Don't Miss Quadron Play a FREE NYC Show at Summerstage on July 27th!

About a month ago, we posted a glowing review of Quadron's latest pop-centric offering off Vested in Culture Records, Avalanche. We basically came to the conclusion that it might be the best collection of get-out-the-massage-oils and come-a-little-closer pop/R&B/soul jams I’ve heard in recent memory. But some people are still asking "who dare make me rekindle my love affair with pop music?"

Coco & Robin, Quadron

The guilty party is Quadron, a duo consisting of vocalist Coco O. (who recently made the jangly throwback ’20s-style “Where the Wind Blows,” on The Great Gatsby soundtrack) and multi-faceted producer Robin Hannibal, (who is also part of Rhye and the duo Owusu & Hannibal). The project is an offshoot of the Boom Clap Bachelors, a Denmark-based collective. There, now we have that all cleared up, right? Sigh...

Let’s simplify: Coco O. fronts the band with a voice that sounds like Adele or Amy Winehouse—but without Adele’s boner-killer melodramatics and Winehouse’s propensity to get too drunk and ruin everything. That’s the band’s biggest asset: Coco’s pipes, laid over hip-hop stutter-step beats and hooky melodies that range from laid-back groove to near-perfect pop composition. Yes, they're from Denmark, yes, they're soul/R&B and pop. Oh, and before I forget to mention it, Kendrick Lemar guests on the album on a track called "Better Off."

Robin Hannibal, who's in charge of instrumentation, said they owe their style, at least in part, to none other than Michael Jackson. The band cited the King of Pop as a guiding musical influence, especially during the recording of Avalanche. In an interview with Billboard.com, Coco and Hannibal said that they channeled Jackson’s inspiration during sessions at Westlake Studios in Los Angeles, where Jackson recorded often and cut several songs for Bad. They even dubbed the sixth track on the album “Neverland.”

But it’s the first single, “Hey Love,” that’s most likely to bring the boys to yard. It’s the kind of track that you might hear from the DJ booth at a club with a ridiculous name like “Splash,” or “Rain,” or “Grift” or whatever, where girls wear their best get-fucked heels and guys pretend that they don’t live in their mother’s basements. It’s also the kind of track that you'd hear over the speakers at Forever XXI and think, “This song is so catchy! Why haven’t I heard it before? Who sings it? And since when did I start shopping at stores that sell only clothes that dead prostitutes are found in?”

I mean that as a high compliment—to Quadron. What I’m suggesting, or attempting to suggest, anyway, is that Quadron’s one-girl-one-guy dance-pop aesthetic appeals to different audiences—the teen-pop set, club goers, college kids, mollied-up dubsteppers, etc.—which might be enough for the band to build the buzz it needs to make its summer tour schedule a success. That’s the last piece of the puzzle for an outfit like Quadron: the live shows. If the band can pull off big, bombastic shows that get people talking, Epic might have something potent on its hands. They opened for Raphael Saadiq on his 2011 tour, so now it’s time for them to branch out and fly on their own.

Can they do it? Come by Summerstage at the Rumsey Playhouse in Central Park Saturday July 27th at 6:00pm to catch Quadron open a FREE show for Lianne La Havas. Get there early because something tells me its going to fill up fast. To get you psyched for the insane natural vocal talent of Coco, here is a special acoustic version of her single, Hey Love.

Quadron - Hey Love (Acoustic)

Another Song: Odetta, Motherless Children

by Justin (@justasstrazdin)

You know when you go to a discount superstore and they have a bin full of crappy DVD's for a dollar, but some of them have two movies packed onto the same disc, and they have little to do with each other, save for being kickass action movies from the same era? If you are like me, you typically buy it, take it home, watch both movies in one sitting, and never look back.

Odetta may have left this traditional song on the platter titled "Motherless Children," but soon after it starts, she jumps into the traditional "This Train," which was covered widely by folk artists thanks to the Lomax's. Who knew that two songs could sound the same musically?

