If you’re on a searching for some smooth and soulful hip hop music, you might consider listening to tai free’s new EP Journals. Each track has a calm, relaxed feel that puts listeners at ease and provides the opportunity to assess the musicality. The selections aren’t aggressive or fueled by overwhelming rage like some hip hop tracks. This EP wouldn’t be what most would consider dance music, but rather music you can vibe along to.
The Brooklyn artist has been making music for a while, but only started getting serious about two years ago. tai free writes and performs his own songs, and the EP is appropriately titled as it provides snapshot of his thoughts and experiences. He describes the collection as “a sketchbook of colors, moods, and self-actualizations.”
In “I’m Not Here,” it’s clear he’s talking to someone close to him saying that he doesn’t want to be lied to any longer and that he is “not here for games.” Whoever he’s addressing was making him wait and reveals that he’s not going to wait around because he’s too focused on bettering his personal situation to be involved. At the end of “Bite Your Tongue,” he repeats the lines “Baby don’t bite your tongue, baby don’t lie…” seemingly trying to reinforce the idea that he desires honesty. Rap artists frequently draw on personal experiences for lyrical substance and he does so too by subtly depicting his thoughts and goals.
The syncopated percussion part in “Complications” is slightly unpredictable and bolsters the title and uncertainty of the situation with the girl expressed throughout. “Drive” incorporates female vocals by Francesca in the beginning which lay down the poignant foundation for the track.
tai free seems to have a lot of raw talent and knows how to write lyrics that can easily fit into a song structure. The dynamic range of his vocal delivery however, could be broader throughout to show more expression and emotion behind the words. The mixes of each track are relatively simple, and more production elements could be added to his music to enhance the texture. As a newer artist, more consideration for creative direction and collaboration with other songwriters can only benefit his music moving forward. Overall, tai free has taken the right steps and could have a reputable future in music.
Annie in the Water brought a huge crowd to Funk ‘n Waffles located in downtown Syracuse Friday night, two party buses of about 90 people from Hamilton NY pulled in, more than half of them were Colgate University students.
Opener St. Lenox took the stage as a solo act and immediately captivated the roaring crowd with his incredible voice, catching the attention of passerby’s who peered in the window out of curiosity, before entering.
Annie in the Water is proving to be one of the most formidable funk bands that has ever occupied Funk ‘n Waffles and it was to no surprise that they immediately captivated the crowd.
Those who are familiar with the band know that this tenacious trio haven’t had a bass player for quite some time, but it took them by surprise to see they welcomed back an old friend Lucas Singleton from Albany NY. Lucas has played with Michael Lashomb and Brad Hester in the past and he was undoubtedly a great addition to the show. Brad Hester also introduced a significantly new instrument to the mix, the Jamboxx, which plays high quality impressive digital sounds and is still under development.
Stay tuned for their newest album to be released this year!
Borahm Lee and Adam Deitch are two of Brooklyn’s busiest producer/musicians. Just days before embarking on a western U.S. tour as drummer for funk band Lettuce, Deitch and his collaborator Lee, known collectively as Break Science, nailed a pair of back-to-back hometown gigs at Brooklyn Bowl. While night one featured a rare performance by “Manic Science,” a.k.a. Break Science joined by Chicago-based producer Manic Focus, the second night was all Break Science. The Break Science Live Band, to be precise, with members of Lettuce in tow.
The music of Break Science is a fusion of much of what you might see and hear over time if you frequent shows at Brooklyn Bowl. It’s the sonic vision of two producer-musicians whose passion is to mash up elements culled from the broad array of musical projects they have respectively participated in, deeply rooted in hip-hop and spanning the worlds of EDM to funk and dub. Different musical eras and styles are combined in such a way that the only possible reaction for a fan on the floor at a Break Science show is to dance and give up hope of trying to explain the experience. Words were not necessary as the crowd packing the Bowl buzzed and bounced on Friday night, awash in the vibrance of the rich colors and raging music emanating from the stage.
Hot on the heels of sizzling DJ sets from Marvel Years and Dreamer’s Delight, Break Science broke through the intervening chatter and hum appearing in classic fashion: Deitch on the kit and Lee at the keys, holding it down unaccompanied for the first few songs. While Lee and Deitch are more than capable of rocking crowds for a whole night as an electronica duo, the Live Band situates them in the center of a cross between an EDM performance and a futuristic funk-rock band.
