when we did thirty some shows in a row, which is a lot for your voice without a day off and then there would be days during those thirty days where we’d play a show and someone would ask if we could play their house party after the show and we’d say sure, fine, why not?” said Babcock.
After two weeks of vocal rest, Babcock was offered the option of surgery, which would have cost him have six months to a year.
“I kind of got this once in a lifetime opportunity and I don’t know if it’s still going to be around in a year,” said Babcock.
Recently, Babcock has been exercising his voice to rehabilitate it and is looking forward to getting back on the road after just a handful of stationary months.
“I’m a little nervous but I feel a lot healthier than I did going into our last tour,” said Babcock.

PUP 4

He added, “And it’s always nerve racking after spending so much time off but you just gotta get back on the horse and do it and I’m confident. I’ve been working hard on recovering so I’m confident that everything is cool.”
In June Babcock and friends Steve Sladkowski (lead guitar), Nestor Chumak (bass guitar) and Zack Mykula (drums) will be back in their element, their van. They’ll be headlining the “If This Tour Doesn’t Kill You, I Will” tour with Rozwell Kid. Charly Bliss and Pkew Pkew Pkew will be splitting the opening duties.
The tour opens at the Pikeroom in Pontiac.
“We’ve never played in Pontiac so I’m not exactly sure what to expect but I’m looking forward to it,” said Babcock.

“From what I know there’s a pretty solid punk rock scene out there and we’ve always had pretty good luck going to new towns and Michigan and our Ontario stomping grounds are pretty similar so hopefully it will be good,” he added.
“Our last Detroit show was a lot of fun so hopefully this one will pick it up a notch.”


Detroit natives, The Social Bandits, are toying with live music platform, and it’s working

bandits-msu-moody-4

Detroit natives, The Social Bandits, are toying with live music platform, and it’s working.

In the hodgepodge of colorful characters and versatile sound that has become Detroit’s music industry, there is said to be an overwhelmingly saturated rock and roll scene. This statement made last year by Dave Zainea, owner of Detroit’s Majestic Complex in midtown, was a foreshadow of his future business plans.

Zainea teamed up with Amir Daiza, owner of Pontiac’s Elektricity nightclub and the former Clutch Cargos venue. Together they renovated the Majestic Complex’s iconic rock venue, The Magic Stick, and turned it into a stomping ground for electronic dance music events. One year later, the red ribbon cut and decades of rock band stickers and delusional scriptures scraped from the restroom walls, the city has only the ghostly memories of a monumental atmosphere for Detroit rock and roll.

bandits-msu-moody-10What happens when a band breaks the traditional tropes of bar gigging and creates an innovative platform for the delivery of their live music marketing? The Social Bandits take the stage.

From OU to every other U

Detroit’s alternative quartet, The Social Bandits, pin their original sound on many influences aside from rock and roll.
“There are a lot of solid 70s and 80s cover bands that make a good living and there is a huge metal and hard rock scene, not my vibe, but it’s cool they still play so many shows downtown,” said Brad Rude, co-lead vocalist and bass playing bandit.
“But I would say there’s not a whole lot of ‘rock and roll’ that is current and original in Detroit right now. There are few bands like this and I would consider The Social Bandits to be one of them,” Rude added.

“But I would say there’s not a whole lot of ‘rock and roll’ that is current and original in Detroit right now. There are few bands like this and I would consider The Social Bandits to be one of them,” Rude added.

With a broad range of influences including The Beatles, Bob Marley and The Killers to name a few, The Social Bandits have an innate love for Detroit’s historically staple sounds of funk and jazz. Oakland University’s jazz program was a catalyst in bringing out the boys’ Motown inheritance.

“I was pleasantly surprised when they came in; I nicknamed them the Swing Brothers,” said Sean Dobbins, OU’s jazz combo coordinator and assistant program instructor, about Rude and drumming band mate Dylan Walsh.

There are a lot of solid 70s and 80s cover bands that make a good living and there is a huge metal and hard rock scene, not my vibe, but it’s cool they still play so many shows downtown

Brad Rude, co-lead vocalist and bass playing bandit

“They had this connection they could play with and it was obvious from day one that they could have careers as musicians and go far,” added Dobbins.

According to Dobbins, studying jazz teaches musicians a sense of subtlety and introduces musical texture. Rude, who believes jazz is the root of all modern music, says that jazz is a big part of his musical life especially from an educational standpoint.

