If You Are Soul Searching...

If you enjoy music that makes you feel good, a little bit sassy and like cutting a rug; then you’re probably a lover of soul. Soul is a wide ranging genre that includes everything from classic soul artists like Aretha Franklin, Otis Redding and Al Green; to Prince’s brand of funk-rock, synth-pop soul; to hybrids of psychedelic soul, disco soul and soul R&B.

Chicano Batman

Photo by Josue Rivas

A four-piece band from Los-Angeles, Chicano Batman comprises Bardo Martinez on guitar, keyboard and vocals, Eduardo Arenas on bass, guitar and vocals, Gabriel Villa on drums and vocals and Carlos Arévalo on guitar. Chicano Batman can be described as a tropicalia, psychedelic soul band with a 1970’s flavour and a sociopolitical bent, and when they perform, they wear matching suits and ruffled shirts. Says Bardo, “We’re making a particular reference that some people understand—Los Ángeles Negros, Los Pasteles Verdes. In the ’70s, it was a big thing where all these cats were playing romantic ballads, but they were funky as hell.”

The band formed in 2008 and have released two EPs and three albums, the most recent of which, ‘Freedom is Free,’ was released in March of this year. They have toured with Jack White, Alabama Shakes and The Claypool Lennon Delirium, and their fanbase is growing all the time.

Chicano Batman have a sound that says ‘let’s drink mojitos on this summer, Sunday afternoon.’ Rest assured, this is definitely a band to watch.

Charles Bradley

American singer, Charles Bradley, has a classic 1960’s/70’s soul/funk sound that has been likened to soul great, Otis Redding. Bradley is signed to Daptone Records, an independent funk and soul record label based in Brooklyn, New York, that is known for it’s revivalist approach to soul music.

Bradley released his debut album ‘No Time For Dreaming,’ in 2011 at 63 years of age to widespread acclaim. He followed up with ‘Victim of Love,’ in 2013 and ‘Changes,’ in 2016. He was also the subject of the documentary film ‘Soul of America.’ Directed by Poull Brien and debuting at the SXSW Film Festival in Austin, Texas in 2012, the film tells Bradley’s life story; from childhood, to his years on the streets, and his eventual success as a soul singer. Bradley’s songs have been frequently sampled by hip hop artists and featured on various TV series.

Bradley has a powerful voice that’s deep and rich, and is perfectly complimented by the vintage sounds of the superb soul/funk Menahan Street Band. If you like classic soul, then Charles Bradley’s your man.

Janelle Monáe

Photo by Daniel Jackson

Psychedelic soul queen, Janelle Monáe, is on the rise. Not only does she have three exceptional albums and an EP under her belt, she has earned a slew of Grammy nominations, and in 2016, had major roles in two Academy Award nominated films, one of which ‘Moonlight,’ won the Academy Award for best picture.

Monáe’s science fiction themed concept albums are centred around her alter-ego, the android, Cindi Mayweather. Her brand of psychedelic soul also incorporates, jazz, R&B, hip hop, funk and art rock. Monáe enlists an impressive cast of collaborators on her albums, including Prince, Erykah Badu, Solange Knowles, Miguel, Esperanza Spalding and Outkast’s Big Boi.

Monáe is not only an accomplished artist, but also incredibly interesting. Her tuxedo wardrobe is her signature style. Says Monáe of her style, “I feel like I have a responsibility to my community and other young girls to help redefine what it looks like to be a woman. I don't believe in men's wear or women's wear, I just like what I like. And I think we should just be respected for being an individual.” She also runs her own independent record label, Wondaland Records, making her one of the few black women to do so.

Janelle Monáe is one of the most brilliant, talented and refreshing artists making music at the moment. I absolutely love her! If you haven’t already, check her out.

Childish Gambino

Donald Glover is an American actor, comedian, writer, producer and musician. As a recording artist, Glover performs under the stage name, Childish Gambino. Glover has released three albums as Childish Gambino, ‘Camp’ in 2011, ‘Because the Internet’ in 2013 and ‘Awaken, My Love!’ in 2016. His first two albums are primarily hip hop, but ‘Awaken, My Love!’ is an exercise in psychedelic soul that’s as funky as anything by Parliament-Funkadelic. This album is soul gold.

