SnC 249 – 08 December 2010


The unprecedented freeze continues here in Suffolk. Not wanting to miss out, the softies in NYC have started moaning ๐Ÿ™‚ You know who you are ๐Ÿ˜‰
On SnC this week, music from France, Colerado, Louisiana, New Zealand, Los Angeles, Tehran, Vancouver and some cracking reggae from Germany. 
Dual Sphere – Bruno Pitch (Auvergne, France)
In 2004, Bruno Pitch left his guitar to devote himself entirely to a fascinating instrument: the Chapman Stick.
With 10 or 12 strings, the Stick is played exclusively in ‘Tapping’, a technique allowing him to simultaneously play the bass and guitar parts.
He begins his apprenticeship in composing and putting its first tests on the web.
In 2007, he met the drummer Guix Huré, the bassist Boris Nicolik, a meeting that will lead to the creation of instrumental funk Group: Magic Street.
In 2009 Bruno and Guix decide to create a progressive rock album project dedicated to Chapman Stick, the album was released in 2010 under the title ‘Crystal Garden’.
Composed of 8 instrumental tracks, the album mixes rock influences as diverse as metal, jazz and classical music.
Skin Hammer – The Mourning Sickness (Denver, Colorado)
“The Mourning Sickness, progressive power-trio from Denver, Colorado, has been gigging extensively for the last fifteen years, and has been completely ignored by both the local media and the underground scene:  The invisible band.
Playing music that must seem confusing to the management and patrons of clubs and theaters around the world, The Mourning Sickness continues to be forgotten.  Nonetheless, it refuses to die.
No provocateur of music wants to hear the same old tired piles of cliché.  Trend watchers and teenage wannabes aside, The Mourning Sickness will continue to venture forth, pushing the boundaries back, despite the overwhelming evidence that no-one is listening.
Sisyphus the king was condemned throughout eternity to push a rock up a hill, only to see it fall back to earth before reaching his goal.  He had no choice.
We do have a choice.  And it is in the futility of music that The Mourning Sickness revel.”
Check out their album A Daydream on Oak Street at:
IODA and Jamendo
I’ll be really pleased to know what you’re finding on IODA and Jamendo. Email is peter [at] suffolkandcool [dot] com and on Twitter I’m @suffolkandcool
Better Go Get It – Dwayne Dopsie and the Hellraisers (Lafayette, Louisiana, USA)
While Cajun and zydeco usually get the most attention, there’s a special brand of music that evolved along the Gulf Coast of Mississippi, Louisiana, and southeast Texas (with influences reaching into southern Arkansas and Tennessee) called “swamp rock” or “swamp pop.”
The genre combines early R&B formats with a mainstream sensibility and a strong blues feeling. But what makes this music unusual is that most swamp pop musicians, and a large part of the music’s audience, are white.
Swamp Rock is the first album in LocoBop’s new series featuring some of the most exciting and authentic interpreters of this genre.
Dwayne (Dopsie) Rubin is youngest the son of the late King of Zydeco , Alton Rubin Sr. (aka Rockin’ Dopsie). Born March 3rd, 1979, Dwayne Dopsie was raised in Lafayette, Louisiana, where he grew up listening to and playing Zydeco music. At the age of four, he played the washboard like his brother, David, “Rockin’ Dopsie Jr.”, but he soon picked up the accordion and followed in his father’s footsteps. After traveling the Zydeco circuit with his family, at the age of nineteen, Dwayne started his own band and has continued in the family tradition of entertaining.
Currently, Dwayne is burning the trail on several continents touring to support his newest Sound of New Orleans release, Up In Flames. Reviews of both his performances and his newest recording are always glowing. Travelling Man, Dwayne’s last release, also received a Grammy pre-nomination in 2006.
Dwayne Dopsie “Better Go Get It” (mp3) from “Swamp Rock” (LocoBop) More On This Album
Come to me (JStar Remix feat. MC Ishu) – The Black Seeds (New Zealand)
New release: The Black Seeds Specials: Remixes & Versions from Solid Ground 
For The Black Seeds, this album was an opportunity to present songs from their Solid Ground LP in a new light and encourage experimentation by giving a range of artists, producers, and MC’s – some established, some up and coming, from New Zealand and around the world, a chance to put their take on a ‘Seeds’ song.
It was also an opportunity to officially release some Solid Ground B.side material, and dub and acoustic versions that they recorded during the album sessions.
The end result is a 14-track digital album which mashes up the Solid Ground LP into a huge range of styles and genres — from funk to dubstep to acoustic to electronic and back again. Some tracks have a more familiar ‘Seeds’ sound to them, while some come totally out of left field. 
They’ve now begun working on their fifth studio album, which is due for release in 2011.
Jamaican born MC Ishu is now based in the UK after moving to London in the ‘80s to record with seminal punk band The Slits. On the Specials he adds his sublime vocals to JStar’s re-working of ‘Come to Me’. He’s also a member of UK live dance act Step 13 – who have stormed UK venues from East London’s Cargo to Bristol’s Clockwork, and performed at festivals such as Glastonbury, and Secret Garden:
The Black Seeds “Come to Me (JStar Remix feat. MC Ishu)” (mp3) from “Specials: Remixes And Versions From Solid Ground” (Easy Star Records) Buy at iTunes Music Store More On This Album
Guilty Filthy Soul – AWOLNation (Los Angeles, CA, USA)
“AWOL, the brain child of Aaron Bruno delivered a loud mix of ’90s flavored alt-rock with hints of hip-hop and synths” 
Like Peter Finch’s newsman Howard Beale in the movie Network, AWOL is mad as hell and he’s not going to take it anymore. Broke and with his world crumbling around him, he launched a NATION.
And indeed, what can a poor boy do… except make some of his toughest, hardest, most passionate music ever, slamming it with the most up-to-date hip-hop and electronic dance beats in a genre-blending mash-up that defines AWOLNATION.  It’s not just music, but a crusade designed to fight all that’s fake, commercialized, compromised and debased in popular culture.
In the self-lacerating “Guilty, Filthy Soul,” with its Queen/David Bowie “Under Pressure” harmonies by way of the Beatles and the Beach Boys, AWOL doesn’t point a finger, as much as he takes full responsibility for the situation he finds himself in. “I built this not necessarily thinking anybody else would believe it but me, and now everybody else is starting to believe in it even more than I do,” he marvels. “I’ll agree to steer the ship, but it’s up to other people whether they get aboard or not.”
“If I’m going down in flames, it’ll be my way,” confesses AWOL. “Why do it if you’re not going to do it all-out? – Metromix NY
Show tomorrow: Dec 9 Drunken Unicorn, Atlanta, Georgia , US
Don’t You See the Cheerful Rainbow? – Salim Ghazi Saeedi (Tehran, Iran)
Rock music is of course not rooted in Iran, but the enticement within the genre has strikingly pierced Salim Ghazi Saeedi’s heart in his hometown. 
Living in a country with domination of traditional culture, Salim has now globally released his 4th album, Iconophobic. An album as a “strong statement from Saeedi on life in his home city of Tehran” (Steven Reid, Sea of Tranquility webzine, Sep 2010) or let’s say “a stream of conscious story without words.” (Christy Claxton, Stave Magazine, Sep 2010 )
Iconophobic is an instrumental concept album on “fear of the world of imagery”, composed and performed for electric guitar, bass and synthesizers by Salim, hiring various elements of classical, electronic and progressive rock music to communicate artist’s extreme feelings: Satire, bizarre phobias, ecstatic joy and embryonic love are themes of this daydream.
He has composed three albums “Abrahadabra” (2006), “Sovereign” (2007) and “Ustuqus-al-Uss” (2008) in the band Arashk. His fourth album, “Iconophobic” released in 2010 under his own title in which he played the roles of composer, guitarist, keyboard player, drums arranger, mixing engineer and producer.
Adnams Artist of the Month – Bleu
Interview with Sean Clark (Head of Web at Adnams)
There is more information about Bleu on the AOTM page for November 2010.  A slightly extended version of the interview will be posted at the weekend. Sorry, the upload allowance is causing a few problems these days but I’m negotiating for a bit more space for more goodies. You can keep up with what’s happening at the brewery @Adnams on Twitter.
Singin’ In Tongues – Bleu (Vancouver, BC, Canada) Musebox
The release follows on the heels of 2009’s critically admired A Watched Pot (which suffered, promotionally, from big-label implosions far out of his control), and comes amid a flurry of co-writing and production projects.  “I really enjoy working with other artists part of the time and then creating my own material,” he says.  “It keeps things nicely balanced.”
He has just completed a UK tour.

