Last night, Gold Standard Hip Hop Show hosts El Blanco Nine and White Lightning (me) packed up and hit the road to Nashville to see rapper/comedian/life connoisseur Childish Gambino. Childish, known by some as Troy from Community, and others as stand-up comedian and writer for 30 Rock Donald Glover, and others still as that dude in Bro-Rape, raps with an intensity equal to Wu-Tang and as sexual as Prince. His rhymes are intricate and getting better with every release, his beats are original (using samples from the likes of Grizzly Bear, Adele, and Sleigh Bells), and his vocal talent is starting to be a bigger part of the music he makes. While he is a bit new the The Rock, he is a favorite of GSHH's head honchos.
After rocking out to R. Kelly, Fred Durst, and Outkast on the ride up, we pulled into the Cannery Ballroom, grabbed our passes, and waited for Childish to start up while his opener, DJ SiiK, threw down some nice tracks featuring samples of 90's classics and current hits. When the lights went down and the words "SIGN UP. FOR. CAMP" (Camp being the name of Childish's third album (but his label debut), the crowd went wild and Gambino opened up with a killer rendition of "Hero" off of his second LP, Culdesac. Following up Childish ran through hits like "Freaks and Geeks", "I Be On That", and "Let Me Dope You". Halfway through the set, Gambino and his talented live band led the audience in the jamie xx remix of Adele's "Rolling In The Deep" before ripping into his verse nearly twice as fast as the recording. Throughout the night Childish ran through his verses at lightning speed, showcasing his quick skills especially in the new track "UCLA". "I'm on my Polynesian everyday. Asian girls everywhere; UCLA" rang through while he spit three solid verses with moments as quick as Busta Rhymes. Childish also ran through a sick version of the single off Camp, "Bonfire", afterwards admitting that it was the first time he had run through the whole thing live. Gambino wrapped up his regular set about 12 songs in and came out for a freestyle encore over his track "F**k it All". The whole show was a blast, and Childish Gambino rocked the house.
After the show, me and El Blanco headed backstage where we got to meet the man himself. He was a really nice guy, despite sounding like he was about to collapse, and we will be doing an interview for the show sometime this week. Stay tuned to Gold Standard for more info on this. In the mean time, sit back and enjoy this video of Childish in LA. The concert was a blast. We'll be talking about it on the show this week, so stay tuned Sunday Night from 10-12 for more on his set. White out.
With a spot on many sold-out festival line-ups and a new album on a major label, Portugal. The Man has been on the tip of everyone’s tongue lately. Their psychedelic approach to indie rock has been gaining them followers for years, but new album “In the Mountain, In the Cloud” is sure to please an array of fans. WUTK DJ and BLANK writer Brittney Bryant sat down with bass player/vocalist Zach Carothers and keyboardist/percussionist Ryan Neighbors at Bonnaroo this month to talk about the new record and more.
BB: Where does the name Portugal, The Man come from? I kind of get puzzled looks when I say your name. PTM: It’s an interesting name, I guess. It is kind of an alter ego like Ziggy Stardust and Sgt Pepper. It’s our character to represent us as a band. In picking a country’s name, it was one name that represents a group of people. It made since for a while, but we have regretted it ever since that day (Laughs).
BB: Is there a reason for the pronunciation and spelling of Portugal, period, the Man? PTM: We did that to state that Portugal was the man’s name and he is the man; he’s the shit.
BB: How did all of you get together? Are all of your from Alaska or just a few of you? PTM: Me (Zach) and our singer are from Alaska and we grew up together. We were in another band before this. The band started with a couple other guys from Alaska in Alaska, but then we moved down to Portland. We started doing some touring, and then lost a few members. Ryan and Jason played in bands that we played with a lot in Portland, so we took them on tour. We ended up really liking them and had them join the band.
BB: You don’t really hear of many bands that say they come from Alaska. What was it like trying to formulate a band there and how did living there influence your music? PTM: We were raised on everything our parents gave us, so it was a lot of Beatles, Pink Floyd, Led Zeppelin. Also, my parents listened to a lot of 80s pop. There was just radio then. It was before the Internet, so we had no idea about the smaller music scene out there. We moved down to Oregon, and I went to college there. All my friends started taking me to shows and I just got flooded with all of this new music. So, it was kind of a mix of everything we were raised on and everything that we see today.