After getting their set off to a smoking start, the duo introduced renowned beatboxer Rahzel, who gripped the audience’s attention with an impeccable exposé of technical precision and endurance, keeping the party rocking for a good 15 minutes using only his lungs, mouth and a microphone while Break Science took a short break. Deitch returned to back Rahzel on drums before welcoming back the full band and giving Rahzel a chance to rap.
From then on the crowd roiled ecstatically as samples and vocal tracks were interwoven seamlessly with analog instrumentation and live vocalists with a finesse indicative of years of experience both in front of and behind mixing boards on the part of the core duo. The brilliance of the live horns contributed greatly to the immediacy of the band’s vibe and the organic, human warmth that made fans feel immersed in the pulsating anthems rumbling the room. A big highlight came towards the end of the set with an intense unleashing of the spiritually uplifting “Force of Nature,” a single released back in October.
The Break Science Live Band demonstrated itself to be capable of birthing a vibe and morphing it through various forms. There is nothing like a good drummer laying down an arousing hip-hop beat, and it was Deitch’s role to do just that as the rhythmic center of the band, around which the other musical elements mixed and reacted in mystic alchemical fashion. His kinetically impactful drumming was instrumental in maintaining the sense of infectious excitement that lasted throughout the show. In the midst of the ever-shifting musical tapestry, guitarist Smirnoff would at times strum a groovy rhythm while Lee sent synth melodies snaking through the sonic ether. The Shady Horns would periodically punctuate instrumental passages with fiery harmonized jabs and contribute solos throughout the set. Other times the band would fall in behind Rahzel, CX or Bajah on the mic, or even back a vocal track with such delicacy that it would feel like the singer on the recording was present onstage. Coomes and Smirnoff of Lettuce brought their neo-funk musicality to the bass and guitar parts so that tunes envisioned and composed electronically became the living, breathing reality of the band killing it on the Brooklyn Bowl stage. Lee, the other half of the core duo, occupied center stage somewhat in the manner of an orchestra conductor, except that instead of waving a baton, he led the band by masterfully manipulating his rig of keyboards and electronics to dish out the hooks, harmonies and samples that are the heart and soul of Break Science’s music.
The cultural cornucopia that is Break Science should prompt a bit of reflection on what it is to be a part of or to bear witness to New York City’s musical traditions. It is truly awe-inspiring to see two guys who have been around the circuit so extensively bring together such a committed and well attuned cast of characters and utterly tear the roof off the sucker. But that’s just what Break Science does.
Brooklyn-based electronica duo Break Science will put on back-to-back hometown shows this week at Brooklyn Bowl.
Break Science is the project of Adam Deitch (drums) and Borahm Lee (keys). The duo fuses its hip-hop roots with dub and funk influences and a smattering of electronic styles to create a fusion music that rumbles and moves bodies. Both collaborators have extensive experience playing in other bands (Lettuce, Pretty Lights Live Band, Lee “Scratch” Perry, Matisyahu), and Deitch has produced the likes of 50 Cent, Redman and Talib Kweli.
In the past few months, Break Science have released the acclaimed single “Force of Nature” ft. Paperwhite and have toured the US. They’re set to appear at the Gem & Jam Festival in Tuscon, AZ, in February. In the midst of this activity, these Brooklyn Bowl gigs will showcase Dietch and Lee playing in two different live band configurations.
Thursday, January 28, will feature Break Science performing in conjunction with Manic Focus, the musical project of likeminded Chicago-based artist John “JmaC” McCarten. The High & Mighty Brass Band Horns and CX will round out the band. Artifakts and Brasstracks will open.
Friday, January 29, will feature the Break Science Live Band comprised of The Shady Horns, Adam “Shmmeans” Smirnoff and Jesus Coomes of Lettuce, Rahzel, CX and Bajah. Marvel Years and Dreamers Delight will open. Doors open at 6 PM and music starts at 8 PM both evenings.
Rapper Mos Def, now known as Yasiin Bey, announced he is retiring from the music industry and Hollywood, effective immediately.
A message from Yasiin Bey was posted to Kanye West’s website (transcript here) in which he announces that he is retiring from the entertainment industry and will release a final album later this year. The message starts out as a rap, based off West’s “No More Parties in L.A.,” discussing the immigration troubles he is having in South Africa. Bey was arrested for overstaying his travel visa and trying to use a false document. He was detained while trying to use a “world passport” to leave the country. In the rap, he claims the passport is legitimate: “Anyone can do the research about the world passport; it’s not a fictitious document.”