Odetta's arrangement is fierce throughout the combo song, weaving between sounding powerful, yet at times, wary, while handling the dark subject matter and religious undertones so naturally that it's a shame that she is left out of a lot of conversations about the Folk Revival that was so critical to American music.

Sinkane Gives Exclusive Interview to #EDAS. Plays Lincoln Center tonight (7/24) for Fela Kuti.

Today marks the beginning of the Lincoln Center Out of Doors Festival. Tonight's show pays homage to Fela Kuti and is produced by one of the finest curator's around, Anthony Demby of HumbleRiot. One of the stars of the show is Sinkane, who I bumped into at last month's summerstage show opening for Fela's Son, Femi Kuti. After talking about how we lived in neighboring dorms freshman year at The Ohio State University, I was able to convince frontman, Ahmed Gallab, to sit down with Every Day, Another Song and answer some more music-centric questions. 

People braving the heat for Sinkane at Summerstage

EDAS: I know your path has taken you from Omdurman, Sudan to Columbus, Ohio and now to Brooklyn, but where does your music come from? 

AG: My music comes from all that I have experienced in the world. [These places] are all different. That's what makes them so interesting. I have spent a great deal of my life traveling and learning about different things. I'm drawn to unique and interesting people and situations so every experience in different and exciting.

EDAS: There is some amazing, world influenced music coming out of Columbus Ohio these days, why do you think this town specifically is having so much success fusing these long estranged musical types together?

AG: It's easy to live in Columbus. There also isn't much to do so creative people have the freedom to really work on their art. This yields amazing art. Because there isn't a serious competitive vibe in Columbus; community thrives and is well respected there. People love each other and sincerely support each other. This helps tremendously.

EDAS: You cut your teeth in Ohio's Punk Scene. What is the difference between your attitude then, and your worldly and jammy attitude today?

AG: I was young, naive and angry back then. I wanted to emote and I wanted to do it loudly. Playing drums in a hardcore band was incredibly therapeutic for me. I got a lot of out it. I am now older, more experienced and not angry. Love was always there but, now that the anger is gone, I can embrace it whole-heartedly.

EDAS: Last time we saw each other was at Femi Kuti's Summerstage show. Tonight you play a show honoring Fela Kuti. How does Fela and the Kuti legacy affect young African musicians today.

AG: He was a hardworking man with a vision. He created something larger than himself that will live on forever. That is inspiring to me.

Make sure you head over to beautiful Lincoln Center tonight to the Damrosch Park Bandshell and catch Ahmed and his band Sinkane perform alongside Baloji, Abena Koomson, Kronos Quartet, and M1 (of Dead Prez), in addition to many others. I'm pretty sure the show is free and the atmosphere over there is absolutely beautiful. I can't think of a better way to spend a hump-day evening. 

In case you need a little convincing, here is a taste of the great world vibes Sinkane will be bringing to the bandshell tonight. 

Sinkane - Jeeper Creeper

#EDAS Talks with TAUK. See them play an Intimate Show Tonight (7/18) at Spike Hill.

Recently, EDAS' newest soldier Stevez reviewed TAUK's great LP Homunculus. Afterwards the guys were nice enough to sit down and talk a little TAUK with us. 

TAUK

EDAS: Are the songs on Homunculus just loose jams or do you already have them pretty much set in stone as far structure? Is there a lot of improvisation in the recording studio?

TAUK: There are a few sections on the album that we let loose a little bit, but for the most part everything on the album is pretty structured. We wanted the album to feel to the point and not have sections where it was just opened up for no reason. When we play live, we tend to play the songs a little bit differently each time, weather it's the feel or through extending certain parts and improvising more. It's something that happens kind of spontaneously at the shows and is really exciting, but we didn't think it would translate as well to the album. When it came to improvising on the album we picked our spots.

