Brooklyn-based electronic dream-pop duo Corbu has released their Lost & Found EP. The EP reimagines the title track with five new remixes, along with the original version.
Corbu, comprised of Amanda Corbu and Jonathan Graves, focuses on bringing an ethereal, even other-worldly sound to their psychedelic and ambient pop tracks. They have previously toured with Bloc Party, performed with Goldfrapp and played both Austin City Limits and Electric Forest festivals. Last year, Corfu released their debut album Crayon Soul, featuring mixing by Tame Impala and MGMT collaborator Dave Friedman.
[Corbu is] trying to lure their audience deeper into their own subconscious while giving them something to sing along to.
Corbu
On the original single version of “Lost & Found”, Corbu collaborated with Doves frontman Jimi Goodwin. Goodwin produced the track and added reggae and electronic flares, creating a laid-back yet energized soundscape.
The EP features “Lost & Found” redone five times over and explores new genres and sounds. On the “Seaside Version”, the track goes vintage and utilizes upbeat 80s synth to create a sound that could easily fit into an episode of Stranger Things. On the “JKriv Remix”, Brooklyn DJ JKriv remixed the track to fit a more booming club sound evocative of traditional house music and drum loops. The EP as a whole is perfect for the summertime.
Electronic music star Deadmau5 will be playing across the country this July on an exciting summer tour.
Deadmau5, also known as Joel Zimmerman, has been an iconic figure in the electronic music and production song for over fifteen years. He has seven critically acclaimed albums as well as multiple Juno awards and Grammy nominations.
Deadmau5 will be making 12 stops on this tour, including two nights at the Brooklyn Mirage on July 10 and 11. He will be showcasing his latest popular track releases at each show, including “Hypnocurrency” with REZZ, “Channel 43” with Wolfgang Gartner, “Bridged By A Lightwave” with Kiesza and “Pomegranate” with The Neptunes. He will, of course, also perform more fan favorites from his extensive catalogue.
All tour dates are listed on the poster above. Tickets are currently on sale and can be accessed here.
The electronic music with an angular post-punk edge band called Pons has just come out with their new single. The single,Leland (Club Mix), comes along with a music video on youtube with a spooky and intense overtone.
Pons was started by multi-instrumentalists Sam Cameron, Jack Parker, and Sebastien Carnot. While the studio process is fairly fluid in terms of who plays what, you hear Sam Cameron on lead vocals and guitar, Jack Parker on drums, bass, and occasionally synth, and Sebastien Carnot on auxiliary percussion.
Formed by Sam Cameron and Jack Parker in North Carolina in the summer of 2018, they decided to relocate to Vermont shortly after. They then added Sebastien Carnot to the lineup on the second drum to push their sound in a more angular and percussive direction.
Their performances live are a lot more minimal and primitive with Sam singing and playing guitar and then Jack and Sebastian on drums. They have recently re-located to Brooklyn, NY they thought it was the next step up from their start in Vermont to grow their group.
The “Leland (Club Mix)” music video was shot and edited by Lazy Eye, an LA-based film collective. In total, it took about three months from the conception of the idea until the music video was finished.
Fresh off a triumphant three-night headlining run at the world-renowned Red Rocks Amphitheatre the previous weekend, Philadelphia’s own Disco Biscuits took to the court at the new Westville Music Bowl in New Haven, CT.
Over June 4-5, an instant classic run took flight, with the venue making the best of the end of COVID-19 restrictions and raising the bar for outdoor venues everywhere.
The former tennis stadium that had seen the likes of tennis legends such as Andre Agassi and Martina Navratilova perform at historic levels seemed primed for a special weekend of the improvisational, electronic-rock hybrid, nicknamed “Trancefusion,” that the band invented back on Halloween night 1997 when keyboardist Aron Magner introduced his Roland JP-8000 synthesizer. This one piece of hardware threw the rulebook out the window. Old and new fans embraced and smiled everywhere as the band sauntered out onto the stage for the beginning of what will surely be a signpost of this wonderful post-COVID iteration of the band.
While everything felt new and refreshed, the connection between the band might be the very best that we know in the jamband scene (one cannot imagine how many in attendance had seen well over 100 concerts – when I say obsession I mean it). This was made increasingly evident by the fact that the set list for the evening had been co-written by two fans along with bassist Marc Brownstein. The opening “Safety Dance,” a Men Without Hats cover that has become a staple of the Biscuits’ live experience got everyone dancing right from the start.