BB: I just saw the video you released called “Sleep Forever,” and it is really beautiful. What was the concept behind that video? Did you just want to show the beauty of Alaska? PTM: Yeah, it is supposed to show how alone you really are up there and how secluded everything is. All of that was pretty much filmed in John’s backyard. We just wanted to show our home, and we are lucky to be where we are from. We wanted to show what it’s like up there because many people don’t get to see that side of it; they see Sarah Palin’s Alaska. BB: That’s so true. PTM: We tried to get her, though (Laughs). BB: “In the Mountain, In the Cloud” comes out next month on July 19th. What was the story behind this album? I know usually you all have some sort of concept behind them. PTM: We never really set out to make concept records because normally we record them so fast. It’s just a month out of our lives, so it’s just what is going on then. John will just start writing about one thing and then kind of go with it. This one has a lot more into it because we spread it out over seven or eight months. It’s a little bit of everything—growing up, living, dying, and reincarnation. Bunch of stuff, but a lot of reincarnation.
BB: You were on Equal Vision Records, and now you are releasing this album on Atlantic Records. What was it like moving to a big label? PTM: Pretty crazy. There’s a lot of help, which is awesome. It’s a definite change. We’ve been on our own label for a long time, and we just partner up with different labels to release our records. We’ve been doing everything ourselves, and we kind of got to the point where we decided that it was the next step. We work all day every day and there was literally nothing else we could do, so we needed to step up. Atlantic was really cool, and it allows us to have more hands in the cookie jar. BB: That always helps. I bet the financial support was nice, too. PTM: We opted out of a signing bonus or anything, but it’s nice to not have to pay for our own records anymore. Normally, we would tour all year long and save up money, then spend all of it on recording a record. Now, Atlantic pays for our recording and we can go to better studios, so that’s pretty cool.
BB: You are at Bonnaroo now, and you were at the Orange Peal in Asheville, NC. You went from a nice air-conditioned venue to this insane outdoor heat. Besides the temperature change, what’s the difference of playing to a festival crowd in comparison to a small venue? PTM: In a small venue, everyone’s there to see you. You know that because they paid for a ticket. A festival gives you more exposure to different people. Also, at our own show we get to set up lights. We like it all; they are both really cool.
BB: You played two years ago at Bonnaroo, right? PTM: Yes, and that was our first major show at a festival, so this place holds a special place in our hearts. BB: I remember going to that show, and it was so packed that I couldn’t even get in the tent. PTM: We were very surprised by that. We walked out and were like, “What the F***?!” It was pretty crazy.
BB: You have put out so many albums. Personally, what is your favorite Portugal. The Man record? RYAN(PTM): My favorite one is the new one “In the Mountain, In the Cloud,” but prior to that was “Censored Colors.” ZACH(PTM): I agree. “Censored Colors” kind of started it off. We learned a lot from that record, and the recording experience was absolutely ridiculous and fun. We are really happy with this new record. I’m sure every band says that, but it’s weird because when someone asked, “Is 'American Ghetto' your favorite album?” I would be like “No, It’s 'Censored Colors.”
BB: You know, what I have heard of this new album reminds me of “Censored Colors.” Was that something intentional? PTM: I think so. We got the same cello player, so that definitely adds to it. He put a lot of the same vibes into it.
BB: You’re here two days at a festival with all of these great bands, but you’re usually on tour. Is it nice to go out and see some live music? PTM: Yeah, we are going to go check out a ton of things. Primus, Arcade Fire, Buffalo Springfield. Eminem also. BB: Oh really, are you Eminem fans? PTM: Not really fans, but we like him. You have to lose yourself in the music (Laughs).
BB: What music are you guys listening to right now? What are you jamming to in the tour bus? JOHN: As far as new stuff, I love Lykke Li. “Wounded Rhymes” is such a good album. RYAN: I listened to “Astral Weeks” by Van Morrison last night. I know its not new, but I really like it.
Slightly Stoopid has long been touring across the globe, producing albums, and playing with some of the biggest names in modern reggae music. Only a week into their spring tour, the band performed at The Valarium for a crowd of almost 1000, playing their high-energy style throughout new and classic songs. I had a chance to speak with drummer Rymo by phone on the eve of their annual 4/20 show at The Greek and the beginning of the new tour.
Q: How has the break from touring been and are you prepared to start back up?