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Get on Board – Oneness (Bad Oldesloe, Germany)
Title track of his 2009 EP. I can’t tell you a lot more about Oneness because I don’t have the German for it ๐Ÿ™‚
He is playing a live show on Dec 31 (New Year’s Eve) at Sylvester in Lübeck, Germany.
Farai kam eigentlich als Profi-Fußballer aus Simbabwe nach Deutschland, begann aber 2005 sein musikalisches Talent als Songwriter und Sänger mit seiner Band Oneness zu verwirklichen. An seine Mitmusiker aus Hamburg und Schleswig-Holstein konnte er schnell seine Liebe zum Reggae weitergeben.
Diese Leidenschaft und Lebensfreude bringen Oneness nun dem Publikum näher und kreieren dabei einen tanzbaren Reggae-Mix aus Roots, Dancehall und R’n’B, der sich keiner eingegrenzten Ziel- und Altersgruppe verschreibt. Oneness bedeutet Einheit; Unterschiedliche Menschen und unterschiedliche Lebenslagen über die Musik zu verbinden ist der Gedanke, der sich dahinter verbirgt.
Der energiegeladene Sänger vermag manchem durch seine authentische Stimme und seine überzeugende Bühnenpräsenz als Reinkarnation Bob Marleys erscheinen. Gerade deswegen dürfen neben den vielen Eigenkompositionen auch Interpretationen bekannter Songs nicht fehlen. Unter Einbeziehung des Publikums ergibt sich immer eine individuelle Show mit improvisierten Einlagen.






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