It’s always a good time when you get to see King Gizzard and The Lizard Wizard live, and seeing them with the Chicago Symphony Orchestra at Ravinia was high on my list this year. I bought lawn tickets as soon as they were available.
As usual, the line for KGATLW merch was long, but it moved well thanks to helpful Ravinia staff keeping things organized there.
This line only took about 15 minutes.
The area where we sat didn’t have a direct line view of the stage, but there were plenty of monitors to see the action, and the sound quality was outstanding. It was the best I’d heard King Gizz sound in a long while. All praise to the sound engineers there.
The show was split into two sets, the first being the band and the orchestra playing the new album, Phantom Island, in its entirety. I have no idea how much time each orchestra on this tour in their respective cities gets to rehearse these wild psych-rock songs, but the Chicago Symphony nailed it and were having a great time. “Spacesick” was a particular highlight, and “Grow Wings and Fly” metamorphosed into a stunning jam-rock version of “Theia” that gave the orchestra enough time to take a break, eat a sandwich, answer some text messages, and practically drive to the post office and back before the second set.
The second set was a mix of tunes from older albums that were redone with orchestral arrangements, including an epic version of “Crumbling Castle,” a fun, swinging version of “This Thing,” and even two of their thrash metal cuts – “Mars for the Rich” and “Dragon.” The show ended with a great version of “Iron Lung,” which appears to have become a live show favorite. The weirdest part of the show? Seeing lead singer Stu Mackenzie with short hair.
Seeing this felt as weird as seeing the Osees’ John Dwyer wearing pants.
KGATLW don’t have too many of these orchestral shows left on this U.S. tour, and their “Field of Visions” festival in Colorado is about to begin with the whole thing being streamed live on YouTube. Don’t miss either.
Bassist/producer Mocean Worker (aka Adam Dorn) and pianist/composer Joe Alterman have come together for Keep The Line Open, a funky, feel-good tribute to the late soul jazz legend Les McCann. Out September 26 via MOWO! Inc., the nine-track collection taps into the genre-blurring spirit that defined McCann’s music, as well as his influence on Dorn and Alterman, who knew him as a mentor, collaborator and close friend. With credits ranging from Eddie Harris and Ramsey Lewis to Hal Willner, Marcus Miller, and Brian Eno, Dorn and Alterman fuse their distinct artistry into an electrifying set that celebrates McCann’s essence while standing on its own as a joyous, party-starter. Keep The Line Open‘s first single, “Yay Yay Yay,” is out today (listen/share).
Dorn and Alterman created Keep The Line Open by melding sampling with live instrumentation to pay homage to an era when the groove reigned supreme and the vibe was decidedly danceable. It’s an album with that ‘live thing’ without actually being a live album. It invites the listener to shake their hips, stomp, shout, and exuberantly raise the collective vibration. Drawing from years of conversations recorded for posterity, saved voicemails and other aural documents of McCann, they’ve woven his voice, laughter, and ever-present sense of humor throughout the album, which threads in and out of the tracks. The infusion of McCann’s raspy timbre is the bond that holds the music together. “We wanted to make a record that harkened back to an era, but use the technology of the current era that says, ‘here’s a party and you can come to the party and not feel like you are being preached at…’” explains Dorn. Alterman concurs: “The idea of music making people feel good and enjoy themselves is one of the things Adam and I definitely have in common. It’s how we got into the music and live with the music, and that’s a point of this project for sure. Hopefully you’ll listen to it and think it’s a live party.”
Dorn’s relationship with Les McCann began through his father, the legendary Atlantic Records’ staff producer Joel Dorn, who worked closely with McCann on several albums, including rare-groove classics like Layers, Invitation to Openness, and the multi-platinum Swiss Movement, which also featured electric saxophone pioneer Eddie Harris. As a kid, the younger Dorn would often overhear long conversations between his father and McCann who shared a deep friendship. As he grew older, he himself began a profound relationship with McCann via extended phone conversations. It led McCann to hire Dorn, an accomplished bassist in his own right, to be part of his rhythm section on live dates. Alterman, meanwhile, started out as a devoted fan of McCann who received the rare opportunity to open for one of his heroes at The Blue Note. The two connected instantly, forging a friendship that lasted for years, primarily through near daily, hour-plus phone conversations. Although plans to record and tour together never materialized due to McCann’s health issues, they did co-write the song “Don’t Forget To Love Yourself.” Alterman would later release Joe Alterman Plays Les McCann: Big Mo & Little Joe, a heartfelt tribute to his mentor and friend. It was ultimately McCann’s passing that brought Dorn and Alterman together. They had both become aware of each other through their independent friendships with McCann who would mention each of the artists in his conversations with the other. Following his death, they’d finally