A: We’ve been home the last 3 weeks, which is long for us, as we are normally on the road pretty consistently. We’ve just been at home, working on the new album. Tomorrow’s 4/20 show with Bad Brains and Barrington Levy kicks off the new tour and we are excited to make our way to you guys in Knoxville.
Q: How has recording the new album been going? When can we expect a song or album release?
A: It’s been going really well. We’ve been taking our time. Last year we had the opportunity to get a studio of our own, and we’ve been building up and customizing that as we’ve gone along. It’s been a killer process. We’ve got to take our time, work on music and not worry about money. It’s a new step for us in terms of the recording process, and I think it’s going to really pay off. The music we’ve been working on has sounded more developed and planned, and we are really excited to get it done and out.
Q: How do you think that process will that make the album different or standout?
A: A lot of times we would have tunes already done (whether we wrote them on the road or whatever) and ready to record. We would go into the studio and just cut them down real quick. With our new facility, we can record stuff, then listen to it, discuss it, work on it it, etc. I think it ends up being a better end result.
Q: Will you be playing some new tunes on this road trip?
A: We are definitely mixing a handful of brand new material that no one has heard. We’ve kind of always done that in the past when we’ve been between albums. We are always tinkering with new ideas and working on new material. So we like to play music no one’s ever heard, along with the staples we play every night.
Q: You are touring throughout the spring and summer playing numerous venues and festivals, including Hangout Music Festival. How do you compare playing indoors and playing festivals?
A: At festivals, you get that perk of getting to hang out, play your show, and walk around to check out other artists or musicians that you’ve heard of, or you’ve never seen and want to. We get to see our friends who are also out on the road, which is a lot of fun too. It’s going to be really fun out at Hangout this year.
Playing live venues is great too. It’s just a different vibe. Your more playing for fans, where as at a festival, you have a chance to make new fans. Venues are also great as we have more time to set up and get our production together. They both have their pros and cons, but their both great.
Q: Is there any artist or musician that you would want to create music with, tour with, or just talk to that you haven’t had the chance to yet?
A: I would love to do some shows with Rancid. We grew up on all that punk rock stuff like Rancid and Operation Ivy. To be able to do a show with those guys, meet them, talk to them, would be great. We are open to working and touring with anyone as long as their cool people. We like touring with guys that are great musicians, but it’s equally important they are good, fun people.
Q: What does Stoopid Records mean to you personally, and what are the goals of that label?
A: We’ve been working on Stoopid Records for the past 4 or 5 years. We were fortunate enough early on to have bands like Sublime help us get started way back in the day around 1995 and 96. Now that we are able to extend a hand and lift up other artists that we really like, we want to do that. We’ve got a few bands, such as The Expendables, who have now put out two albums under that label.
Q: Slightly Stoopid has a very diverse sound and obviously draws from multiple genres of music. What would you describe the band’s sound as?
A: Reggae, rock, funk, punk. I think that’s pretty close. We try to pull from all of those elements and far beyond into hip-hop, ska and other influences.
Q: What can we expect from Slightly Stoopid in the future?
A: Slightly Stoopid is just going to keep on keeping on. We’re going to keep making music we want to make and maintain our own decision-making process in terms of recording and the business stuff too. Our shows will continue to be wild, high energy, and a lot of fun.
Jon Barthmus, the man behind Sun Airway, sat down with Brittney B and the Indie Aisle's Doug Johnson for an interview about all things music. Sun Airway rocked the Pilot Light last Wednesday with Asobi Seksu and Cults. You can listen to the interview or read it below!
WUTK: So, Why don’t you go ahead and introduce yourself.
Sun Airway: My name is John and I am part of Sun Airway. Patrick is kind of my second half of the recording part, but our live band is five people.
WUTK: Really? So two of you write it and then you have a full band?
SA: It’s mostly my project that I started with Patrick, but now its become a real band.
WUTK: How would you describe your music?
SA: Oh, man. You think I would have an answer for that by now. That’s always the toughest thing for me to say. The short answer, I guess, is electronic-pop. I’ll stick with that.
WUTK: I know you said you have been touring for a little while. How has it been?
SA: It has been pretty amazing. The first half was with Cults and Small Black. We all just got along really well, and kind of turned it into a rolling party.
WUTK: Then is this your first show with Asobi Seksu?