As the first improvisation of the weekend coalesced, the slinky funk riffs of “Mr. Don” sprang from guitarist Jon Barber and already everyone in attendance was out of control with delight. The jam after the lyrical portion of “Don” started to slow in pace as the opening notes of “Rocket Science,” a newer Barber original instrumental created a long volley between band and crowd, a give-and-take of energy so crucial to the live experience and so missed over the last 18 months.
With a slick little change the band locked into the fan-favorite of “Aceetobee,” which with its message of newfound freedom rang much more true than any time this writer can remember. The juxtaposition of the jazzy, darker key of “Aceetobee” and the pure 1977 disco vibe of the Giorgio Moroder/Donna Summer classic “I Feel Love” was brilliant and worked as a nice way to tap into the glorious vein of tennis puns permeating the last few months since the show’s announcement. However, that cheery vibe was short-lived as the band had a change of plans up their sleeve and violently closed out the opening set with “Confrontation,” the climactic zenith of Brownstein’s rock opera, “Chemical War Brigade.”
After a comfortably long break in the action the band surprised the crowd with an opener of “Sister Judy’s Soul Shack,” a personal favorite that had not been played since 12/28/17. Now I know they tell you that you can’t always get what you want, but it seemed as though the entire venue was getting what it needed. This little gift was quickly forgotten for the intense jam into the Biscuits original “Helicopters;” a song close to my heart as it was played at my very first show 21 years ago a few miles down the road at another classic New Haven venue, Toad’s Place.
The band, keeping everyone on their feet, segued out of “Helicopters” into a massive, metal-styled intro to the maniacal tune “Munchkin Invasion” – the crowd erupted with delight. This segment of “Helicopters-> Munchkin-> Helicopters-> Munchkin” will surely be held high as a highlight of this magnificent run in the Elm City and explored the creative genius of keyboardist Aron Magner and drummer Allen Aucoin. With so many changes in both tempo and texture, this doubles team made it look easy.
As the set came to a close Jon Barber showed everyone why the return of “Sister Judy’s” was so special earlier as he shredded the ending and brought the crowd to ecstatic heights. A quick but happy run-through of the Brownstein tune “Naeba,” only its second encore appearance since being debuted back in ’09, sent the crowd out to chaotically search for Ubers and Lyfts with smiles on their faces – advantage, Disco Biscuits.
https://www.youtube.com/watch?v=whyagg28Djc
Saturday brought beautiful sun, slightly aggressive heat, but much less humidity – a perfect Connecticut day to enjoy the sights and sounds of the City while trying to consume as much a pizza from Sally’s, Pepe’s, Bar, and Modern as humanly possible (what can I say, I like the pie in New Haven). The party got started with “7-11” and never looked back. As the crowd settled into the stadium the band settled into a fierce jam that truly expressed the joy and elation painted across everyone’s face.
After such a whirlwind performance the night before it felt as though the atmosphere was super patient and had a delightfully old school vibe, nothing was out tonight, we were all just happy to be ‘relaxin’ with the Disco Biscuits once again. Slowly, like an old friend’s voice you hadn’t heard in years, the opening notes to another 1995 Biscuits original “Pat & Dex” reared its head for only the second time since late 2015 (last time played was 5/26/18) and the song never sounded so nice. Maybe this song has a brand new mission and this won’t be the last we hear of it this year, one can only hope.
Once the three-part jazz odyssey was finished the band took a much-welcomed break as fans could not contain their excitement anymore and let the four guys from Philadelphia know that the band they put together was serving up aces that some more pessimistic fans might not have thought possible after such a long layoff – the band had kept itself busy during COVID closures though and it showed. The Frank Zappa classic “Pygmy Twylyte” got the crowd right back into it as the venue security, who were amazing all weekend, desperately tried to stay the ever-vigilant line judges in the pit – but the emotions were just too high.
The jam out of the Zappa cover shape-shifted yet again, the guttural, repetitive bass line to the newer Barber instrumental “4th of July” gave the crowd a little bit of a respite before careening off into the ether itself in swirling synths delivered by Aron Magner – the guy is a mad scientist of melody and has more hooks than a New England fisherman. The patience was evident once again as Jon Barber waited just to the very last second of a beat to introduce the song “The Great Abyss,” an Aron Magner creation debuted once Allen Aucoin had taken his seat as Biscuit drummer previously filled by Dr. Samuel Altman. Barber’s two-note hook, affectionately named the “Beep Boops” by the crowd, was delivered perfectly on time and might be the smoothest segue I have heard in years. While short, the song propelled the Biscuits past all competition once again and found its denouement in the ridiculously well written Biscuit classic “Story of the World.” The energy in the stadium once again peaked and proved once this band just gets setlist development better than almost any other band I’ve seen outside of the Grateful Dead.