Regarding his retirement, he says:
The state of South Africa has interfered with my ability to move or to even fulfill my professional obligations unnecessarily. … And I know it’s been a lot of chatter about what’s going on, you know, people are running to the press, because that’s just…you know, a money making machine. So, it’s another exploitative measure to turn this into some soap opera, some tele-novella, and I have no interest in it. Furthermore, related but not directly related to this: I’m retiring from the music recording industry as it is currently assembled today, and also from Hollywood, effective immediately. I am releasing my final album this year. Um…and that’s that
Brooklyn’s Mos Def has performed on albums by Da Bush Babees and De La Soul, and he formed the group Black Star with his friend Talib Kweli. He received six Grammy Award nominations between 2005 and 2011. He also has a Hollywood career that includes roles in Bamboozled, Monster’s Ball, The Italian Job and 2005’s The Hitchhiker’s Guide to the Galaxy, along with a cameo in Talladega Nights: The Ballad of Ricky Bobby. He is best known for being a powerful force behind the 1990s underground hip hop scene and an outspoken advocate against police brutality and for human rights.
David Bowie is arguably one of the most influential artists of multiple generations. He infused his music with fantasy and fashion to create a style all his own—and that style was always changing. His legacy was felt years before his passing, and his influence spans genres, generations and location, including several artists deep-rooted in New York State.
David Bowie performs during a concert celebrating his 50th birthday, on Jan. 9, 1997, at Madison Square Garden in New York City.
NYS Music takes a moment to not only honor the iconic musician, but to also revisit artists who have paid tribute to David Bowie with these covers.
Umphrey’s McGee with STS9 – “Let’s Dance”
During their encore from Northerly Island in Chicago on Aug. 17, 2013, Umphrey’s McGee invited STS9 on stage for this knock out rendition of Bowie’s most successful hit to date:
Beck – “Sound and Vision”
With a little help from his father, legendary arranger David Campbell, folk artist Beck went big on this 1977 Bowie tune. The evening was sponsored by Lincoln Motor Company and was part of their “Hello, Again” campaign, which used Beck’s version of “Sound and Vision” for its campaign theme song:
Starset – “Space Oddity”
Alternative rockers Starset showed up big in December 2014 at WQLZ’s aQustic Christmas Jam. The Columbus, OH, natives turned out a stunning rendition of Bowie’s “Space Oddity”:
moe. – “Ziggy Stardust”
What could be better than Halloween and Star Wars? Halloween, Star Wars and Bowie! Jam rockers moe. treated the crowd at their 2015 Halloween show to a little Bowie. Makes you wonder what a Bowie song sung by C-3PO would really sound like:
Buffalo groove rockers Aqueous cover highly produced, multi-layered tracks with amazing accuracy. In this rendition of “Fame” at the 2014 Gathering at Chaffee’s, they surprise the crowd as they flow into the classic Bowie tune. They hit the mark at about three minutes, but enjoy the jam before they get there. You won’t be disappointed:
The Cure – “Young Americans”
The Cure carry their own legacy in the world of rock, but the Bowie influence is deep with these fellow Brits. They contributed their version of Bowie’s song “Young Americans” for a 1993 compilation for London’s 104.9XFM. The song later reappeared on their 2004 release Join the Dots: B-Sides & Rarities 1978-2001:
Placebo – “Five Years”
Slightly known fact: David Bowie was a big fan of alternative rock band Placebo; he even performed with them on several occasions. In this clip, Brian Molko of Placebo quickens the pace on this acoustic version of “Five Years” to create a slightly altered but beautiful version of the Bowie tune from The Fall and Rise of Ziggy Stardust and the Spider from Mars:
Def Leppard – “Ziggy Stardust”
Def Leppard turned up for an acoustic set in a Sheffield England pub back in 1996. They encored with an incredible version of “Ziggy Stardust”:
Dr. Dre – “Fame”