SA: Last night was our first with them and they were great. I’m psyched to see them for the next few nights.
WUTK: This is kind of like the ultimate indie music show, You get all different sides of the music spectrum.
SA: Yeah it seems like going to and from SXSW there is so many bands going that you can put together some really solid tours.
WUTK: Do you have any good stories from SXSW? You played eight shows in four days!
SA: Sadly, my main concern was just keeping my voice. It was such a blur. We had some definite good times. I ate a lot of good food truck food. Waffle tacos is all I’m going to say. Also, there’s a big thing in Philly called “Making Time” and they were doing something at SXSW that ended up being a big Philly thing. After us was Spankrock, and we has playing some of his new stuff. He just got everyone super into it.
WUTK: Are you working on any new stuff right now? If so, what kind of music?
SA: I am. We are trying to get out a 7’’ this summer, and then hopefully another album next year. So I’m just starting to write some music. I have one song done and a few in the works.
WUTK: From what we have read, you get a lot of comparisons to Animal Collective. What do you think about that?
SA: I’m okay with it, as far as reference points goes because I really like Animal Collective. But, I am also sort of confused by it because I don’t every really think you would confuse us with them. I think people need something to latch onto. It is a flattering band to be compared to.
WUTK: You were part of the A-Sides. How did the A-sides morph into Sun Airway?
SA: Well, basically everyone but the drummer quit. Not out of any real reason. We were kind of over touring. So, I mostly just wanted to make music. I had been messing around with electronica music and samples and I wanted to just really try to dive into it and make a record of it, so that’s what we did. Oh and now the Sun Airway band is 4/5ths of the A-Sides.
WUTK: So now you all just came together and made a new and improved A-Sides?
SA: Yeah pretty much. People left and did their own thing, but by the time Sun Airway got around to playing shows everybody wanted to get involved again.
WUTK: The Sun Airway stuff sounds pretty different than the A-Sides. Do you think on a touring basis atleast that you will start to sound a little like the A-Sides?
SA: The good thing about the A-Sides was that everyone was just really good at what they were doing. But, I think there is a lot of times in a live show everyone’s strengths in what they play really come out like they did in the A-Sides. So, maybe there is a little something there.
WUTK: Did the guys in the A-Sides help you with your newest album, Nocturne of Exploded Chandelier?
SA: No one helped on it. It was kind of make the music first and then do it live.
WUTK: When did you start working on the album that came out in October of last year?
SA: We started it in August of ’08, so it was kind of a long time coming. A lot of that was just building a studio and trying to learn how to use all the gear.
WUTK: How did that album come together? What was your inspiration?
SA: I guess it was coming from a lot of places. Most of it I had written already. It would probably have been the new A-Sides record, but once we started Sun Airway I was recording them all in this new context. The inspirations of a few songs were based on the book Norweigan Wood. And then I just took a lot of the themes that were involved in those and tried to elaborate on them for the rest of the stuff. I wanted to make something really cohesive. I started taking the moon and the night as the main reference points.
WUTK: You can hear that on the album. It sounds a little dreamy.
SA: Yeah, I like for it to be very mysterious. Something you can really immerse yourself in.
WUTK: You’re going to be at the Pitchfork festival. Were you excited to be one of the first bands announced.
SA: That was definitely a surprise to us, as much as anybody else. I’ve always wanted to go, but never had a real excuse. This year it’s on and I can’t wait.
WUTK: You’ve done a lot of remixes for Here We Go Magic and Caribou. Can we expect more of these?
SA: Probably a couple more, but I’m definitely going to be slowing down on those.
WUTK: Anything else you’re working on?
SA: I am doing something awesome for a charity that’s benefiting kids in Southern India. It’s made from a library of samples of those kids singing. There are a lot of other really cool artists involved. Other than that I guess I’ll just focus on my own stuff for a bit.
WUTK: The last album you said took you two years. Do you think that next one is going to take as long?
SA: I would really like for it to take a lot less time. But it’s hard to say. It depends on how much free time I get.
WUTK: What bands are you really into right now?
SA: I got a recent EP of Zola Jesus that is really good. Also, the new Pains of Being Pure at Heart. I also listen to a lot of electronic and dance music from the past 10 years. I’m really excited for the new Cass McCombs and Dirty Beaches, too.
WUTK: Is there a band you are really hoping to see, perhaps at Pitchfork when you are there?
