Deltron 3030 is excited to announce a fall tour in support of their upcoming album Deltron 3030: Event II, out October 1st via Bulk Recordings. The tour will feature a sixteen-piece orchestra — dubbed the 3030 Orchestra — on select dates, noted below, in addition to the three-piece touring band. Following performances at both the Los Angeles and San Francisco Rock The Bells, the tour will begin on October 8th in Boston at Paradise and end on October 25th at Mountain Oasis Festival in Asheville, with more dates to be announced soon. Full tour dates are below.
Deltron 3030: Event II, due October 1st, 2013, is Deltron 3030’s long-awaited successor to their self-titled cult-classic debut. Deltron 3030 — composed of a trinity of alt-rap all-stars: rapper Del The Funky Homosapien, producer Dan “The Automator” Nakamura and DJ Kid Koala — are celebrating the announcement with the debut of the album trailer, set to the first track on the record “Stardate.” The clip, which features Joseph Gordon-Levitt, is available for posting HERE.
Recently, the group released their City Rising From the Ashes EP, which is available for posting in its entirety HERE, features three tracks off the upcoming full-length Deltron 3030: Event II. The EP is available on limited edition CD, including a $2 coupon off the full-length, and via digital retailers, which counts towards iTunes Complete My Album.
Individually, the collaborators of Deltron 3030 stand at the top of their respective musical disciplines; together as Deltron 3030, they warped space, bent time, transcended genre and blew minds with Deltron 3030, an album that still stands today as one of the most important records in the annals of underground hip-hop.
Del The Funky Homosapien, founder of Oakland’s seminal Hieroglyphics crew, launched his career as part of his cousin Ice Cube’s posse, da Lench Mob, and gained recognition as a top-tier hiphop verbalist with his 1991 debut, I Wish My Brother George Was Here, featuring the memorable tracks “Mistadobalina” and “Dr. Bombay.” He would release three more albums -1993’s No Need for Alarm, 1998’s Future Development and 2000’s Both Sides of the Brain – before joining with Nakamura and Koala for Deltron 3030.
Dan “The Automator” Nakamura, the architect of the sonic landscape within which Del and Koala work their magic, first captivated the hiphop underground with Dr. Octagonacologyst, his collaboration with Ultramagnetic MC’s Kool Keith. He went on to produce Cornershop’s breakout album, When I Was Born for the 7th Time, and to team up with fellow superproducer Prince Paul under the name Handsome Boy Modeling School, before forming Deltron 3030 with Del and Koala.
Kid Koala, a native of Vancouver whose turntablism mixtape Scratchcratchratchatch, recorded on cassette while a university student, brought him to the attention of superstar British DJs Matt Black and Jonathan More, better known as Coldcut; the duo signed him as the first North American artist on their new label Ninja Tune, launched as a haven for the world’s most exceptional DJ and EDM talent. A year into his signing, Koala met Nakamura at the New York show of his first U.S. tour; the two hit it off immediately, and – beginning with Deltron – Koala became one of The Automator’s most frequent collaborators.
Deltron 3030 Tour Dates: 9/8 – Rock the Bells – Los Angeles, CA # 9/15 – Rock the Bells – San Francisco, CA # 10/8 – Paradise – Boston, MA 10/9 – Brooklyn Bowl – Brooklyn, NY # 10/10 – Howard Theater – Washington DC 10/11 – Jefferson Theater – Charlottesville, VA 10/13 – Theatre of the Living Arts – Philadelphia, PA # 10/14 – Highline Ballroom – New York, NY # 10/16 – Phoenix Concert Hall – Toronto, ON 10/18 – The Vogue – Indianapolis, IN 10/19 – House of Blues – Chicago, IL # 10/20 – First Avenue – Minneapolis, MN 10/23 – Masquerade – Atlanta, GA 10/25 – Mountain Oasis Festival – Asheville, NC # 11/10 – Fun Fun Fun Fest – Austin, TX # 11/15 – Boom Fest – Denver, CO # # – ft. sixteen-piece orchestra
Deltron 3030: Event II
Deltron 3030: Event II tracklist: 1. Stardate (ft. Joseph Gordon-Levitt) 2. The Return 3. Pay the Price 4. Nobody Can (ft. Aaron Bruno of AWOL Nation) 5. Lawnchair Quarterback Pt. 1 (ft. David Cross and Amber Tamblyn) 6. Melding of the Minds (ft. Zach De La Rocha) 7. The Agony (ft. Mary Elizabeth Winstead) 8. Back in the Day (ft. The Lonely Island) 9. Talent Supersedes (ft. Black Rob) 10. Look Across the Sky (ft. Mary Elizabeth Winstead) 11. The Future of Food (ft. David Chang) 12. My Only Love (ft. Emily Wells) 13. What Is This Loneliness (ft. Damon Albarn and Casual) 14. Lawnchair Quarterback Pt. 2 (ft. David Cross and Amber Tamblyn) 15. City Rising From the Ashes (background vocals by Mike Patton) 16. Do You Remember (ft. Jamie Cullum)
City Rising from the Ashes
City Rising From the Ashes EP tracklist: 1. City Rising From the Ashes (background vocals by Mike Patton) 2. The Agony (ft. Mary Elizabeth Winstead) 3. Pay the Price
Sasquatch is a meeting place for all styles of music. Sitting down with P.O.S. aka Stefon Alexander showed that sometimes all styles of music meet in a single person, as well as at a Festival. The rapper, punk rocker, beat maker, and all around talented vocalist and lyricist seems to be working five jobs at once and hasn’t even let a rather serious medical condition slow him down (much… he did take a little time off, the man’s not insane).