‘Awaken, My Love!’ is a homage to P-Funk and was heavily influenced by Funkadelic, particularly their 1971 album ‘Maggot Brain.’ I get the distinct impression that Glover is a huge Prince fan too. Says P-Funk originator, George Clinton, “I just heard it [Awaken, My Love] one time and I like the songs. When I did hear it, it sounded like a cross between P-Funk and Prince influence. I’m proud that he’s into the funk and glad him and others are bringing some new funk back.”

So, there you have it. You can’t beat an endorsement from the Grandfather of Funk himself.

Album Review: The Ghost Wolves' 'Texa$ Platinum'

2017
16 songs
Length: 39:31
Available to buy on CD or vinyl or as a digital download from Bandcamp

The Ghost Wolves are a two-piece garage, punk rock band from Austin, Texas. Comprising Jonny Wolf on drums, synthesiser and vocals, and Carley Wolf on vocals and guitar; the band’s name was inspired by Carley’s upbringing among hybrid wolves on her family’s Texas ranch.The duo merge a variety of musical styles like blues, rock and roll, punk rock, roots and swamp rock to create their own style, which they’ve dubbed ‘stomp 'n roll.’

The Ghost Wolves formed in 2010 and released their debut EP ‘In Ya Neck’ in 2011, followed by the seven inch ‘Getchya Hip Thrust.’ The band released their first full length album ‘Man, Woman, Beast’ in 2014 through the Nashville label, Plowboy Records. ‘Texa$ Platinum’ is the second full length album from The Ghost Wolves.

‘Texa$ Platinum’ has a raw sound that blends the genres of punk rock and blues masterfully. Searing, dirty guitars and untamed, pounding drums characterise the album, while the tracks are all really short and sharp. The opening track ‘Attitude Problem’ is distinctly punk, with high energy, distorted guitar riffs and Carly’s jarring vocals preaching rebellion and non-conformance. Other markedly punk tracks are ‘Journey On’ with it’s up tempo, simple and repetitive guitar riff, and ‘Whettin’ My Knife,’ which incorporates the band’s signature dirty guitars and Carly’s defiant vocals with some simple piano and synth that sounds like laser guns from a low-budget, 1960's science fiction film. Incidentally, outer space inspired synth springs up on various tracks throughout the album.

Most of the tracks on ‘Texa$ Platinum’ are blues heavy though. ‘Strychnine in My Lemonade,’ combines a bluesy bassline and up-tempo boogie style drumming with some crunchy guitar work for a blues rock feel. ‘Bunny Run,’ is tinged with bluegrass and ‘Triple Full Moon,’ is punk rock infused hillbilly blues. Blues rock is The Ghost Wolves bread and butter and they know how to serve it up every which way. The band has a sense of fun too, and their jovial style and blues country twang remind me of another American rock band, Southern Culture on the Skids.

Carley’s southern drawl and ‘heavy on the twang’, crunchy guitar riff coupled with Jonny’s easy going, pounding blues drumming make ‘Shouldn’t Have Lied’ the stand out track on the album. They could be channelling The White Stripes here, and they do it superbly. It’s a dramatic, impossibly cool number on which Jonny’s drumming shines.

The Ghost Wolves are an awesome punk rock band with a knack for a multitude of blues styles. With ‘Texa$ Platinum’ they have fused them all together to make one fine psychobilly album. It’s fun and it freaking rocks! ‘Texa$ Platinum’ will be on high rotation at my house for some time to come.

Album Review: Aye Nako's 'Silver Haze'

2017
12 songs
Length: 37:08
Available to buy from Bandcamp

Aye Nako are a four-piece pop-punk rock band from Brooklyn, New York. Self-described as a ‘queer punk band,’ Aye Nako write sad punk songs about being queer, trans and black. Comprised of vocalist/guitarist Mars Dixon, bassist Joe McCann, guitarist Jade Payne, and drummer Sheena McGrath, the band formed in 2008 and self-released their first album, ‘Unleash Yourself’ in 2013. They followed up with the EP, ‘The Blackest Eye,’ in 2015, released through Don Giovanni Records. Their new album, ‘Silver Haze,’ is a fuzzed-out, melodic expression of what it’s like to be queer, black and American.