EDAS: What was it like working with famed producer Robert Carranza? I'm familiar with his work on the Mars Volta's Bedlam In Goliath and really love how he can give each instrument its own voice within the song.

TAUK: We had worked with Robert before, and going into the album new that we wanted to make it with him. Like you said, he is able to give each instrument its own voice within the song. We have some songs where there are lots of layers, a lot of things happening. You never want things to sound mushed together. Robert has an ear for keeping the parts that are necessary and making them fit together. You want to be able to hear all the details of everything that's happening.

EDAS: From a touring perspective, which do you prefer more; large festivals like Peach Fest or smaller DIY shows like your current Spike Hill Residency?

TAUK: It's hard to say which is better, because each has its own experience that you can't get from the other. We've definitely played more of the smaller shows, and I would say we feel more comfortable in that situation. Being close to the crowd with everybody in a smaller space, you can feel the energy right there. It's different at the bigger shows, but playing our shows on a larger scale like that really focuses us in. We always want to put on as good a show as possible so depending on the situation, whether its a bigger festival or smaller stage, we'll tweak our setlist and approach and try to have it come off in the right way.

New Yorkers can see them play one of their more intimate shows tonight as they finish their three show residency at Williamsburg's Spike Hill. Beginning next week the guys set out on a mainly East Coast tour that includes a string of shows with Robert Randolph and festival stops in Roscoe NY, Virginia and the insane looking Peach Fest in Scranton, PA. I have to say out of all the amazing looking festivals that fill every weekend of the summer across this country The Peach Music Festival may have the best lineup of them all. The promise of two nights of Allman Brothers sets has brought a caravan of spectacular musicians to Montage Mountain, just two hours outside of NYC. Besides the Allman's I am particularly excited for the Black Crowes, Gov't Mule, Grace Potter & The Nocturnals and TAUK's musical Big-Brother, Lotus. For tickets to that, you can click the giant ad below and it'll take you straight to Peach-Site.

Special thanks again to my boy Stevez and Matt Jalbert, axeman for TAUK for taking the time to speak with us. If you live anywhere in the area, I strongly advise you to come out tonight at around 11:00 to catch these boys from Oyster Bay. If you say "Every Day, Another Song" at the door they will let you in for free! Also if you say anything at the door they will let you in because it is a free show. Here's another jam from Homunculus, which is now available on iTunes.

Heat Wave Music: Sinkane's Warm Spell

Sinkane @ Summerstage

This one has been on repeat all summer from the early rains to this week's heatwave. I Sinkane tear it up a few weeks ago at Summerstage. Stick with it for 40 seconds until the actual song starts. You may have another concern on your hands because this vid is a little NSFW due to slight nudity, but if you work in an art gallery I'm sure you'll be okay. Here's the totally SFW spotify link just in case you are worried.

Sinkane - Warm Spell

Another Song: De La Soul, Get Away

De La's newest video reminds me of that old Nas Lyric, "As a music dude / I mastered this Rubik's Cube." These guys keep getting better with age so click below.

De La Soul - Get Away

#EDAS Reissue Review: King Tuff, Was Dead

by Justin (@justasstrazdin)

King Tuff – Was Dead

Label: Burger Records – May 28, 2013

Artist-Fair Shopping: Burger Store/Site

Style: Formative Years, Cleaning Out the Garage, Some Rad Pop

Audience: The Unemployed, People Who Draw Cats with Laser Eyes, Soda Straw Sippers

Better Tracks:  Lazerbeam,
Freak When I'm Dead, Ruthie Ruthie, Animal

The one thing you have to respect King Tuff for is that his recordings have fidelity to them. There are not many exercises in lo-fi production on the early recordings featured on Was Dead. If anything, there's some warm, cheap tape like some 70's power pop band would have used to squeeze their budget in the studio. Rather, the experimentation comes in the in form of occasional synths and noise-making gadgets that never get in the way of the guitar and drums propelling the rock with which King Tuff artfully reconstructs and moves forward with nostalgic power pop, a framework for a sound that probably just makes you wanna shimmy, or just drink a beer next to the grill.