On the third day of the festival I had the chance to sit down with P.O.S. in a co-interview conducted by myself and VancouverisAwesome blogger and friend, Adrian McCavour. Here’s the gold that came out of the brief but enlightening 20 or so minutes.
Myself (JR): So you haven’t even had a second to breath yet because you just came from another festival yesterday…
P.O.S.: Ya, at home in Minneapolis there was a hip hop festival called Sound Set that Rhymesayers Records throws and it was… really fun. We were out there playing with Snoop Dogg and Tech N9ne and, well, Busta Rhymes didn’t show up for some reason. Which sucks cause a lot of people were there to see him. There were 27,000 people there and he decided “day of show” he wasn’t coming.
Adrian McCavour (AM): You’ve got so much going on there with Rhymsayers, Doomtree [Collective]…
POS: …Marijuana Deathsquads, Gayngs, all these different groups. It’s the perfect city, as far as I’m concerned. I wish the winter was a little bit shorter [laughs]…
AM: But the music scene there, you’ve got punk, you’ve got rap, you’ve got rock: how does everything influence you and how do you hope that you influence all the difference scenes that are going on there?
POS: I think ever since I was a little kid in Minneapolis you notice that it’s not so much about listening to the radio or watching MTV, it’s about trying to compete with the other bands in the city. There’s enough music that’s it’s not even really a competition, it’s more like, “This band is really creative, let’s try to make something as good as that.”
AM: Watching Killer Mike [perform] last night he was throwing down lyrics like, “Dance music: that shit’s for suckers.” Listening to your new album and what you’ve done in the past… you bring in everything from other genres…
POS: Everything! Everything that I enjoy, man. I want to make music I want to listen to. You can’t just get stuck on one thing. When I was younger; probably up until I was 18 or 19, I would not listen to anything that wasn’t punk or hardcore or metal. Maybe the occasional old hip hop like Dre or Snoop or some shit but… it took me a while before I could make creative strides on my own. I mean, I got really into German Techno! And you can hear it on the new record; it’s in there. I still wanted to keep all the urgent drums and the shouting and stuff too though.
JR: And you’ve still got KCMP’s (radio station 89.3 The Current in Minneapolis) “Ruining The Current” so are you playing everything there that you dig too?
POS: Ya, ya, ya. If I can’t do [the radio show] live, they’ll let me tape it if I’m on the road or stuff like that. I’m ten weeks in and it’s great.
AM: Is that a really good outlet for you to put the stuff you like out there? The German Techno and all that?
POS: Ya. I’ve gotten the chance to play a little bit of everything that I like so far and I’ll keep playing more. I had a 90’s grunge-themed night a couple weeks ago. Last week I played a lot of hip hop and new stuff. That’s the cool part about it!
AM: Have you gotten any reaction back about it yet?
POS: People live tweet it every week and they send me lots of really cool messages so it’s been fun.
AM: Moving back to Doomtree and Rhymesayers for a minute; it comes across as though you guys have a really familial structure. You have a really good relationship with these guys that’s been growing over the last decade, could you elaborate on your relationship with everyone involved?
POS: With Doomtree? Ya. Doomtree started as a production crew and then just all of my friends that rapped and we all kind of counted on each other. I knew how to get shows, some others knew how to get a bit of press, other people knew more about how to structure [the music] and we all grew up thinking that Wu-Tang lived in the same house and were best friends. [All laugh]. So we sort of modeled ourselves off of what our ideals of what a crew looked like and we actually did live together in two different houses! I think that really set us up. We’re all pretty much friends for life now.
JR: Is there anything other than Doomtree that you’re focusing on now or putting more of your effort into?
POS: For sure. The band Marijuana Deathsquads is kind of the… while I’m waiting to get started on more hip hop, you know, collecting beats and that, we’re working on Marijuana Deathsquads’ full length album, Oh My Sexy Lord coming out in July. We’ve done several residencies as a band; we camp out in LA for a month and play once a week. We’re about to finish one [song] in Minneapolis next week, we did [a song] in New York, Austin… it’s a good band. It’s members of all old bands I’ve been in: Building Better Bombs, members of Gayngs, and members of Polica… We played our first show as a band in a year yesterday at Sound Set and I look forward to touring like that later on this year.
