history

Sleepy Rebels Announce New Album, "Yellow Tree"

Powerful Company will be releasing some breath-taking projects in 2011. Jeremy Adelman and Samantha Balassa formed the company. The pair are a true mom & pop musical powerhouse who found great success handling original music production and composition for advertising including national campaigns for VW, Hulu, Jaguar, and JCPenney. Their desires to make music outside the confines of the corporate creative process lead them to establish Powerful Company whose establishing project is the development and marketing of Sleepy Rebels. The New York based trio, collaboration comprised of Jeremy Adelman and siblings Bruce and Erica Driscoll, have designs to re-establish the coolness of positive sentiments and ideals. Yellow Tree is the manifesto that soundtracks their rebellion!

The pastoral images, sun drenched arrangements and sparkling melodies hit you like the first wave of the summer. “Let’s Take the Day Off” is a call to claim some time for yourself and hit the beach with that special someone. It’s instantly memorable hook will incite you to plan your next vacation day! “You Can Make the Sunrise” reminds listeners that everything is possible and that we all have the potential for greatness. The voices on the album are having a romance with the world itself.  The dreamy string arrangement on “We’ll Wake the World Up” underscores the songs narrative of waking up with someone you love just before daybreak. The record closes with “Something”, a soulful romp full of handclaps and horns. For an early listen of album track "You Can Make The Sunrise," download the MP3 HERE.

Powerful Company has quickly transformed from a 2 person team into a modern art factory attracting advertising's (and other industry's) greatest talent of freethinking writers, producers, musicians, directors, editors & designers who all share the same need to create content with artistic statements. Powerful Company has the capability to create through limitless channels including music, video, design, film & art.   In the first months of 2011, they will unveil the first few projects created by this team of talent; they include three films that serve as music videos for Sleepy Rebels. Both surreal in nature, they are intended to establish the band with aesthetic & clever visual imagery & technique.  The first video for the band's song “Magic Girl” reveals the band as eccentric street performers in a remote town in an unknown history & geography.  The second video for the song “Unbelievable” takes the unknown history & geography further and is an unexpected and surreal love story that happens in the most peculiar way.  The third video for dreamy “Looking Glass” finds a woman reflecting on love and looking towards the future as she walks the desolate cobblestone streets of a European town. The final project to be unveiled in the coming months will be a step away from typical band promotional material and will involve a collaboration with the high art world.

"You Can Make The Sunrise" MP3 Available Now!

LivePhish Limited Released Today

On Sunday June 27, 2010, Phish played their sixth headline show (since 1998) at Merriweather Post Pavilion and the second show of a two-night stand to a hot, sticky summer crowd.  Merriweather Post is a wooden-roofed music amphitheater designed by Frank Gehry with excellent acoustics and a capacity of about 19,000.  The band opened set one with "Walfredo" which includes lyrics about Phish's first visit to the venue opening for Santana in 1992.  This rarity, performed only a half dozen times and for the first time in a decade, began a string of breakouts.  The number two spot featured Bob Marley's "Mellow Mood" (played for the first time since 2003’s IT festival), "Divided Sky" and 2010's first "Tela".  A couple more covers, Clifton Chenier's Bayou swinging "My Soul" and Norman Blake's "Ginseng Sullivan", were clustered mid-set along with "Sample In A Jar."  Set one wrapped up with "Brian And Robert" - bookended by Phish classics "Bathtub Gin" and "Run Like An Antelope", the latter of which contained teases of "Brian And Robert."  Set two was a seamless affair rooted in the show's theme song, "Saw It Again" (also played at Merriweather for the first time since IT).  This playful set hinged on exploratory playing and transitions like "Meatstick" > "Saw It Again" > "Piper" > "Ghost" which, like the rest of the set included deft teases of "Saw It Again".  Phish sealed the fate of this uncommon set by weaving their debut of the Rolling Stones' "Jumpin' Jack Flash" back into "Saw It Again".  The remainder of the show: "Contact", "You Enjoy Myself" (with teases of "Jumpin' Jack Flash") and Jimi Hendrix's "Fire" also included multiple nods to "Saw it Again" among its sonic treasures.