SA: I’m psyched to see Fleet Foxes.
On Friday night, the Cider House was warped back to a time when music required talent and singers relied on their vocal ability—not an auto tuner. Three bands came out to woo the audience and prove that they were worthy of the stage: Johnny Astro and the Big Bang, Jonathon Sexton and the Big Love Choir, and The Black Cadillacs. Judging by their performances, it appeared that each band was aware that a new era had begun. By the end of the night, it was clear that gone are the times when big record labels suddenly swoop in, throw money at a band, and make them an overnight sensation. Now there is a new standard, and that is the performance.If a band is primed for success, they must enthrall the audience. The rules of a live show are simple for a band—they must leave it all out there on the stage and (most importantly) they need to successfully solidify themselves in the hearts of the audience.
Johnny Astro and the Big Bang took the stage at around 9:45, charged with the difficult task of unifying each group throughout the club, while helping them shed away the burdens of the daily grind.
Johnny Astro began their set with the song “Black Blade” and, immediately, the crowd began to gravitate towards the stage. The band played with full-bravado as if they were playing not to a crowd of roughly 100 people, but to a stadium full of adoring fans. After the first song ended, the crowd barely applauded in manner that is usually reserved for church services. Instead of being discouraged, the band went straight into the second song with even more energy than the first—this got heads bobbing.
Johnny Astro played a set that was both surprising and refreshing. Though the band consisted of four young University of Tennessee students, the complexity of their music and maturity of its lyrics made it crystal clear that these guys mirror old souls. Their songs are reminiscent of a time when music was a poor man’s therapist and an outlet through which one released his demons.
Paul Wakefield, lead vocals and guitar, sang with passion and acted as a conductor between the enthusiastic energy of bassist Mike Carroll and the laid back mellow groove of lead guitarist Jackson Collier. The group's drums are hammered on by Zach Gilleran whose whole body keeps time with the music’s rhythm. Johnny Astro's performance did not leave the crowd wanting and, in the end, caused the apprehensive crowd to warm up.
Up next was Jonathon Sexton and the Big Love Choir—this is a band where shoes are optional but entertainment is not. Prior to going on stage, Jonathon could be found hobbling around on a cane and thanking audience members for attending. Normally this would be a bad omen, but Jonathon Sexton proved otherwise.
Sexton took the stage looking like Willy Wonka’s rock and roll brother. But, unlike Wonka, Sexton took you on a journey into yourself, and depending on who you are, the journey would most likely not end with you being carted away by malicious little orange men.
The band began their set with upbeat songs to lift the spirits of the crowd and the crowd responded with a form of dancing that mirrored a hybrid between Ska dancing and a good old fashion hoedown two-step. Between each song Sexton interacted with the crowd, telling quick stories and drawing into his web. By the fifth song. the journey took a turn toward something a little more serious. The song “Anybody” combated the rather personal subject of the feelings that everyone has that disconnect us from our peers, and leave us feeling alone.
Throughout the show, each song was unexpected. You never knew if it would be upbeat and carefree,or if it would rip away your carefully constructed barricade. In the acoustic song “Take These Days,” emotions were raw as Sexton sang about the inevitable time in everyone’s life where the pains of adulthood collide with the inadequacy of youthful wisdom.
During the set, the band made a smart move by playing two cover songs. This allowed newcomers of the band and old fans to unite. The covers got the audience involved and enhanced the shared experience of all. Finally, the time that the entire crowd had been waiting for when Sexton announced that he would play the crowd favorite “Babylon.”
The entire performance that Sexton and company delivered was energetic and passionate. The music swelled around and surrounded the audience like an embrace from an old friend. The lyrics were poignant and the songs marked a specific time in someone’s life. The music from Jonathon Sexton and the Big Love Choir that mirrors the human existence’s joys and woes. And the fact that, while you never know what tomorrow will bring—the band will entertain you.
The night ended with the Black Cadillacs, who played a two-hour long set. The crowd began at the stage and rocked along with them for the entire set. The band successfully mixed together the sounds of old school rock ’n roll and old-fashioned blues. Providing a perfect end to the night, the crowd danced and enjoyed the band's unique sound. The group featured songs from their first CD, as well as songs like “Run Run,” from their soon to be released second CD.
The entire evening was filled with good tunes and good times. The bands displayed their A games and enticed the crowd.