Listening to King Tuff's work, there are a few instances where I draw comparisons to TheApples in Stereo, of all bands. Where the Apples worked eighteen years ago to bring the pop-saturated studio trickery of the late 60's to an indie base, King Tuff created a similar sound five years ago with the late 70's. King Tuff is a bit rougher around the edges than the Apples, but listen to his 2012's King Tuff and you'll hear bits of the sonic imprint that bands like the Apples left on this sort of pop revival. It's even more evident with the straight-forward set of songs on Was Dead. This album proves he was really good at it back then, too.

Verdict: Neat-o Look into His Early Work.

#EDAS Album Review: TAUK, Homunculus

by Stevez First Listenz

Released on Tauk Records
April 30, 2013

Artist-Fair Shopping: Digital / CD

Style: Progressive Fusion,
Strong Silent Type,
Where'd All the Time Go,
Allman Brothers Brothers

Audience: Bonnaroo Jammers,
9-5 Clockwatchers,
Musical Scientists

Better Tracks: Afro-Tonic,
Hello Narwhal,
Dirty Mouth, When in Doubt,
In The Basement of the Alamo

Let’s get real for a minute: I usually hate jam bands. Maybe hate is a strong word, but generally, I don’t find much I like about them. Aside from their outstanding musicianship, they usually just don’t offer much for a harder rock guy like me. With that said, I was converted by Homunculus, the latest release from jamrock-fusion cadettes Tauk.

These dudes are no strangers to the jam band circuit, having shared the stage with genre giants Moe, Robert Randolph and Tea Leaf Green. If I didn't know any better, I would have certainly lumped them together with the aforementioned bands and wrote them off as a throwback to my younger, more psychedelically influenced days. However, after listening to the record I was taken back at A) how Jazz influenced the record sounds B) Tauk's amazing band chemistry (the record definitely has a live feel to it) and C) how well they were able to craft actual songs out of the jams instead of 30 minute rambling guitar solos (I’m looking at you Trey).

I lieu of my normal listening activities (often a bong and a set of headphones) I decided to listen to this record while I paint. I generally find instrumental music sparks creativity the brain and it’s easier to focus when there are no vocals. I couldn't have picked a better way to enjoy this record. It’s palpable energy moves freely and openly and gave my brain the right boost of motivation to hone in on my art. It may be a little too subtle for a roaring house party, but spinning this during a solo meditative excursion was perfect. I was able to appreciate the outstanding musicianship and stellar production while simultaneously getting lost in the record and excelling at the task at hand.

TAUK

As a DIY-recording engineer myself, the production on Homunculus really stands out from the pack. So much so that I even had to look it up. I was shocked to find out it was Robert Carranza whom I adore for his work with The Mars Volta. He really did a great job giving each instrument it’s own voice as well as an opportunity to stand out in the mix. Nothing is lost here and I think that is important to note. The guitar never gets lost, the keys never over do it and the drums set up the proper foundation on which to create the complex structure built from jazz and rock influences.

Of course, with each track are subjected to individual solo’s from each band member periodically. While these overdone solo-sessions are usually the downfall of these  types of records, it really goes over well on Homunculus. Although the structure becomes somewhat predictable, it was never a case of “Look how well I can solo” or “I’m the bass player and I can play better than the guitarist.” Each instrumental serves the song purpose and does it justice by making it better.

In a genre that is typically diluted with guitar solos, patchouli and Hammond Organ, Tauk really released a solid effort with Homuculus. They cut out the bullshit and leave you with what they are; a truly solid band who won’t forget their roots but aren’t afraid to hold back a bit for the sake of making a good and solid record. Fans of the genre and the band definitely won’t be disappointed. If you’re not a fan of the genre I encourage you to at least listen. What’s the worst that could happen?