Listen to Meatstick > Saw It Again

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On Saturday July 3, 2010, Phish returned to the Atlanta area for the first time since 2003 to begin the final two-night stand of Leg 1 of their summer tour.  Verizon Wireless Amphitheatre at Encore Park is a general-admission multi-purpose amphitheater with a capacity of about 12,000.  Phish had played this exact date in Atlanta eleven years ago in 1999.  The band kicked off the show with "Character Zero" and the only "Destiny Unbound" of Leg 1, followed by "Rift".  A request from the audience earned a trip to Gamehendge for "McGrupp And The Watchful Hosemasters" before a concentrated "Bathtub Gin" and the year's first "Mountains In The Mist".  The combination of "NICU" > "Gumbo" > "My Sweet One" spotlighted Page (aka "Leon") and Fish, who penned the latter two songs.  Set one concluded with "Stealing Time From The Faulty Plan",  "Strange Design”, the only "Sanity" of summer and "Run Like An Antelope" to close the set.  Set two began with an opening sequence of the The Velvet Underground's "Rock And Roll" > "Prince Caspian” (with a jam that entered "Dave's Energy Guide" territory) > "Tweezer" > "Slave To The Traffic Light".  This sublime Tweezer/Slave combination was featured on LiveBait Vol. 02.  Set two continued with "Bouncing Around The Room" > "Possum" and "Backwards Down The Number Line" > "Harry Hood" > "Loving Cup".  The Encore, "Sleeping Monkey" > "Tweezer Reprise", capped a great first performance at Alpharetta.

Listen to Bathtub Gin

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On Sunday July 4, 2010, Phish celebrated their second Independence Day in the Atlanta area (they played Lakewood Amphitheatre July 3 and 4, 1999).  The second show of a two-night stand and the last show of Summer Leg 1 began appropriately with an A capella performance of "The Star-Spangled Banner" followed by a return to Gamehendge for "Punch You In The Eye" > "Colonel Forbin's Ascent" > "Fly Famous Mockingbird"(narration-free except for Trey pointing out the Mockingbird).  Next came some animal songs in the form of "Camel Walk" and "Ocelot" before a three-song combination of "Heavy Things" > "My Friend, My Friend" > "Lawn Boy" after which the rowdy crowd began to chant "USA, USA."  Set one concluded with "David Bowie" and a fiery "Gotta Jibboo".  After more patriotic chanting by the crowd, Phish kicked off a mostly non-stop set two with "Down With Disease" > "Piper" > "Ghost" > "Waste" > "Julius".  "Mike's Song" > "Tela" was next and was the first and only time in nearly fifteen years that these two songs were paired this way.  After an Independence Day greeting from Trey, the band dropped into the year's only performance of "Harpua".  Trey used his holiday "Harpua" narration to educate Atlanteans and visitors alike about "the history of our country as we know it", pointing out that both the real and alternative history books in schools are full of lies.  Instead, he explained, the nation's true history is to be found within Phish's music.  This rap led perfectly into the band's first and only performance of Rage Against The Machine's "Killing In The Name", sung by Fish with all the spirit of the holiday.  A burst of energy from the crowd acknowledged the message was received.  "Killing in The Name" returned to "Harpua" > "Weekapaug Groove", capping this unique Mike's Groove.  The instrumental "First Tube" filled the Encore slot, closing Leg 1.

Listen to Gotta Jibboo

Colin Stetson To Release "New History Warfare Vol. 2: Judges"

Colin Stetson is a horn player of uncommon strength, skill and genre-defying creativity.  He composes and performs otherworldly songs that combine a mastery of circular breathing technique with percussive valve-work and reed vocalisations, conveying a polyphonic solo music that combines influences as diverse as Bach, early metal, American pre-war Gospel, and the playing of Jimi Hendrix, Peter Brotzman and Albert Ayler.

New History Warfare Vol. 2: Judges is Stetson's second solo record and his first for Constellation.  Colin has been making his mark as a staggering solo performer for several years now, in front of audiences small and large, from intimate jazz and experimental music venues to big stages, whether opening for Arcade Fire or The National, or at jazz and new music festivals like Moers and London Jazz Fest.  His talents have been widely recognised and employed by artists as diverse as Tom Waits, Laurie Anderson, Antibalas and Bon Iver.  His live solo performances are absolutely stunning and uncategorisable and he conveys a commensurate intensity and iconoclasm on this new studio album of original material.

New History Warfare Vol. 2: Judges was recorded entirely live in the studio at Montréal's Hotel2Tango, with no overdubs or looping pedals, using over 20 mics positioned close and far throughout the live room.  Guest vocals by Laurie Anderson and Shara Worden (My Brightest Diamond) are the only exceptions to this rule, along with one brief french horn suite ("All The Days I've Missed You") that was multi-tracked by Colin.