The final set of this instant classic run at the Westville Music Bowl began with “Strobelights & Martinis,” an instrumental harvested from a segment of improvisation the band first performed on September 1, 2001 in the famous New York underground venue The Wetlands Preserve. On Saturday, “Strobelights” served as the perfect opener to one of my favorite sets of music I’ve seen live from this band in over 200 shows.
The jam was instantly ratcheted up by drummer and rumored robot Allen Aucoin, the guy is a machine – do yourselves a solid and take a few moments every jam to listen to exactly what is happening behind that kit and thank me later. As the main theme to the ascending action of the song “Above the Waves” crested the crowd and the band found each other in the midst of one of the more interesting techniques of setlist magic the Biscuits have ever introduced to the music world – an inversion. An “inverted” version of a song occurs when the band jams from one song into the middle or end of another song (depending on the number of parts in said song).
Once that newly introduced song ends, the band slides back into its beginning without missing a beat – it’s something they have been doing since 1999 and a hallmark of their unique vision of the future of music. The peak of this “Waves” was skull-crushing and I am convinced that the Westville Music Bowl left the ground, ala the Hampton Coliseum’s nifty little trick down in Hampton, VA. This was Bisco, a term coined early on in the band’s tenure to explain the ineffable quality of their music to cleanse one’s soul and wash away the stresses of normal life even if only briefly; it’s what makes fans come back time and time again.
After the lyrical section of “Waves” was done (the only song with lyrics of the entire set) the jam took flight and once again Magner constructed a multilayered behemoth that ominously found itself toying with the penultimate jam song in the band’s catalog “Basis for a Day.” With its barbaric yawp of “lyrics,” the band and audience bellowed into the heavens and released so much pent-up energy that many were left stone still and gaping in disbelief at the level of intensity the evening had reached. The Tractorbeam jam, a dizzying use of samples and Ableton Live the band has been introducing in different ways, was vibrating the soul of everyone there. It’s better heard than explained.
With a sly return to the set opening “Strobelights” and an elated coda of “Basis,” the band closed what is going to be a fan favorite weekend for years to come. The whole deal was sealed with a note-perfect rendition of another new Barber instrumental named “Station” (perfectly suited as an encore) and a slide into the ending of the show opening “7-11.”
They say one should always leave them wanting more, but for Biscuit fans there is never enough – never enough.
Pioneering new wave band Devo will mark their return to the stage on September 21 and headline Radio City Music Hall in Manhattan.
The Ohio-based band, founded by brothers Mark and Robert Mothersbaugh and Gerald and the late Robert Casale, catapulted to global stardom back in the 80s with their electronic rock sound, quirky live performances and iconic music videos, including MTV hit “Whip It”.
Devo’s central concept of “devolution,” the premise that the human race has finished evolving and is now regressing into a less civilized state — was first developed by Casale and Lewis in the late 60s, while both were students at Kent State University. This concept expanded after the pair met the Mothersbaugh brothers, and took on a new level of seriousness in the wake of the Kent State shooting of four unarmed student protesters on May 4, 1970. This event would serve as a key moment in the band’s formation.
Devo’s Radio City show will be the band’s first performance in many years and one of only two headlining North American concerts. The other show will take place at the Performance Venue at Hollywood Park in Los Angeles on September 25.
We look forward to performing live again. It’s been quite a while since we’ve performed live and we’re excited to be able to bring our music to our fans in New York and Los Angeles this fall.
Devo
Tickets for the New York and Los Angeles shows go on sale June 11 on Ticketmaster.
NYC-based Colombian producer, singer-songwriter, and sound engineer Otto Botté unleashed his vibrant new single, “Dancing Company,” featuring Emma Claye. The song is accompanied by a Pablo Morelo-directed lyric video and news that the rising artist will release his debut EP, Dancing Company Vol. I, on July 16.
On the title offering of his forthcoming debut EP, Botté delivers a genre-defying track about passionate nights on the dancefloor while highlighting Claye’s dreamy vocals with an array of live instrumentation and house-leaning synths.