Aye Nako’s identity as a trans band of colour is central to their art. Payne and Dixon identify as people of colour, while Dixon and McCann identify as trans or multi-gender. Their songs are political, exploring the experiences of LGBTQ people in the punk/indie rock scene; a scene that is predominantly male, white and cisgender.

Opening track ‘Sissy’ begins with the screech of dissonant guitars and a classic punk sound. Dixon’s vocal style is reminiscent of Mac McCaughan from Superchunk, desperately emotive. ‘Tell me what I need to stay safe on the streets,’ he sings, ‘spit in my face.’ These words evoke experiences of public displays of vitriol that must be far too common in Dixon’s world. Dixon’s anguish is laid bare, ‘I want to see you suffer like me,’ he wails on ‘Spare Me’.

On ‘Muck,’ which sounds a bit like a Polvo song, with distorted, angular guitars that punctuate the emotion; Dixon yells, ‘when you see me, all you see is the muck.’ Dixon explains, ‘I know it makes some people feel uncomfortable, but I’m uncomfortable too. I was born and raised on feeling so ugly because of my blackness. I saw it from my family. I saw it on TV and in the movies. I saw it at school. Blackness was not to be valued. It wasn’t a positive trait. How is a child supposed to feel comfortable in her black skin if all these external voices are directly and indirectly pounding into her that her blackness is a thing to be ashamed of?’

Swirling, fuzzy guitars and a solid rhythm of bass and drums are a constant throughout the album. Dixon and Payne are a vocal tag team, a first for Aye Nako, as Dixon was previously the sole songwriter and lead vocalist. Although the themes are no less melancholy, Payne’s songs have a softer edge brought about by her more melodious voice. It works gorgeously with the crunching guitars and twanging bassline on ‘Particle Mace,’ and similarly on ‘Arrow Island.’

A lament about a broken, toxic relationship; ‘Half Dome’ begins in a similar way to ‘Sissy,’ with abrasive guitars that then give way to an up-tempo, 1990’s indie rock infused riff and the melodic voice of Payne. Sonic Youth’s ‘Daydream Nation’ also springs to mind here. ‘Nightcrawler’ could be a Speedy Ortiz song, although this is not surprising given the bands’ ongoing association with each other.

Aye Nako’s pop-punk presentation of their politics is stunning and speaks of their 1990’s influences. ‘Silver Haze’ can be a heavy, uncomfortable listen. Both Dixon and Payne write songs about the painful experience of otherness, but it’s something that we shouldn’t shy away from. Said best in their own words, Aye Nako were ‘originally formed to subdue boredom but now operating on another frequency, they are actively seeking a planet where those who fall in the margins can feel OK about being themselves.’ I hope they find it.

The Punk Rock/Hip Hop Alliance: A Short History

The connection between hip hop and punk music may come as a surprise to some, but it is one that runs deep. Both movements were a reaction to commercialised music and the social climate of the time and embody the same anti-establishment ideals; championing free-thought, rejection of the corporate mass culture, and non-conformity. So when punk rock merged with hip hop in early 1980’s New York, it was a natural progression.

By the mid 1970’s, rock and roll had lost touch with the people. It had become commercially-oriented, radio friendly and increasingly inaccessible to the masses. Successful rock bands were playing at larger venues to tens of thousands of fans with increasingly elaborate set ups and ‘arena rock’ became the norm. The backlash to this began in Britain with the pub rock movement and was led by musicians like Elvis Costello, Joe Strummer and Nick Lowe, who played in bands at small pubs, reverting back to a raw sound that rejected commercialism and spoke to the disaffected youth. Punk rock came soon after.

Times were tough in Britain. Unemployment among young people was high, and dissent among the working class was rife. A number of protest marches and strikes lead to clashes with police, and police racism seemed to be at an all-time high, which lead to rioting and a widening class divide. From this social climate, punk rock was born. Bands like the Sex Pistols and The Clash played in small, poorly lit clubs to crowds who became less like spectators and more like active participants.