Stetson is able to weave an uninterrupted flow of arpeggiated swirls and chordal progressions while simultaneously singing yearning melodic lines through the reed of his horn - a technically powerful combination, exponentially intensified by Colin's innate sense of pace, phrasing and trajectory.  Stetson approaches his solo work with one foot firmly rooted in a pop sensibility, harmonically and in terms of overall song structure - a sensibility on fine display in longer pieces like "Judges", "The Stars In His Head (Dark Lights Remix)" , "Clothed In The Skin Of The Dead" and "Fear Of The Unknown And The Blazing Sun".  He can paint short, ecstatic spirals of rapid-fire ostinati that move through the entire range of the instrument, full of subtle rhythmic shifts and filigree, as with "The Righteous Wrath Of An Honourable Man", "From No Part Of Me Could I Summon A Voice" and "A Dream Of Water", all of which clock in at the 2-3 minute range (and the last of which features a spoken word vocal by Laurie Anderson).  Colin can also shred, especially when rallying the full force of the bass saxophone, whether in the foghorn blasts that open the album or the gasping syncopated pulse of "Red Horse (Judges II)".  The seamless, steamy, multi-timbral drone that underpins Shara Worden's guest vocal on "Lord I Just Can't Keep From Crying Sometimes" demonstrates another side of Colin's mastery and sensibility.

The sessions were co-produced by Stetson and Shahzad Ismaily and engineered by Efrim Menuck at the Hotel2Tango, then taken to Greenhouse Studios in Reykjavik and mixed by Ben Frost, the critically acclaimed experimental electronic/ambient composer and producer whose shared influences of minimalism, noise and black metal made him the perfect choice for a bold and unconventional approach to the raw material.  Frost pushes and pans different mic signals to the fore from song to song (and within songs), eliciting a cornucopia of details and extremes in Colin's playing and highlighting the complexity of sounds generated by a single horn in Stetson's hands.  Rhythms are formed by clicking keys, minute textures are brought forward by running ambient mics extremely hot, and low end is at times pushed fully into the red to devastating effect.  Mastering by Mell Dettmer provides the final touch.

The result is a highly original, experimental and thrilling record that fires on all levels: as a document of an astoundingly strong and gifted player, as a compositional tour-de-force, and as a studio production bursting with intensity and inventiveness: a challenging work that resists classification but remains accessible to music lovers of many stripes.

Colin Stetson Announces US Dates w/ Arcade Fire

Colin Stetson has performed the solo saxophone music of New History Warfare in practically every type of venue that music inhabits, and although this music may seem challenging on it's surface, every audience in every room in every city has received it with a warm and energized embrace.

From chanting and clapping crowds of rock fans while opening up for the Arcade Fire in a string of Get out the Vote rallies for the Obama Campaign last summer to a captivated and curious standing room only in rural Germany. The monks at the National Shrine of St. Francis Assissi were so thrilled with an easter sunday performance that they had him back for two more in the years to come. It is a spectacle of physical extremes (Lexy Benaim of the Harlem Shakes likened it to watching the Olympics, and Alex Green at Caught in the Carousel calls him "the Roger Federer of avant-garde instrumental music") and an intense and cathartic experience of sound and lyricism.

Both sonically vast and melodically accessible. Allmusic.com's Sean Westergard had this to say: "Colin Stetson is an absolute master of the saxophone...New History Warfare, Vol. 1 is a truly impressive, fully formed, and highly individual musical statement... Stetson's compositions and ability to tell a musical story are what make this a great album. You haven't heard saxophone music quite like this".

Aside from his work as a soloist, Stetson has brought his unique voice on winds and brass to stage and studio with dozens of artists, including Tom Waits, Arcade Fire, TV on the Radio, Fiest, Bon Iver, Laurie Anderson, Lou Reed, Marc Ribot, David Byrne, Jolie Holland, Sinead O'Connor, LCD Soundsystem, My Brightest Diamond, Angelique Kidjo, Anthony Braxton, and The National.