With “Dancing Company,” the self-taught, multi-faceted sound engineer and artist demonstrates his ability to infuse traditional Colombian roots music and Latin pop with elements of house music. The dance influences he’s absorbed from a decade of immersing himself in NYC’s nightlife and music scene by working with a spectrum of rising and prominent musicians shine on this single.
The lyric video, which premiered via Bands Do Brooklyn, starred Botte himself and Emma Claye and displays both the Spanish and English translations of the song. The colorful background interposed with the black and white filtered shots highlights how well the video was color-graded. The high-energy cuts and continuous dancing replicate the clubbable vibe of the track.
This song has freed me to express my unfiltered version through flirtiness and sensuality looking to portray the beauty in human connection, whether it’s instant and led by sounds or when it’s intimate and sensed through smells. I see God reflected in our ability to connect in community. There’s a line in the song that says, ‘I feel you watching me like if I got no clothes on’ and this takes place on the dance floor when I’m doing my thing, feeling watched by somebody else, desired, and vulnerable, yet comfortable in my skin.
“This thought immediately made me draw a parallel in my relationship with God and how comfortable I can be when I feel naked or mess-up, when I dance or sing, just being my true self before God, knowing that he looks over and meets me no matter how lonely or fulfilled I may feel. It’s refreshing to feel his presence in my daily life, in and outside of music, on and off the dance floor,” he added.
“Dancing Company” the third single released off of Botté’s debut EP after “Humbara,” which recently surpassed 100K global streams, received its first radio spin Wednesday on Los Angeles’s 88.5FM LatinAlt HD3. So far, this time around Botté has received support from Indie Criollo and EDM Nations. Previous support has come from NPR Music’s World Cafe, Acid Stag, Medium, Urban Latino, The Fox Magazine, and Kick Kick Snare, just to name a few.
Tracklist for Otto’s debut EP, including unreleased remixes by Jacuzzi Jefferson:
Since arriving in NYC as a teenager from Bogotá, Botté has acquired a Best Remixed Recording – Non-Classical Grammy nomination in 2015 for his co-mastering of “Waves” by Mr. Probz, a remix of Robin Schulz. Credits on multi-platinum projects of Enrique Iglesias, Joey Bada$$, Trey Songz, Fedez, and more. Botté is also a member of the NYC-based electronic trio Pool Cosby, which most recently released its Day Breaks album in 2020 and has been featured on Billboard, Earmilk, GRUNGECAKE, and more.
This week the Disco Biscuits announced that their annual festival, Camp Bisco, which has been held almost-annually since 1999, will take a year off. In its place, City Bisco will return to its original home, The Pavilion at The Mann Center for Performing Arts in Philadelphia for 2 nights over July 9 & 10.
Camp Bisco deserves the absolute best, and we didn’t want to compromise on that.
So, we are canceling the festival this year and refunding all ticket buyers in full. These refunds will begin to process immediately, and will be completed over the next 7-10 days.
— The Disco Biscuits 🌲👽🌲 (@disco_biscuits) June 1, 2021
City Bisco features both The Disco Biscuits and Lotus for two nights, with interlocking DJ sets from Orchard Lounge on Friday and Luke the Knife Saturday.
We’ve been lucky enough to have had a few opportunities over the last year to play shows to our hometown here in Philly – at Citizens Bank Park, the Fillmore and elsewhere – but none of them have had an in person audience. This is the first time we’ve been able to perform at home for a large audience in over a year.
It’s exciting, and there’s something very classic about Lotus and Orchard Lounge being there with us. Our fans are constantly asking us to team up with them – it’s an old school lineup. It’s going to be a special weekend.
The Disco Biscuits’ Jon Barber.
The return to The Mann will mark the fourth official City Bisco, after residing in both Philadelphia and New York City throughout the years since its inception in 2012. Tickets go on sale Friday, June 4 at 12 noon ET at Ticketmaster.com.
While Camp Bisco takes a year off, the festival has a great history, spanning over 4 decades. Read our history of Camp Bisco IV, held in Van Etten, NY in August 2005.
If you’re looking for your Biscuits fix this weekend, tune into Couchtour.tv and Fans.Live for a weekend simulcast of the the Disco Biscuits two-night run from the Westville Music Bowl in New Haven, CT.
Couchtour.tv has been the virtual host for The Disco Biscuits’ fall and spring tours, presenting each broadcast in hi-definition audio and video in real-time and then making them available via video on-demand.
Fans can purchase the livestreams through both platforms, which air Fri. June 4th and Sat. June 5th at 6:30pm ET/ 3:30pm PT.