meet and quite organically the idea of making a record of original material inspired by McCann was hatched. Dorn began writing sections of music, creating beats and rhythmic ideas that he’d send to Alterman over which he’d improvise. Dorn would then take those parts and shape them into songs. “It’s all constructed to sound organic, but if you saw the sessions, they look like a Jackson Pollock painting,” recounts Dorn. “It’s like someone who knows how to work with samplers that’s actually a jazz musician. Joe would solo over little ideas and I’d make big arrangements out of them.” Alterman adds: “I’d send Adam four or five solos and he’d piece together the catchy parts to make it what you hear.” The result is an album that is immensely funky (“Gimme Some Skin“), with nods to Latin grooves (“Moses Gonzalez“), and always heavy on the backbeat (“I Love It!, I Love It!, I Love It!“). There are times on Keep The Line Open where the listener will feel as though they are being taken to church (“Yay Yay Yay“), and at other times being taken on a trip to Haight-Asbury in the ’60s (“Circus Going Backwards“), and yet simultaneously the music to feel modern and of the moment (“Lemme Tell You Something“). There is a Les McCann cover tune (“Burnin’ Coal“), there is a moment for Alterman to thrill with his considerable stride piano skills (“Isn’t She Loverly“), and throughout there is Les, commenting on the proceedings with his inimitable wit, humor, and loving nature, making it all seem like it is being played just as he’d imagined. The limited-edition, 180-gram orange vinyl also includes a 10-page insert with extensive liner notes by Alterman, Dorn and Michael Smith, author of In with the In Crowd: Popular Jazz in 1960s Black America, alongside rare and previously unpublished photos of McCann by Sharon Josepho. And while Les McCann is the driving force, the entire spirit of his era, from Ramsey Lewis to Ahmad Jamal, Eddie Harris to Cannonball Adderley, lives in the music. It’s this inspiration that guides Mocean Worker and Joe Alterman through each of the nine tracks. Keep The Line Open is a musical celebration that, like Les McCann himself, makes you feel alive and happy and ready to party.
Greg Loiacono & Stingray have released their debut single, “Hope We Get To Dance,” a greasy, soul-rock anthem celebrating personal freedom and expression. Fronted by Loiacono, the vocalist, guitarist, and co-founder of San Francisco rock legends The Mother Hips, Stingray features a lineup of acclaimed Bay Area musicians, including drummer Michael Urbano (Lindsey Buckingham, John Hiatt), percussionist /vocalist Vicki Randle (Mavis Staples, George Benson), Kofy Brown (bass/vocals), Danny Eisenberg (keys) and Tom Ayres (guitar). Loiacono delivers “Hope We Get To Dance” in a Sly Stone-inspired falsetto, accentuated by rousing harmonies and a delectably funky guitar-and-percussion groove. The track was recorded at 2200 Studios (formerly The Plant) in Sausalito, CA, a storied studio where landmark albums by Stevie Wonder, Prince, and Fleetwood Mac were made. Producer Damien Lewis (Lizzo, Janelle Monáe, Larkin Poe) helmed the session. “I was listening to Curtis Mayfield’s album Roots when the concept for ‘Hope We Get To Dance’ hit me. I thought Stingray could create an energy and spirit in the vein of that record,” says Loiacono. “Because we sometimes lean into the rock side of things, it ended up sounding like Curtis meets Led Zeppelin. I think of it as a reminder that the pure power of dancing to and feeling music is always there for us. It’s up to us when we want to let go and jump in.”
“Hope We Get To Dance,” released via RPF Records/Royal Potato Family, arrives with a joyous video directed by James Joiner.Premiered via Relix Magazine, itfeatures crowd-sourced clips of fans dancing alongside vintage footage that perfectly captures the spirit of the song. Watch it here. Greg Loiacono & Stingray headline a handful of Northern California shows this month, with more dates and single releases to follow. Upcoming shows are: 8/14 – Chico, CA – Argus Bar 8/15 – San Francisco, CA – The Make Out Room 8/16 – Los Gatos, CA – The Treehouse (Sold Out) 8/29 – Sebastopol, CA – HopMonk Tavern
LA-based electronic duo LUCKYANDLOVE returns with their banging anti-tech angst anthem‘I Am Human’, delicately fused together with pulsating molten kicks, abrasive fuzz-laden analog synths and confident sensual vocals. Calling out to make our own choices and take back our lives, this song underlines the need to reconnect with being Human before its too late.
Evoking a brand new art school originality, LUCKYANDLOVE is the raw sonic experiment of Loren Luck and April Love, whose live analog synth beats, Moog instrumentation and beautiful, harmonic vocals trigger an immediate download of fuzzy sunset synthgaze, blue-black neon darkwave, and tigerprint electro punk.
‘I Am Human’ previews the duo’s third album ‘Humaura’(hu • mau • ra), which the duo define as the atmosphere that emanates from the feelings of the human spirit void of technological control. This album was recorded, mixed and mastered for digital release by Grammy award-winning engineer Be Hussey (Modern English, Swervedriver, The Church, Alcest, Twin Tribes, Boy Harsher, Luna, Kim Deal)at Balboa Studioand Catwaterfor the digital music, and mastered for vinyl and lathe cut by Grammy-nominated engineer Nicholas Townsend (Cheap Trick, Weezer, Garbage, Dr. Dre, 2Pac, Grimes, Iron Maiden) at Townsend Mastering.