Tour Dates:

Tue Oct 5th - Big Sur CA Henry Miller Library

Thu Oct 7th - Los Angeles CA Shrine Auditorium

Fri Oct 8th - Los Angeles CA Shrine Auditorium

Sun Oct 10th - Mexico City Palacio de los Deportes

Tue Oct 12th - Monterrey Banamex Theater

BoomBox NEW Album "downriverelectric" out NOW

Once again, the otherwise understated area of Muscle Shoals, Alabama finds itself in the limelight. Recognized for inspiring legendary recordings from the likes of Aretha Franklin, Lynyrd Skynyrd, Bob Dylan, Paul Simon, The Rolling Stones and The Allman Brothers, Muscle Shoals has played host to some of the most creative music in popular culture. The town is so legendary that even current platinum selling artists such as The Black Keys have recently have made it a point to record recent releases there.  This leaves no doubt that a musical revival is imminent and the locally bred electronic duo BoomBox is leading the charge.

“I do believe that music is genetic—it’s a family thing. Whatever was magical about Muscle Shoals is still there.” Dan Auerbach, The Black Keys

BoomBox was born in Muscle Shoals, AL. Not just figuratively, but literally. The duo grew up just a few short blocks from the famous “Muscle Shoals Sound Studio” where legend claims the most famous recordings in history have been inspired. As luck would have it, the two met in 2004 during a recording session, and haven’t looked back since. In recent years, BoomBox, in addition to the likes of the Drive By Truckers, have become one of a few acts that are being recognized for their unique take on “the Shoal’s” musical history.

Featuring Producer/Engineer/Drummer Russ Randolph and Producer/Vocalist/Instrumentalist Zion Rock Godchaux, BoomBox draws their inspiration from the roots of the region including elements of Motown, Folk and Vintage Rock while infusing modern elements of IDM, Disco and Funky House. Add layers of raw guitar riffs, catchy songwriting and signature psychedelia poetry lyrics and the result is like nothing else on the scene today.

As thousands of units of their debut release Visions of Backbeat continue to move and tracks like Stereo hit dancefloors worldwide, BoomBox releases their sophomore album, downriverelectric on Wednesday, June 30, 2010.

While many electronic acts typically record within digital production formats, it happens the very same organic setting that was the impetus in the create the movement of BoomBox ultimately became the final inspirations for the completion of downriverelectric. Through tapping some of the same vintage gear of their Muscle Shoal predecessors, the duo pays respect to the musical memoirs of Muscle Shoals’ as well as the rhythms of the Tennessee River with a different, yet familiar, flavor.

From new cuts such as Dungeons and Watergun to live favorites Headchange and Mr. Boogieman, downriverelectric deliberately weaves a variety of dance frenzy beats filled with catchy songwriting and soul shuttering lowend.  While the album took a bit longer than expected, the final product foretells yet another groundbreaking release from the area worth recognition.  What’s yet to come from the Muscle Shoals music scene is hard to tell, but one thing is for certain, with acts like BoomBox infusing the rich lore of the area into their current sound, history is guaranteed to repeat itself.

To celebrate the release of downriverelectric the group currently has 2 tracks for free download at www.music.thisisboombox.com and on Wednesday, June 30 will make the first 1000 downloads of entire album available free!  Listen to Boombox's 'Watergun' {play}images/mp3/watergun.mp3{/play}


downriverlectric track list:
1. dungeons
2. headchange
3. showboat
4. cool aide smile
5. watergun
6. round & round
7. shakedown street
8. mr boogie man
9. watergun (reprise)

An Evening with Hapa @ Boulder Theater

Like the Hawaiian Islands themselves, Hapa's Pan-Polynesian music is an amalgam of influences ranging from ancient genealogical chants to the strummed ballads of Portuguese fisherman, Spanish cowboys, and the inspired melodies and harmonies of the traditional church choirs of the early missionaries. Add to this a dose of American acoustic folk/rock, and you have what has been described as the “most exciting and beautiful contemporary Hawaiian music the world knows!”… (Maui Times).

These disparate ingredients blended together musically in the Pacific emotes the unique flavor of what Hawaii and Hapa music is: “beautiful, fragile, spiritual, powerful”… (L.A. Times). Often encapsulated as the “Sound of Maui”, HAPA’s music evokes a place that many people at different times have referred to as heavenly. Hapa’s self entitled debut cd released in 1993, swept the 1994 Na Hoku Hanohano Awards (Hawaii’s equivalent of the Grammy’s), becoming the biggest selling CD by a group or duo in the history of recorded Hawaiian music. The group’s ground breaking music has established them as the most recognized name in Hawaiian music internationally since their debut release, with sold-out shows from Tokyo to New York.

AN EVENING WITH HAPA | Wednesday July 7

Tickets will be on sale through the Boulder Theater box office
Internet 24-7 at www.bouldertheater.com
Phone: During box office hours 303-786-7030