Punk rock was also gaining traction in New York in the late 1970’s. Rock and Roll had become tame and sentimental, and punk rock was a move back towards rock in its more rebellious form. Music journalist Robert Christgau described it as ‘a subculture that scornfully rejected the political idealism and Californian flower-power silliness of hippie myth’. Punk music’s ‘DIY’ culture emerged; promoting the idea that anybody could make their own music. Many bands were self-recorded and self-produced. Punk gave music back to the people.

Hip hop also stems from a ‘DIY’ culture. It began as an African-American movement in the economically depressed inner city South Bronx neighbourhood in New York City in the late 1970’s. Hip hop music was only one element of the movement, which also encompassed graffiti art and ‘B-Boying’ also known as breakdancing. Like punk music, hip hop music was a reaction to the creeping opulence in popular music; the disco scene particularly. Disco had infiltrated the mainstream by the late 1970’s and was playing in all the New York nightclubs. Studio 54 had opened in Manhattan and was the place to be seen for celebrities. It was a subculture characterised by extravagance and decadence and discotheque-goers often wore expensive, extravagant and sexy fashions.

The disco scene was a contrast to the reality of life in the Bronx. Property values were at a record low, crime and unemployment were high and poverty was widespread. DJs began to play at block parties, sampling percussive breaks of popular songs using two turntables and a DJ Mixer to create ‘breakbeats’. Soon afterwards, rapping developed and MCs would accompany DJs with their lyrical stylings. Artists like DJ Kool Herc, Grandmaster Flash and Afrika Bambaataa were some of the pioneers of hip hop.

The similarities between hip hop and punk did not go unnoticed. In the late 70’s/early 80’s, ‘b-boys’ from the South Bronx were rubbing shoulders with new wave/punk kids in downtown Manhattan. Acts like Grandmaster Flash and Afrika Bambaataa started playing at clubs like the Mudd Club or the Roxy, which were popular with new wave and punk kids. There was a cultural exchange going on. While hip hop was starting to get played in the punk/new wave clubs, punks were given safe passage to the Bronx. This was a big deal and marked the mutual respect between members of both subcultures.

The influence of both subcultures on each other was beginning to be heard in the music. In 1980, while The Clash were in New York recording their fourth album ‘Sandinista!’, Mick Jones and Joe Strummer caught the hip hop bug. The album’s third single ‘The Magnificent Seven,’ with its funky beats and Strummer’s rap about the human machinery of capitalism was one of the first rap songs produced by a rock band, and one of the first instances of a hip hop song with socio-political content.

Blondie’s ‘Rapture,’ which debuted in 1981 and is featured on their album Autoamerican, was ground-breaking for being the first rap video ever broadcast on MTV. Set in the East Village section of Manhattan, the video portrays Blondie frontwoman, Debbie Harry, at a ‘b-boy’ party where Grandmaster Flash is playing. In the song she performs a rap in which she expresses respect for Grandmaster Flash and rapper Fab 5 Freddy, another of hip hop’s pioneers.

Soon afterwards, Afrika Bambaataa collaborated with John Lydon (of the Sex Pistols and Public Image Ltd) on the socio politically charged ‘World Destruction’ and Grandmaster Flash and the Furious Five were opening shows for The Clash. After hip hop group Run-D.M.C. broke into the mainstream in 1984, things really took off. Ex punk band Beastie Boys released the first rap album to hit number one on the Billboard album charts with ‘Licensed to Ill.’

Meanwhile, on urban radio and in the hip-hop clubs of New York, new wave hits like Thomas Dolby’s ‘She Blinded me with Science,’ David Bowie’s ‘Let’s Dance,’ and Devo’s ‘Whip It’ were getting plenty of play. Producers from the new wave and punk scenes like Thomas Dolby and Rick Rubin were trying their hand at hip hop production. Both the hip hop and punk/new wave scenes were mixing in a big way, which would break ground for the ongoing influence each would continue to have on the other.