Tauk takes the stage tomorrow, Thursday 7/11 in swanky Williamsburg for the second installment of their three-part Spike Hill Residency. Get your tickets here and check out Tauk's additional summer tour dates below. Pay special attention to that final date, Peach Fest looks like it could be the runaway winner for NY-Area Festivals.

Verdict: Homunculus transports you to a friction-less dimension where time doesn't exist and all tasks are completed without an ounce of procrastination. Just press play and watch that To-Do list disappear.

#EDAS Album Review: Way Yes, Tog Pebbles

by Matt (@bones_jones)

Self Released: May 7, 2013

Artist-Fair Shopping: Digital / CD

Style: Synth & Surdo,
Ituri Dreamscapes, Muppet Voices,
Every Genre Ever Mushed Together

Audience: World Music Lovers,
Sensitive Bros, Vampire Weekenders,

Future Dead People of America 

Better Tracks: Colerain, Holy Drop,
Get Healed, Don't Give Up,
Macondo

If you are a frequent reader of this website, you know how much this band means to me. Way Yes is a group of legitimately nice dudes from my college stomping grounds, delving deep into uncharted types of world fusion. Their first full-length offering, Tog Pebbles, is a psychedelic stew slowly cooked in the heartland of Columbus Ohio, and it is ready to nourish the masses.

Make Your Own Way Yes Meme 

These guys had me hooked from the second I heard their breakout EP, Walkability and the attraction has only intensified with Tog. This album seems to explore the distinct space between actively participating in and wistfully remembering one's childhood. It even goes as far to tell you what happens afterwards. SPOILER ALERT: It's either an adulthood filled with complex emotions or death. I suppose the goal is to chase the former with the latter but you might as well use your time to live and love while you can.

The brainchild of Best Buddies Glenn Davis and Travis Hall, Way Yes picks up where Paul Simon left off at his most adventurous. A sophisticated work of art that dabs tropical hues over dark existential undertones, then melts the whole thing down and pours it all over your body.

Hall and Oates Davis have worked together for what seems like lifetimes, and they have fused all prior incarnations of themselves into Way Yes. This epic bromance provides most of the singing and songwriting as well as the dueling guitars and multi-layered synthscapes that structure their unique sound. The rest of the band’s identity comes from their double-edged drumming attack of Max Lewis and Tim Horak. A veritable planet of percussion that consists of bongos, darbukas, junior congas, timbales, crash, splash, high-hat and ride cymbals, both a tamborim and a tambourine, a jam block, a mounted drum stick, shakers, agogo bells, darbukas, two cow bells and a surdo. It can’t be easy to lug all that crap across the country in your mom’s minivan, so if they come to your town, grab all your loved ones and see this amazing band live.

Way Yes @ Glasslands 7/20/2012

Almost a year after their mind blowing NYC debut, Way Yes returns for their somewhat annual double dip. Catch them this Friday July 12th at 8:30 PM for an amazing show at Glasslands, headlined by The Echo Friendly, then follow them to a free Manhattan Show at 7:00 at Pianos the following day. Get your tickets for Friday's Brooklyn shindig here and get to Pianos early enough and its free. I'm clearing my schedule so I can go to both. It may be a full weekend, but I'll be the one in the back, standing there like a proud (and likely drunken) father watching his kids make all his vicarious musical dreams come true.

Verdict: Feel free to sell all of your belongings and follow these psychedelic sages as they unlock the secrets of the universe. You'll be hearing from these fine fellows again come Best Of 2013 time. 

Get The Album Here

Back from Nantucket

After a few horrible bus rides, I am back in in NYC. It feels good to be home, however I have received some unfortunate news regarding this Saturday's BackYard Fest headlined by Aerosmith. 