AM: You weren’t able to tour this year for your new album because you had the liver transplant…
POS: I didn’t get a transplant yet, actually. I’m on dialysis still. But ya, I had to cancel and kind of take everything easier. I’m just stepping up now to get back into it… So I’m really excited to get back. To not be able to tour a record is something I’ve never done. Never Better (2009) came out and I played 225 shows. To put out a record and then do only 10 shows that year is, well, heartbreaking and ridiculous to me. I’m not really mad though, I know that’s just what it is.
JR: Now, in terms of your video presence, you’ve got the video for Bumper: it’s pretty raw with Pitchfork’s City of Music project. But then you’ve got Weird Friends with a much higher production value and concept to it. Is it difficult for you to balance the visual that you want to share while having people still pay attention to what you’re saying?
POS: It is rather hard to pick video concepts. I would much rather have all my videos just be the band playing but that’s just hard to pull off and that’s not what everybody wants to see all the time. It’s a tricky thing. But I think that once this band [Marijuana Deathsquads] gets as tight as we were yesterday at Sound Set I feel like that’s what people are gonna want to look at. I mean, we’ve got, in my opinion, some of the best drumming that anyone’s ever seen live. I’ve never seen a hip hop band that was as compelling, to me, as the band that I’m working with right now. Live band hip hop ends up getting this sort of “jazz” feel and we tried to really OBLITERATE that and focus on the urgency of the drums and focus on making sure that shit cracks, you know? Really tight, really loud. Most of the music I make is really drum based anyways…
AM: On top of that you’ve got really great lyrics. You always seemed really socially conscious. You seem really critical of society…
POS: …of garbage? [laughs]
AM: …of ways that we can improve as human beings.
POS: All the music that I cared about growing up had a little bit of that. Whether it was silly NOFX stuff or serious Minor Threat stuff or Ice Cube or whoever; there’s not just fun, there’s also some sort of underlying agenda. And I know that not everybody wants to take music so seriously all the time but that’s just the shit that was always important to me.
AM: You also talk a lot about the change in technology-driven time. What’s your biggest concern with the way people feel when it comes to new media?
POS: It kind of does. It’s hard to gauge that and write about that in a real way. Everybody needs to take time away from their phones… everybody’s “zombieying out” and it’s changing the way our faces look cause everybody’s looking down all the time. People are getting jowels all early and shit. It’s fucking gross [laughs]. I don’t think you can save the world. I don’t think you can save everybody, you’ve got to live the way you want to live and do the best that you personally can and hopefully that affects the people immediately around you. Every generation thinks the world’s going to hell.
JR: On the flip side to that though, do you find it easier now to get your music out because of the new media and all the channels available to you?
POS: Absolutely. I think that the hard legwork that Doomtree and Rhymesayers have done to gaining true fans that are down to do what we’re actually trying to get out, those people are the ones that are looking out for what I’m doing when I’m not rapping and looking out for what my friends are doing when they’re not rapping. And that shit’s really important to me, you know? I don’t have millions of fans but I do have like 20,000 solid people that are gonna check for what I’m doing and hopefully share with their friends… and I’ve made that work for almost ten years now so I’m not really trippin. I may not be famous, I may not be a household name but I’m able to do what I love everyday!
AM: And from there, you’re gonna start touring, well, slowly touring…
POS: Ya, hopefully I’ll get out later this year and really hit the road hard and show off my new songs and hopefully put out some more songs.
AM: Working with Astronautalis as well?
POS: Yup. We’re putting out a 7” at the end of… next month… maybe? Sometime this summer for sure. And we’ll be putting out a full length as soon as it’s done but both of us just stay so fucking busy, you know.
JR: Are you two going to be touring together at all?
POS: Hopefully. We really like working together so as soon as we get a chance to do it together, we will.
AM: Anything new in terms of Gayngs? I know Justin Vernon was on one of your tracks so has anything new come out from that?
POS: The next Gayngs record, I think it’s gonna be called “Le Ron”, and we’re gonna push a little… it’s gonna be a little different. It’s always gonna be different. When you’re dealing with Ryan Olsen who’s the main producer for both Gayngs and Marijuana Deathsquads, you’re gonna get a different kind of vibe depending on what’s going on in the little world that he’s making. I don’t want to say too much but know that there’s more music coming.
JR: Well just make sure you head up to Vancouver on your tours.
POS: I absolutely will. I love most of Canada… [all laugh]. I love Vancouver, I love Montreal… I even love Toronto, man. I feel like Canadian people are infinitely nicer and sometimes that confusing, but it’s also really nice so I’ll get to Canada. I promise.