When the Swing Brothers aren’t busy playing jazz combos at Detroit’s Cliff Bell’s and other smokey landmarks of the city’s musical authenticity, the Social Bandits are making entrepreneurial moves. They are currently making a conscientious aesthetic change in formats through which they deliver a live set. Although the band play their fair amount of bar gigs, the traditional route up the ranks, in recent months they have been taking advantage of an environment that draws a particular fan base: college parties.

“There are a lot of good venues that support local music but if you’re [the band] not bringing out enough people then it’s hard to make matters worth-while,” said Rude.

bandits-msu-moody-11

He added, “So we’re going right to the source which is college kids at parties. They’re going to be at parties anyways, they might as well listen to the Social Bandits while they’re there.”

As a band with a desired demographic of younger listeners, there seems like no better setting to cater to than college parties. Rude says the response has been beautiful.

“We’ve had parties at MSU where the basement is packed wall to wall. You couldn’t fit more people in there with a shoehorn.”

Thus far, the band has traveled to The University of Michigan, Michigan State University, Central Michigan University, Western Michigan University and Grand Valley State University.

The Social Experience

The element that separates the aura between the binary of a Social Bandits bar gig and a college house show is the level of crowd interaction that the band is able to participate in, coupled with the deliberate differences in song choices. Spencer White, frequent Bandits show attendee, said that being able to get strangers dancing is one of the hallmarks of being a “good band.”

“The bar gigs are great but there’s a certain disengagement you can have at a bar gig where you can wander away, grab a drink, things like that,” said White.

“But at the college shows you’re packed into a room and it’s a party ya now? You’re committed. You’ve got your booze with ya, you’re with all your friends, you’re hoppin’ around in a tight space. Regardless of the setting, the Bandits have great command of the room but it shows so much more in a tight place like that” White added.

the-social-bandits-central-4oAs a live concert guru, White explained the best type of live interaction is “in-song” interaction. Something that a band can afford much more of in a house show due to the band’s relative proximity to the band.

“The Bandits never miss a chance to have you clap, or yell with them, or sing their lyrics or even hop on the drum kit for a little bit during the drum solo whereas at the bar gigs you can’t always do that type of stuff” said White.

“It’s that kind of stuff that makes people involved with the music, makes the experience more than just songs that are being played at you,” he added.

Playing to a crowd rather than at them is what Dobbins considers being the most important part of catering to a live audience.

“Act like you’re taking apart a movie and make sure your repertoire has all of the emotions there can be,” said Dobbins.

“Happiness, sadness, drama, comedy, everything that you could think of that would go into a movie should be in a set because you’re trying to get your audience members on every emotion possible,” Dobbins added.

As for variations in song choices, the Bandits typically play their originals everywhere, however different platforms get different access.

“We play a lot of original songs,” said Jesse Medawar, who handles half of the band’s vocal and guitar duties.

“We definitely play original songs at a bar gig but we play all of our originals at the house shows where we’re trying to market ourselves as The Social Bandits rather than just receiving a paycheck,” Medawar added.

Cover songs, on the other hand, vary between show platforms because of relative target audience. Bar covers include Pink Floyd’s “Money” or Eric Clapton’s “Crossroads”, where covers on a college set list include Sublime’s “Santeria” or Miley Cyrus’s “We Can’t Stop”. The fact that Miley Cyrus can’t stop the band sheds light on their aesthetic diversification and perseverance in giving audiences a memorable emotion to take away with them as Dobbins claims vital.

On The Horizon

Moving forward, The Social Bandits have a spring college mini-tour coming up. They are booked to play college house shows through April and May in Lansing and Mount. Pleasant. Audiences at these shows will hear a taste of original songs from the band’s first full length LP, which is set to release this August. After the release of the record, the band plans on taking a two-week east coast tour.

“We’re bringing out other musicians to feature on it and its very diverse,” Rude said about the currently untitled, upcoming record.

“I think there is something for everybody on it. It’s about half way done and I think it’s going to be huge for us.”


Movement Electronic Music Festival 2015

Movement-2015_Phase-2-Announce_final

The Phase 2 line-up includes:

! ! !