Due to the heavy rains during "Spring" and exacerbated by the horrible conditions of Governor's Ball, the NYC Parks Department has decided to close Randall's Island for necessary landscape work and the festival has been cancelled. I knew the second I got confirmed that it was too good to be true, so here is a taste of what was supposed to be. 

Aerosmith - Back in the Saddle Again

Another Song - Unknown Mortal Orchestra, (Sittin' On) The Dock of the Bay

by Justin (@justasstrazdin)

Be glad these lads churned out a smooth and understated cover, lightly awash in their style, with a smooth ass bed of soul and punchy drums to drive the beauty of this song.

Unknown Mortal Orchestra - (Sittin' On) The Dock of the Bay

Happy July 4th From EDAS

From Every Day, Another Song

Creedence Clearwater Revival - Fortunate Son

Another Song: Mountain, Nantucket Sleighride

In just a few short minutes, I am headed to Nantucket Island, which was considered the whaling capital of the world in the 19th century .The term "Nantucket Sleighride" was coined by some old salts to explain the most immensely dangerous part of the whaling process process. The first strike of the harpoon was not intended to kill the whale but only to attach it to the whale boat. The whale would take off pulling the whale boat along at speeds of up to 23 mph (37 kmh). Once the whale had finally tired itself out, the leading officer would deliver the fatal blow with a penetrating lance and begin the arduous process of finding their way back to dry land.

The song "Nantucket Sleighride" is dedicated to Owen Coffin, a cabin boy aboard the whaling ship Essex, which was destroyed by a sperm whale in 1819. Owen ended up in the lifeboat with Captain Pollard, his uncle. Two other lifeboats also put out. During the next 3 - 4 months, the lifeboats separated. One was never seen again, but a certain few were destined to be part of the most memorable sea stories of all time.

During those long months at sea (and on desert islands), many of the men died. The survivors eventually had to resort to cannibalism to live. After those who died naturally were consumed, the men determined to draw lots to see who would sacrifice his life for the others. Owen Coffin "won" the lottery. The Captain tried to take Owen's place, but the youth insisted on his "right". The executioner was also drawn by lot. That "winner", another young man named Charles Ramsdell, also tried vainly to swap places with Owen. Again he refused. Owen's body kept the others alive for ten days, although Captain Pollard refused to eat his nephew. Another man died, and his body kept Pollard and Ramsdell alive a few more days until they were rescued.

The story of Owen Coffin still resonates on Nantucket Island and  certainly caught the attention of a young New York Jew named Leslie West. He and his band of Long Island Vagrants would eventually play Woodstock under the moniker Mountain and record an amazing album named after this an album that would bear the name, Nantucket Sleighride. 

Mountain - Nantucket Sleighride

Another Song: Supertramp, Hide in Your Shell

by Justin (@justasstrazdin)

Little known fact: There are three types of people on this entire planet. Those who love electric pianos, those who are in denial of their love for electric pianos, and those who have never heard an electric piano but would totally love them. The title of Supertramp's 1974 album, Crime of the Century, is arguably a reference to their confession of not having enough electric piano on the album.

Supertramp is an exemplary binge band. One day, you're all like, fuck, I could really use some music to clean my apartment and drink white wine to! And that's where Crime of the Century comes in, with a dense overload of orchestral pop production over a bed of coke rock and a spot o' prog that leaves you feeling super British for forty minutes.

A few days pass. You catch yourself listening to it on the way to work. It's playing on your tiny speaker while you shower. Your friends are exposed to it when they come over. It's a problem. You're thinking about back-to-back binging with Steely Dan. But all this shit has got to stop, your apartment is clean. You're not surfing down that mountain of coke anymore in the British countryside, into a spacious recording studio where the battered grand piano guides you through the halls of excess. No, you put the scratchy LP down and crawl back to some retro soul or noisy indie pop. Still, you ponder taking on Nilsson for next month's apartment cleaning, that time when you blast any damn record you want with a Sauvignon Blanc and a vacuum cleaner.