“Left Side” is the debut single from Endearments (a.k.a Kevin Marksson). The Brooklyn-based songwriter and multi-instrumentalist began writing and composing by and for himself for the first time in fifteen years following the end of synth-pop duo Saint Marilyn in 2019. “Left Side” is definitely a way to start his single career strong.
Album Cover
The song itself is about how O.C.D. (Obsessive–Compulsive Disorder) affects Marksson and his relationships. The resulting track unspools unanswerable questions over mighty pulses from drummer Jonathan Schmidt and Marksson’s own multi-tracked vocals, which flicker, omnipresent and cool, around the edges of the song’s atmosphere. In this song the low-fi beat with his voice is one where you can just close your eyes and vibe out to.
This single has Marksson leaning into his obsessive tendencies pouring over every sound and lyric, tweaking every riff and arpeggiation to convey the inner workings of his mind: disorder and parallelism.
Photo Cred: Rita Iovine
His chosen name, Endearments, is because “I wanted the name to convey affection, even though I knew the music would almost certainly be sad.” Taking inspiration from auteurs like Peter Gabriel and Justin Vernon, Endearments’ lush sonics and careful songcraft reflect Marksson’s avowed status as a hardware-focused composer. Marksson is a longstanding accomplice in the Brooklyn indie rock scene.
First Generation, born in America, and sitting in the back of her Iranian parent’s car, coasting through Northern Virginia as they all sing along to “How can you mend a Broken Heart” by the Bee Gees.
Moments like these are when Susan Darvishi started to feel connected with the music that surrounded her. And with her debut album 14th and 4th, releasign on May 26th, she is able to take her relationship with music and tell the stories of the past five years living in New York City on 14th and 4th, before moving out to California.
Susan Darvishi
Of the album’s eight songs, she is able to cover five years of emotions from living in the constantly loud pumping heart of New York City. Whether it is falling in love in the city (“Polaroid” or “Dance With You”), keeping with girl code and internal struggles with heart break (“Him” and “No Choice”), or the bitter sweet goodbyes you have to make in order to start a new chapter (“New Salvation” and “Drift Away”), Davishi is able to tell her stories beautifully through songs on this album.
Darvishi’s strong voice pairs appreciably well with the beats, giving most of her songs a fun upbeat electronic pop sound to them. That is said with the exception of “No Choice” and “Drift Away” where she is able to pull away from her other songs and use a slower electric sound to really show off her strong vocals and meaningful lyrics.
From her “love [of] Latin music, I listen to in my free time” and then the “Persian music I listen to with my family” she says “sometimes those two blend. They love fast beats.” These influences of music can especially be heard in songs such as “Him” that is a very upbeat song with almost a Persian music sound to it.
This album has a very good mix between upbeat songs that make you want to get up and dance to songs that give you time to reflect on some of your past chapters. Her sound is with similar likes to artists such as Robyn and the sky seems to be the limit for her musical career.
The stories from her songs about her time in NYC still feel as though they are about a time in your life and manage to still be very relatable. Since she left her job in NYC to pursue her career in music right before covid hit she hasn’t been able to perform live but she is just as excited as her listeners for her to start performing on stage in front of a covid free audience.
Lo-fi artist Jxst J , releases a new single “Alone” with a hilarious and entertaining music video. Teasing his debut album “How to Pronounce Jxst J.” After spending his formative years in. LA playing in bands and making music videos, the multi-talented artist is now. Brooklyn-based, where he continues his synesthetic approach to music.
Jxst J
The song “Alone” will have you closing your eyes and bopping your head back and forth as his soothing. voice goes perfectly over his low-fi beats. Drawing from genres like dream pop, indie, and trip-hop, he seamlessly blends acoustic and. electronic elements for a sound that is as eclectic as it is catchy. He achieves a polychromatic sound that shows off his mix of stretched samples, acoustic instruments, analog synths, and his silky vocals.
As for the music video somehow just goes perfectly with the song easily putting a smile on your face. Although a simple music video, Jxst J is able to make the most out of it making it seem to go flawless with the song. It is most definitely a video that will have you want to watch it every time you listen to the single “Alone.” Jxst J (aka James Pratley Watson.) is a visual artist just as much as he is a musician. Before Jxst J he was recognized for his lo-fi visuals with his band Pratley. Now he is bringing his visual literacy to Jxst J with a trippy, arthouse aesthetic shot primarily on super 8 film
He plans to release a music video with each. song over the summer until the album “How to Pronounce Jxst J” full release this fall.