Bowie’s influence isn’t limited to genres: famed producer and headphone guru Dr. Dre put his own twist on a Bowie tune. This version was featured on the 1996 album Dr. Dre Presents: The Aftermath and features Jheryl Lockhart, King Tee and RC along with Dr. Dre and Chris “The Glove” Taylor. Youtuber Mychael Helmz edited some fashion video footage and credited a piece good enough to have been the song’s official video:
Natalie Merchant – “Space Oddity”
The former lead singer for the 10,000 Maniacs enjoyed a solo career she probably never dreamed of growing up in the small town of Jamestown, NY. Her unique vocal style adds drama to this haunting rendition of Bowie’s “Space Oddity” during a performance on June 12, 1999:
Lucero -“Modern Love”
Hailing from Memphis, TN, Lucero is a five-piece band that mixes punk rock and country, creating a sound that is distinctly all their own. They showed up to the AV Club and banged out their own version of this Bowie pop classic with the addition of a saxophone solo:
James – “China Girl”
A lot of artists show up to their BBC Sessions with covers in hand. Manchester, England, natives James were no different; they rocked out their version of one of the three top 10 singles from Bowie’s 1983 album Let’s Dance:
Nirvana – “The Man that Sold the World”
Nirvana brought new life to this song during their 1993 performance on MTV Unplugged. They also exposed Bowie’s music to a host of new listeners. The song would garner major market radio play, as well as be featured on both the released album and video of the performance:
Foo Fighters – “Under Pressure”
When the Foo Fighters showed up in Mendig, Germany, during June 2015 to play the “Rock am Ring,” they played a set list infused with music they felt was the most influential to their journey as musicians. On the list was this David Bowie/Queen collaboration:
Smashing Pumpkins “Space Oddity”
Smashing Pumpkin’s frontman Billy Corgan says in this video for San Diego’s ROCK 105.3 that he appreciates the song more as an artist covering it, than he ever did as a fan listening to it. The Pumpkins put their own brand of alt-rock styling on this version recorded on June 19, 2012:
Fall Out Boy – “Life on Mars?”
FOB guitarist and singer Patrick Stump cites Bowie as his favorite musician of all time. In April 2013, he sat down to record an acoustic session for BBC One. He shows off his vocal range and passion for his idol in this lovely version of “Life on Mars?”:
Warpaint – “Ashes to Ashes”
Los Angeles-based indie-rock band Warpaint has been known for their dream-pop sound since they formed in 2004. The all-female quartet set a mellow groove at the BBC Music Tepee in 2014 with their ethereal version of this Bowie classic:
German metal band Atrocity brings a whole different level to Bowie’s No. 1 hit, and the song was featured as part of the Hard Rock Covers album series:
Duran Duran – “Fame”
British ’80s pop icons Duran Duran followed Bowie’s model of fashion, reinvention and style better than almost anyone. Bassist John Taylor has even cited Ziggy Stardust as the “perfect album.” Their version of “Fame” was a beloved B-side before landing on their 2003 box set Singles 1981-1985:
Scott Weiland and the Wildabouts – “The Jean Genie”
Scott Weiland was never quiet about his fanboy obsession with Bowie. Shortly before Weiland’s death, he and the Wildabouts stopped at the Strombo Show where they did an acoustic performance of “The Jean Genie”:
Second Child – “Young Americans”
The future folk band based out of NYC and Philly, Second Child does a mixture of electric and acoustic jams. This version of “Young Americans” is so groovy that even some neighborhood kids get in on the dancing action:
Commander Chris Hadfield – “Space Oddity”
In May of 2013, Canadian astronaut Commander Chris Hadfield made musical history when he made this video on the International Space Station, making it the first video ever created in space. The video is nearing 30 million views on YouTube:
The Get Up Kids – “Suffragette City”
The Get Up Kids were major players in the ’90s emo-rock scene. They paid tribute to Bowie with a fairly non-emo version of Bowie’s “Suffragette City”:
Phish – “Life on Mars?”