313 The Hard Way (DJ Seoul b2b DJ Psycho b2b T.Linder)

ADMN

Al Ester

Andy Garcia

Annix

Anthony Jimenez

Ben Christensen

Brodinski

Bruce Bailey

Calico

Carl Craig featuring Mad Mike Banks – live

Charles Trees

Classixx

D.Wynn

Darkcube – live

Dilemma

Dink & TK

DJ Godfather featuring Good Money

DJ Head

DJ Minx

Earl “Mixxin” McKinney

Eddie Fowlkes

Gaiser – live

Galaktis

Greg Gow

Heathered Pearls

Hudson Mohawke

Jay Daniel

JETS (Jimmy Edgar + Machinedrum) – live

Josh Wink

Joy Orbison

Keith Kemp

Kenny Larkin – live

Kerri Chandler

Kevin Saunderson b2b Derrick May

Kimyon

Korrupt Data

Lee Foss

Loner.9 – live

Maceo Plex

Marissa Guzman – live

Mark 8EN Moss

Marshall Applewhite

MCs Bombscare & Flow

Method Man

Milan Atkins

Model 500 – live

Neil V.

Nick Speed

Octave One – live

Oliver Dollar

Paul Woolford

PHUTURE – live

RayBone Jones

Rick Wilhite

Shawn Rudiman – live

Sian

Sinistarr

Squarepusher – live

Steve Dronez

Terrence Parker

The Saunderson Brothers

The Valley and The Mountain

Thread

Urban Tribe

Waajeed

movement-phase1

Atoms & Ease “Let It Go” (Live from Lager House)

trackoftheweekfinal

Artist: Atoms & Ease
Track: Let it Go (Live from Lager House)

After photographing an energetic set at this past weekends Dally in the Alley, this group caught my ear. They had the crowd dancing, drinks were being poured off the stage, it definitely had every proper element for a funk party.  It caught our ears enough to track them down on the internet and find our track of the week.

Enjoy an intimate cassette tape sounding track entitled “Let It Go.” Recorded live from PJ’s Lager House.  Let Cyepies (Lead Vocals) take you on a lo-fi vocal journey guided by crisp drumming and a dark-upbeat bass line.


Zoos of Berlin “Above the Air”

mixes

Hello Detroit!

Hope everyone is enjoying their Labor Day Weekend! Its Monday so that means here is your track of the week!
This track was recently a Rolling Stone download of the day!

Check out “Above the Air” by Zoos of Berlin

For More Zoos of Berlin:
Zoos of Berlin Facebook
Zoos of Berlin Bandcamp


Mexican Knives “Killer Snake”

mexiweb-2

Mexican Knives release a brand new EP entitled “Other Tramps”

The two track EP contains the songs “Killer Snake” and “Make This Moment”

Please check back later today for a brand new music video by the Mexican Knives.

Want to learn more? Check out their Facebook here!


Best Coast to Play with Local Dead-Surf Band Mexican Knives

mexico

Best Coast is an American indie rock band based in Los Angeles, California, and is often categorized under the subgenres of garage rock, surf pop, and lo-fi. The members are frontwoman/songwriter Bethany Cosentino and multi-instrumentalist Bobb Bruno. The band is recognizable for their fuzzy, low-fidelity sound in the vein of surf rock.
They write one hell of a melody!

Attached below is a video from Best Coast, take a look!

—–

Mexican Knives are a local dead-surf group from Detroit Michigan.  The band is lead by Zachory Weedon, and consits of Ruth (Vocals), Blair (Drums) & John (Bass).  Want to know more about Mexican Knives, check out their interview with Detroit Sounds Like This here!

Below is an exclusive track performed live at the Detroit Sounds Like This studio in Eastern Market.

Click here for more event info!

$16 in advance


Track of the Week – Richy Marciano ft. Dej Loaf “One Rule, No Rules”

121212

Hello Everyone.
I know it may seem like I am on a hip hop craze lately, but no worries, Detroit Sounds Like This supports all genres. It just happens this week we were highly impressed with this sound. The local talent includes Richy Marciano and female hip hop artist Dej Loaf. Both of these artists are Detroit natives, and let me tell you…they know their stuff.

Enjoy Detroit

Artist: Ricky Marciano ft. Dej Loaf
Track: One Rule, No Rules (Cover of Nas & Lauryn Hills track “If I Ruled The World)


Discussion with Rocket McFlyy

Rocket McFlyy's visual expression of their music.