Examples of the fusion of hip hop and punk can be seen going forward. The band Bad Brains mixed reggae, rap and punk to become one of the most influential punk bands of the 1980’s. In 1990, hip hop group A Tribe Called Quest sampled proto-punk Lou Reed’s 1972 classic ‘Walk on the Wild Side,’ for their breakthrough hit, ‘Can I Kick It?’ Most notably, Rage Against the Machine has combined punk and rap to produce some of the most prominent politically charged music of the 1990’s-2000’s. We saw the rise and fall of nu-metal, which combined elements of heavy metal music with hip hop, alternative rock, funk and grunge. It was popular in the late 1990’s, but petered out by the mid 2000’s due to the oversaturation of nu metal bands. More recently we’ve seen bands like Death Grips, who’s experimental brand of hip hop blends elements of punk rock, electronic, noise and industrial music.

The commercialisation of hip hop has led to the overshadowing of its original message by a money hungry, capitalist system. It has become the very thing it began as a reaction against. The richest hip hop stars in 2016, Sean ‘Diddy’ Combs, Andre ‘Dr Dre’ Young and Shawn ‘Jay Z’ Carter, are all worth more than $600m each, with holdings that include a clothing line, a television network, real estate portfolios and a music streaming service. The same can be said of punk to some extent. The richest punk artist is Blink-182 drummer, Travis Barker, clocking in at a net worth of $85m. Incidentally, Barker had a lot of crossover success in hip hop, starting punk rock/rap group, The Transplants with Tim Armstrong from Rancid and Operation Ivy.

Nowadays, the crossover between hip hop and punk tends to be one sided. Writes journalist and hip hop historian Davey D, ‘It’s one sided in the sense that you have rock oriented outlets with a predominantly white audience embracing Hip Hop. However, you will not see similar attempts in many urban outlets that target African American audiences.’

Before they became commodities, when both the hip hop and punk movements were new and fresh and embodied the same anti-corporate ideals; collaboration was natural. It happened organically. It would be good to see that happen again. To see both movements come full circle and rebel against their own commercialisation. Together in a grass roots, unifying movement. Just like back in 1980’s New York.

Gig Review: Ali Barter - Karova Lounge, Ballarat - 03/05/2017

 Photo by Tara Driscoll

On a typical freezing cold night in Ballarat (although it probably shouldn’t be typical for May), I threw on my coat and scarf and headed down to Karova Lounge; ‘The Rat’s’ most notable, long running venue for live music. Ali Barter was playing in support of her recently released, debut album ‘A Suitable Girl’.

It was a large crowd, the majority of which were young women, some proudly donning their newly purchased Ali Barter t-shirts. Says Barter of making the album, ‘I was writing all these songs and realising all these songs were kind of about me finding my place, learning acceptance, being angry, being a girl, and being OK with that. All the stuff that is growing up’ (Triple J). It goes without saying that Barter’s fan base would largely consist of young women. They chatted excitedly and took selfies in front of the stage as they waited for Barter and her band to complete their sound check. They seemed genuinely excited and their adoration of Barter was apparent.

Barter took the stage with her guitar and her band; a guitarist, bassist and drummer. They began reserved, but loosened up after the first few songs. Barter was composed and played well. She has a 1990’s indie rock sound with a girlish voice, reminiscent of bands like Veruca Salt and The Juliana Hatfield Three. The band played well together and seemed to genuinely enjoy playing with each other. They connected well, exchanging knowing glances, raised eyebrows, silly faces and wide smiles throughout the gig. They seemed to feed off the energy of the crowd, and became more playful as the gig went on and the crowd expressed their enjoyment. There wasn’t a great deal of chatter from Barter. The band for the most part belted out song after song, although Barter started to get a little more talkative, cheeky too, as the night went on.

Barter was backed by tight drumming, swirling guitars and strong bass lines. There was some real rock and roll guitar playing with some fancy licks from her guitarist, especially towards the end when the band started to really get into it. Barter’s voice was strong and accomplished. She seemed to really enjoy playing for the crowd, but also for herself and with the band, and really connected with her songs. There was a lot of loud chitchat from the crowd at the front, but Barter didn’t seem to notice. If she did, she didn’t care.

Photo by Tara Driscoll

The band left the stage at one point and Barter played a few songs on her own. Stripped back, slow, melancholy numbers that really showcased the beauty of Barter’s voice and her control over it. These songs reminded me of the Adalita gig I had attended here, at Karova Lounge, in 2011. She took the opportunity to bond with the crowd by telling a personal story about her professional journey, which endeared her to them even more.