Shortly after debuting their version of “Life on Mars?” in 1995, Phish would later play the song at the Clifford Ball. The seven-disc box set celebrating the festival was more than a decade old in March of 2009:
Seu Jorge – “Rebel Rebel”
Brazilian musician Seu Jorge’s Bowie covers came to prominence when they were featured on the soundtrack to Wes Anderson’s The Life Aquatic with Steve Zissou. Jorge translated the Bowie tunes into Portuguese. His version of “Rebel Rebel” from Diamond Dogs sounds romantic and whimsical in Jorge’s hands:
A cavalcade of vehicles armed with Bernie Sanders political stickers barricaded the streets surrounding the Palace Theater in Syracuse on Friday, January 8. Bernie supporters flocked to the 1920’s era theater for a diverse assortment of musicians who volunteered their time and talents to bring awareness to Sanders’ 2016 presidential campaign and to Fund the Bern. Presented by Funk ‘N Waffles, the event was initially slated to be held at the downtown location before widespread interest garnered the need for a larger event space. With a more suitable venue in place, Sophistafunk, Joe Driscoll, Root SHOCK, The Fat Peace, Subsoil, Charley Orlando and Castle Creek were among the large assembly of local talent who performed for the roughly 700 attendees who coalesced at the Eastwood locale.
With the iconic fluorescent sign beckoning onlookers from the James Street sidewalk, spectators filtered through glass doors and down a carpeted entryway. A gaggle of smiley volunteers donning outfits littered with political pins greeted passersby asking them to sign the petition to get Bernie on the ballot in NY state. Just beyond the congregation of friendly volunteers, the corridor opened into a lobby bustling with jubilant activity as guests happily sipped on adult beverages and talked politics.
The theater room seats were amply filled with Bernie devotees as Chris Merkley sweetly grazed a slide guitar, serenaded the attentive audience from a dimly lit stage, soft spotlight outlining his seated figure. Merkley exuded a city-meets-country vibe sporting a hip purple beanie and dishing out a satiating serving of country blues. By the end of his set, a few brave souls had ventured to the open space between seating and stage, dance moves demonstrating their satisfaction.
Castle Creek, named one of New York State Music’s “Bands on the Rise” filled the theater with blues-infused fire, drum beats furnished by Sophistafunk’s Emanuel Washington. Kim Monroe asserted robust lead vocals, piping through a petite frame as she strummed away at her electric guitar, while Chris Eves (guitar/vocals) tactfully interjected attention-grabbing guitar work. Among the sparse dancers at the family friendly event, a young woman clothed in fashionable Sunday school attire merrily spun in circles, jostling a preschooler in her arms who giggled in delight.
Charley Orlando, a familiar face to frequenters of Funk ‘N Waffles Downtown, wielded harmonica and guitar, inviting a number of musical guests including Merkley and Eves to play alongside. Orlando’s song choices seemed to consciously reflect the themes of the event with lines like, “I try to listen more than speak,” which could reflect Sanders’ more diplomatic demeanor in contrast to Republican candidate Donald Trump’s “carnival barker” disposition.
As Rochester-based Subsoil began their set later in the evening, the bohemian hip-hop group featuring Mooney Faugh and Laz Green on the mic invigorated the room with dancing and excitement as theater goers abandoned their seats, forming a mob at the foot of the stage. Trailing their performance, environmental activist Renee Vogelsang briefly brought attention to current environmental struggles, championing Sanders’ support of many of these efforts. Reggae collective The Fat Peace followed, infusing some funk into the ongoing dance party, keeping the crowd on its toes when the drummer mysteriously disappeared. The remaining band members resigned to gawking awkwardly at the abandoned drum kit and speculating the drummer’s whereabouts until his much anticipated return. Directly after their set, the projection screen behind the stage displayed a video of Bernie Sanders addressing a Muslim student’s concerns regarding racism in America. The room filled with cheering and applause as the video ended, before reggae group Root SHOCK immediately took the stage, sustaining the audience’s animation and radiating energy with a snappy, high-powered performance. Jessica Brown seared ear drums with a spicy heat that seduced a crowd, amorously applauding her howling mid-song vocals. Joe Driscoll followed, revving up the crowd with catchy beats and praises for Sanders.
Sophistafunk rounded out the musical marathon with an overall well-polished performance despite a few brief moments of disorienting beats and the unsettling sound of popping cables. Crowd undeterred, dancing raged on until nearly 1 a.m. as performers from earlier in the night including Joe Driscoll and members of Castle Creek joined Sophistafunk to bid the crowd farewell.
If you’re on a searching for some smooth and soulful hip hop music, you might consider listening to tai free’s new EP Journals. Each track has a calm, relaxed feel that puts listeners at ease and provides the opportunity to assess the musicality. The selections aren’t aggressive or fueled by overwhelming rage like some hip hop tracks. This EP wouldn’t be what most would consider dance music, but rather music you can vibe along to.