I’ll be honest with you, the last time I wrote an interview was for my riveting high school journal. Therefore, I approached this “interview” as more of a discussion. Before this discussion happened, I had a chance to hear the band live, and have a listening session of their recorded music. Because of this, I skipped all the introductory excess and got right to their music.

Before they were Rocket McFlyy and The Free Radicals, they were Organized Khaos, and before that, well, I’ll let them explain. The first time I saw or heard of Rocket McFlyy and the Free Radicals was May 2013 at a battle of the bands here in Detroit. Rocket McFlyy includes Rocket (piano/vocals) and McFlyy (rapping/vocals). The Free Radicals, also known as their live band of brethren, consists of Michael Moore (guitar), B (drums), and JAWZ (bass guitar). It should be noted that Rocket McFlyy not only produce their own music, but also write and produce for other Detroit musicians. Unfortunately, B wasn’t able to attend the interview, but his bandmates were sure to acknowledge his importance to the whole.

One thing you will see if you visit the band’s website (http://smcflyy.wix.com/rocketmcflyy) or twitter (https://twitter.com/rocketmcflyy) and read the bio, is a large illustration of Rocket and McFlyy standing atop a pile of alien robot carcasses, and holding space weapons. There’s a visual element to Rocket McFlyy and the Free Radicals that should not be overlooked; It was clear that some visual art work was necessary. I refer to my “art box” in the interview, which is essentially a place where I keep art supplies ready to go. You can see all of their visual representations of their music below.

For me, Rocket McFlyy and the Free Radicals’ music is a complete experience. There’s a lot of sound, concepts, emotion, and energy behind their work, and I can only hope that this discussion captured a small part of that.

So let’s get started. Turns out all you need is a little beer for a band to be comfortable around a crazy little gal from Detroit. Cheers.

rocket-1

 

[In speaking order]

CL (Camille Langston), MM (Michael Moore), J (JAWZ), R (Rocket), MF (McFlyy)

CL: One of the things I’m confused about is your studio versus your live show life.

MM: We’re actually doing a full recording right now that will resemble more of the dynamic and sound of the live performances.

CL: I know on your website it says your sound is a combination of hip-hop, Motown, and rock and roll. However, I also heard your music conceptually. I heard a lot of outer-space. I heard a lot of deep sound. I heard a lot of full sound.

MM: On the recording or live?

CL: Both. I think you guys are a totally different entity live.

MM: Which is a good thing. I think when Rocket showed us his recordings individually we all thought, “Well this guy has his act together.” And then we started playing live and things quickly progressed into what they are now. We added the drummer that we have now (B) which has really pushed things forward.

J: B brings a little bit of the soul and a little bit more complex rhythmic sound.

R: B is very classic, but contemporary. As far back as the African dance element, he can nail it. We did a show last week and it was hot. We were about to do this song and he didn’t wanna do it because he didn’t have his tom-toms. “I need my Toms man! I need my Toms!” Like, he gets DOWN.

CL: Yeah he does get down, I remember that. I have a very vivid memory of the first time I heard you all live. Which was an experience. I do agree that B brings a whole other rhythmic energy to your music. It’s different than the energy in your studio music.

MF: Yeah I think everybody in the band does that with everything, in relation to the studio versus live stuff. When we play live, JAWZ’s bass is gonna be way more dynamic. Michael’s guitar is gonna be legendary, as opposed to just awesome.

rocket-5

CL: I want to ask, in a general sense, how you all got together.

MF: That’s like 5 stories.

R: That’s at least 10 years of talking.

MF: Me and Rocket met in high school. We were in an a cappella singing group, which I hated, but Rocket made it awesome. Rocket came to me one day and was like, “Dude, I wanna do rock music with hip-hop drums.” and I was like “Bro. I can’t sing that shit, man.” So when we started this rock shit I was like, “Dude, I gotta rap.” So I started rapping.

R: And I was like noo noooo!

MF: Everybody laughed at me and then we did a bunch of studying and shit and I got better at it. And then JAWZ came in once we hit Organized Khaos, which is when we decided to do rock music.

CL: You guys are like a whole three course meal of music. There’s so much to hear and experience. That’s why I bought my art box because there’s a visual component, there’s the music, there are the concepts behind the music, and the whole website is a whole other thing. Everything there made me curious about your inspiration. Besides music, what are your influences?