The band rejoined Barter on stage for the remainder of the gig, rocking out harder than before. They played the album’s catchy and explosive single ‘Cigarette’ and the crowd enthusiastically began shouting along, which spurred Barter and the band on even further. They performed a well-executed version of the Weezer classic, ‘Say it Ain’t So,’ before ending with Barter’s 2016 hit single ‘Girlie Bits’, to which she encouraged the crowd to sing along and forgot the words herself. It didn’t matter though; Barter and the band were having fun and the crowd were loving it.

Ali Barter and her band played a solid gig. They had notable onstage chemistry and the band’s admiration for Barter was glaringly obvious. It’s unsurprising really, given how talented and likeable Barter is. ‘I’m hanging around for a drink,’ she said before leaving the stage. ‘Come and say hi.’ As I was leaving, I saw Barter surrounded by excited young girls and I thought that was nice. I’m glad I braved the cold to catch Ali Barter’s gig. I felt a little less cold on the trip home.

If You Like It Dark...

If you prefer winter to summer, don’t mind the rain, and ask yourself which shade of black you should wear each morning; these artists are probably right up your (dark and foreboding) alley.

Savages

Described as post-punk revival noise rock, Savages are a four-piece band from London. The band formed in 2011 and consist of French vocalist Jehnny Beth, guitarist Gemma Thompson, bassist Ayse Hassan and drummer Faye Milton. Heavy on the reverb and distortion, Savages create a dark atmosphere reminiscent of Joy Division, Siouxsie and the Banshees or early PJ Harvey.

Savages have two albums under their belt; ‘Silence Yourself’ released in 2013, and ‘Adore Life,’ released in 2016. Currently they are taking a break while members of the band explore other opportunities (NME). Interestingly, Damon Albarn enlisted Beth to collaborate on the new Gorillaz album ‘Humanz,’ on the track ‘We Got the Power,’ also with Noel Gallagher of Oasis.

Beth’s introspections about love against a backdrop of loud crunchy guitars, pounding bass and echoing darkness are the perfect companion for a night spent alone in the dark; reflecting on lost love and one’s place in the world.

Alexandra Savior

Alexandra Savior is a young American singer-songwriter from Portland, Oregon. Her debut album ‘Belladonna of Sadness,’ was released in April this year and has a very noir vibe. 1960’s dream pop with a gothic flavour, Savior has a voice as smooth as velvet.

Savior collaborated with Alex Turner from the Arctic Monkeys, whose signature retro sound is all over this. It’s heavy on the bass with doomy chord progressions, and maybe some organ and theremin thrown into the mix. After listening to this, you’ll want to don your sexiest dress or sharpest suit and hit the nearest classy cigar bar tout suite.

The Raveonettes

Danish indie rock duo from Copenhagen, The Raveonettes, are interesting in that they incorporate a variety of genres. Noise pop, surf rock, shoegaze and garage rock are some of the best descriptors. The Raveonettes feature Sune Rose Wagner on guitar, instruments and vocals, and Sharin Foo on bass, guitar and vocals.

The Raveonettes formed in 2001 and have produced eight studio albums. The latest of which, ‘2016 Atomised’ was released in February this year and introduces 1980’s electro pop into the band’s already eclectic repertoire.

The juxtaposition of a 1960’s pop sound with dark lyrical content, explosions of noise and a foreboding ambience is delightfully strange. If you like My Bloody Valentine, then The Raveonettes are for you.

Soviet Soviet

Soviet Soviet are a post-punk revival trio from Pesaro, Italy. With guitarist Alessandro Costantini, drummer Alessandro Ferri and bassist and vocalist Andrea Giometti; Soviet Soviet have a retro sound similar to the Psychedelic Furs or early New Order.

The band formed in 2008 and have released four albums. Their sound is characterized by crunchy melodic guitar and uptempo drumming, with a dark undertone. This is 1980’s goth rock for today. Expect to hear Soviet Soviet at the underground goth club you’d go to if only you could ever bring yourself to leave the house.