“To me, ‘I Am Human’ is a sci-fi track. It’s call to arms for screen zombies to disconnect. I read Martin Heidegger’s ‘The Question Concerning Technology’ in grad school and I like when he says that we shall have questions concerning technology and, in so doing, we should like to prepare a free relationship with it,” says April.
Loren adds, “I think there are a lot of people that actually hate technology, but would never have the guts to say it. Personally with this song, we are breaking the chains, going back to a simpler time of human creativity and free thinking,”.
Transcending genres in a league of their own, LUCKYANDLOVE’s visceral, urgently-present dark electro-pop appeal continues to stretch through time and space. Their ‘Lucky + Love’and ‘Transitions’albums earned them a global fan following and led to US and UK tours, while their tracks ‘It’s a Mistake’, ‘Animal” and ‘Summertime Frolic’ featured in the indie hit‘Tiger Within’, featuring Ed Asner’s final film performance.
This salty-sweet duo blend raw analog synth sounds with driving punctuated percussion and punchy analog bass, complemented by enchanting lyrics that emit a range of emotions from melancholy and sorrowful glom to a state of blissful trance.
LUCKYANDLOVE’s influences absorb the resonant specters of last century’s darkwave gods —Siouxsie and The Banshees, Cocteau Twins, and Bauhaus, looming large from where industrial galaxies formed as the needle hit the vinyl groove urging all Doc Martens to march to basement dance floors.
As of August 5, ‘I Am Human’ is available from fine music platforms, including Spotify, Apple Music and Bandcamp. The full ‘Humaura’ album, slated for release on October 3 via SRD – Southern Record Distributors, can be pre-ordered from either Bandcampor the LUCKYANDLOVE Store. On October 11, LUCKYANDLOVE will hold their record release party at The Slipper Clutch in Downtown Los Angeles via Deathrecordzz Presents with appearances by Warsaw Pact, Amore De Paris, No Exits, and a DJ set by Echolust.
Keep your mind open.
[I’ll feel lucky and loved if you subscribe today.]
Today, Fat Dog unveil “Pray To That,” their second new single since the release of their brilliantly frenzied, “trippy, whiplash-inducing” (Variety) debut album, WOOF., last year. Following the “extra-dimensional pop song,” (Clash) “Peace Song,” and its accompanying remix, “Pray To That” is propelled at breakneck speed by an urgent four-to-the-floor beat and sees frontman Joe Love question the Fat Dog lifestyle with his deadpan humour: “Seven shits left to give / Yeah I’ll pray to that / I’m only 25 / Well it’s the same every night / She thought I’m 39.”
Recorded at Dan Carey’s studio, “Pray To That” was co-produced by Love and Carey. The equally unhinged video comes courtesy of Dylan Coates with Love starring as a wayward preacher.
Fresh off their triumphant Glastonbury set, Fat Dog continue their live assault this summer. Earlier in the summer, the band played five UK cities in just three days. The band will play a string of UK and European festivals before embarking on a September North American Tour, making stops in many cities they have yet to play in support of WOOF. A complete list of dates is available below, and tickets are now available here.
Fat Dog Tour Dates Fri. Aug. 8 – Cornwall, UK @ Boardmasters Wed. Aug. 6 -Sun. Aug. 10 – Winchester, UK @ Boomtown Sun. Aug. 10 – Budapest, HU @ Sziget Festival Thu. Aug. 14 – Paredes De Coura, PT @ Vodafone Paredes de Coura Fri. Aug. 15 – Charleville-Mézières, FR @Cabaret Vert Sat. Aug. 16 – Crickhowell, UK @ Green Man Fri. Aug. 22 – Northampton, UK @ Shambala Sat. Aug. 23 – Málaga, ES @ Canela Party Sun. Aug. 24 – Paris, FR @ Rock En Seine Wed. Aug. 27 – Sheffield, UK @ Utilita Arena % Sun. Aug. 31 – Seattle, WA @ Bumbershoot Festival Tue. Sept. 2 – Sacramento, CA @ Starlet Room Wed. Sept. 3 – San Francisco, CA @ Rickshaw Stop Thu. Sept. 4 – Los Angeles, CA @ Lodge Room Fri. Sept. 5 – Pioneertown, CA @ Pappy + Harriet’s Sat. Sept. 6 – San Diego, CA @ The Casbah Sun. Sept. 7 – Las Vegas, NV @ Swan Dive Sat. Sept. 20 – Atlanta, GA @ Shaky Knees Mon. Sept. 22 – Raleigh, NC @ Kings Tue. Sept. 23 – Baltimore, MD @ Metro Gallery Wed. Sept. 24 – Philadelphia, PA @ Warehouse on Watts Thu. Sept. 25 – Brooklyn, NY @ Market Hotel Fri. Sept. 26 – Somerville, MA @ Warehouse XI Sat. Sept. 27 – Montreal, QC @ Toscadura Mon. Sept. 29 – Toronto, ON @ The Garrison Sat. Nov. 1 – Manchester, UK @ Day of the Dog Halloween Special @ Aviva Studios Thu. Nov. 6 – Reykjavik, IS @ Iceland Airwaves Sat. Nov. 8 – Kortrijk, BE @ Sonic City