R: You mean what influences us as entities existing at all? God, love, sex, rock and roll, superheroes, outer space, DREAMWEAVER, video games, inner peace, outer freedom, positive growth, keep moving forward.

MM: It’s ironic because for me there is no God, but I have beer.

J: That’s really close enough.

CL: Explain to the people what DREAMWEAVER is.

R: Uhhh Cannabis. Marijuana.

J: It’s a good plant.

R: It’s an entity and an idea for us. It’s so much more than what it is. We live in a country where there are so many drugs that are just dangerous for you that you can get over the counter.

CL: Since the blog is called Detroit Sounds Like This, tell me about your Detroit musical influences, your favorite Detroit sound, anything. Expand as much as you want.

R: So this is like the what Detroit sounds like to us section?

CL: Yeah, that’s a great way to put it.

MF: RenCen CoolBeanz is one of my personal heroes, locally.

R: I don’t know. Detroit sounds like world music to me.

MM: That’s actually really well put. That’s what I loved about Detroit growing up. It was mostly Motown but it was also really great hard rock. Really great rock and roll that you couldn’t hear anywhere else. It also had a special groove and a special anger.

J: Yeah a special anger, absolutely.

MM: There’s a certain anger to Detroit rock that I love to this day, and I still think that per capita, there are just better musicians here. I was just talking the other day about traveling to cities that are “economically healthier,” but the music scenes just don’t seem vibrant, or they don’t pull you in. There’s nothing there, you know? It’s a Saturday night at 10pm where’s the jaw dropping show? In Detroit you can find a couple of those things going on, and it’s like, where else would you see this?

CL: Nowhere.

rocket-2

MM: One thing I’m really proud of Detroit for is even with all the economic turmoil and chaos, it really kept a strong sense of artistic creativity.

R: Detroit has a heartbeat, and it’s growing, and I really believe that. It’s an irregular heartbeat, too. It’s funny that Michael would talk about the musical demographic, especially as it pertains to live performances, because everywhere I’ve been, they don’t do it like they do it here.

J: We invent the world’s greatest music. Techno came from here first. Even the more obscure shit like second wave punk came from Detroit first before it came from Seattle.

MM: In the late 90’s there were three of the world’s biggest indie-prog bands from here. I was in House Of Usher. Discipline was also out of Detroit, and Tiles was big in Germany and is still going strong.

R: In Detroit, generally speaking, it’s nooks and crannies with huge amounts of energy coming from them. At this one SPOT in a vacant warehouse, or artsy loft, or you know, some dope after-hours joint, there’s just space around it. But the inside is exploding.

CL: Self realization is so important, and until one gets to know oneself it kind of floats. I remember Rocket telling me that before you had the Groove Theory (which is essentially a theory for creating the sound of Rocket McFlyy and the Free Radicals), you had a spectrum of “yes” and “no.” Until you focused it, and until you realized your musical signature, you didn’t get the constant “yes.” I’m asking if you’re aware of your musical signature, and if you could describe it.

MM: Well I actually think I have a very Buddhist relationship with my guitar playing. It’s just something that I do. It just happens. Sometimes I feel very connected to it, but sometimes it just happens and I’m just an observer. It’s a very dissociative type of act.

CL: It’s without the ego of it all.

MM: Yeah, and in terms of individuality; I’m standing on the shoulders of multiple generations of people whom I’ve simply studied and struggled to incorporate, and it would take a really really fine ear to hear that, and I don’t think most people do. But maybe I’m underestimating their intelligence.

CL: You don’t think most people hear what?

MM: Anything identifiably me. I think they hear a big loud guitar. I don’t think they really get it, to be quite honest with you. I think I can be very flashy and very showy and it looks good. I don’t know if they really…

J: Get what you’re doing.

MM: Get what I’m doing. And it really doesn’t matter if they do or they don’t on that level to which I aspire. It’s okay that they just find it entertaining.

CL: That’s a really interesting point, because I don’t know you. I don’t know any of you, and you don’t know me. But when I listened to you (Michael), maybe I didn’t hear you or your musical signature, but I did hear something that you expressed.

rocket-3

MM: That’s totally valid. My experience of it is actually quite Equalist. I play notes, I’m listening, I’m reacting, I’m kind of thinking of my job as more of a craftsman.

J: Michael puts a lot of color into the band.

MF: When I’m starting off cool, I follow JAWZ or B, because I know they’re gonna give me that beat. But to turn it up, I’ve gotta follow Michael to catch the intensity. Rocket is my opposite on stage in a lot of ways, and my equal. Rocket is pulling as much emotion out of the rhythm as possible and I have to pull as much rhythm out of the emotion as possible (laughs) and that’s where we landed.

J: We all definitely have a very concrete roll in the band, and almost a totally different perspective of what’s going on. Especially during the live performances. I have a very different approach than Michael.

CL: What is your approach?

J: I like to sit back, listen, and have a conversation musically with B. Really listen to what he’s doing, and what his groove is, and just feel the bottom line of the song. Where should I be? What is the most supportive note? Should I do something different to support what Rocket is doing? But I have to keep everything super solid, and it’s all about the groove and making it feel good. My influences as a player: Bootsy Collins, Marcus Miller, Victor Wooton…

CL: Is there anything I’ve not asked or we haven’t talked about that you view as essential to your musical expression?

MF: I want to over emphasize Marijuana.

CL: That’s going on the website.

rocket-4

 

 


Track of the Week – Rogue Satellites “Party Angels”

water-1

Detroit Sounds Like This would like to start off your week with some great local talent. Rogue Satellites provide great production and outstanding vocals that will keep you listening. Enjoy.

Artist: Rogue Satellites
Track: Party Angels
Album: Other Angels


The Funk of Detroit

Frank Raines @ Funk Night (2011)

Still have a taste for some funk and soul? How about some new and fresh funk from your very own Motor City.  Local DJ/Producer Frank Raines runs the globally known label Funk Night Records. Funk Night Records has a very nice YouTube channel where you can stream some of their releases.  Don’t forget you can purchase them online and most of their vinyl is on Discogs for you vinyl collectors out there.

Without getting nostalgic and talking about funk night, I just want to steer people in the direction to hear some great funk and soul.

Below is a track performed by Will Sessions and Detroit Native Billy Love.

Remember this isn’t the only place to find funk in Detroit. If you know your funk, please take this note… Dennis Coffey plays for FREE at Northern Lights Lounge every Tuesday at 8 pm. Check it out for a performance that will satisfy all your funk needs.

Stay Dope.


Clear Soul Forces

tumblr_m4v1okRWFC1r11h8co1_1280

Clear Soul Forces first hit my radar earlier this year after a buddy sent me a link to one of their videos.  It seems like these days if you are in the hip hop game and aren’t talking about yourself…I’m interested.

The group consists of four members: L.A.Z, Ilajide, E-Fav, & Noveliss. As a group, Clear Soul Forces demonstrates that each member fully understands hip hop and its roots. They are poets with their lyrics and their beats are simple but hit you in the soul.  Their music takes you back to an era of hip hop that has seemed to all but disappear.

Upon first listen you’ll be hit with the memory of A Tribe Called Quest; the simplicity of their jazz based samples and their ability to tell stories through just a casual listen. I first heard the track linked below.  I highly recommend this if you are a hip hop head and really don’t listen to much of the hip hop that has come out these days. If you appreciate the old school, have love for simplicity and beats that just take you for a walk, Clear Soul Forces brings back the old school while still keeping it fresh.

It also looks like Clear Soul Forces have picked up quite the following in Europe.   In September they will be touring France, the United Kingdom, Belgium, Amsterdam, and the Czech Republic.

Coming from a hip hop head like myself (I have the drawing from A Tribe Called Quests “Low End Theory” album tattooed on my left shoulder), I am happy that Detroit has an up and coming hip hop group in an age where the hip hop world is lead by people who I think have no more respect for the game.

Look out for an in-depth review of their latest release in the coming weeks.

Also below via soundcloud is Clear Soul Forces latest release.


The Gutter Ghouls

ggweb-5

I was 24 when my psychobilly cherry was popped. When people talk about the Detroit music scene these days they’re usually referring to mostly electronic, garage punk, or hip hop. Psychobilly, for those who aren’t familiar with the genre,  is made up of elements of punk then mixed with pieces of horror (usually from old horror movies). The shows are very fast paced and the bass players usually prefer to play with an upright bass as compared to most rock groups who use a standard bass guitar.

Check back soon for an in depth interview with the Ghutter Ghouls!

ggweb-9 ggweb-2 ggweb-10