That’s a promise a growing number of Canadians are gonna make sure he keeps.
Hour-long set of exclusive edits and remixes in conjunction with long-time collaborator Chris Cox
NY dance music legend François K and Academy participants also performed at special Deep Space night
Moroder’s informative and inspiring lecture at Red Bull Music
Last night, Brooklyn’s Output was sold out and packed to brim, as fans came to witness dance music revolutionary Giorgio Moroder’s first ever live DJ set as part of the 2013 Red Bull Music Academy in New York. Joined in the booth by long-time collaborator Chris Cox, Moroder played an hour-long set featuring fully re-arranged versions and exclusive remixes of some of his greatest hits, as well as live vocals on vocoder. The set list spanned his entire career, from his seminal, synth-heavy work with Donna Summer in the mid-70s, to his much talked-about collaboration with Daft Punk, “Giorgio by Moroder”, which is out in the US today.
One of the true greats of disco and electronic music, Giorgio Moroder brought a distinctly European aesthetic to black American dance grooves in the 70s with his visionary, synthesizer-driven production work for Donna Summer (“I Feel Love”, “Love to Love You Baby”). He was also a supreme composer of soundtracks, scored an unlikely chart success with “The Chase” (the theme from Midnight Express) and won three Oscars(c), as well writing theme songs for no less than three Olympic Games.
With a whole new generation of dance music artists turning to his motorik disco sound for inspiration, the Italian-born producer is currently kick-starting a new career as a performer. His New York appearance, hosted by the Red Bull Music Academy in conjunction with local club scene fixture Deep Space, was his “first ever live DJ set” and his first performance in the US. Other artists to perform on the night included New York dance music legend and Deep Space resident DJ, François K, as well as 2013 Academy participants T.Williams (London) and Benjamin Damage (Berlin) who have both been making major waves recently with their respective takes on soulful house and twisted techno.
Earlier on the day, Giorgio Moroder gave a private lecture to a select set of 31 music makers from around the globe at the Red Bull Music Academy, which is currently residing in a custom-built studio space in New York’s Chelsea district. In the two-hour conversation, Moroder touched on everything from his inspiration behind the Scarface soundtrack to being sampled by the hip hop generation and his surprising return to the limelight. ”I was quite happy just doing my crosswords,” he commented with a smile. “And then Daft Punk came and pulled me back in.”
ASTRALWERKS TO RELEASE NEW SINGLE BY LUNE “LEAVE THE WORLD BEHIND” ON MAY 31ST
Swedish singer LUNE will release her hauntingly beautiful interpretation of “LEAVE THE WORLD BEHIND” on May 31st on Astralwerks. Originally recorded by the Swedish House Mafia trio of Axwell , Sebastian Ingrosso and Steve Angello with Laidback Luke, and featuring the vocals of Deborah Cox , it was one of the defining club anthems of summer 2009.
This imaginative acoustic cover is synched with a huge VOLVO XC60 advertising campaign also starring Swedish House Mafia which premiered on TV in Sweden on Friday May 17th (and will roll out globally throughout the rest of the year). The ad features Sebastian, Axwell and Steve leaving the world they shared together behind after the hectic four years as Swedish House Mafia shot against some incredible Swedish landscapes. VEVO have the exclusive premiere of the full length video, which also stars SHM, following the Swedish advert premiere. Watch the video here:
LUNE is a music project fronted by Linnéa Martinsson. Rooted in the dance and performance world she first began to write songs with two chords and simple, direct lyrics before teaming up with various collaborators. ‘LEAVE THE WORLD BEHIND” is not her first foray into the world of dance music as Martinsson also provided the vocals for Adrian Lux’s huge dancefloor hit “Teenage Crime.”
On June 22nd, Minneapolis lyricist Dessa—“one of the most diverse and talented artists in indie rap” (URB)—will kick off her 20-city ‘Parts of Speech Tour’ in support of her new album of the same name with two sold out shows in her hometown. The tour will take her out to the West Coast including a stop at LA’s Troubadour and wraps up with a play at the Frank Gehry designed Pritzker Pavilion in Chicago’s Millenium Park for the City of Chicago’s “Downtown Sounds” series. A “beautiful writer” whose lyrics are “moving and provocative”, Dessa’s Parts of Speech (out 6/25) is her “most personal, introspective work to date” (Bullet).
As Doomtree collective’s only female emcee, Dessa has established herself as a highly literate and imaginative lyricist, earning praise from NPR, Rolling Stone, Billboard, MTV, and many more with her previous LP. Now, on ‘Parts of Speech,’ the Twin Cities native strikes a compelling balance between the electronic and organic, combining innovative hip-hop beats with multi-layered instrumentation and laying the groundwork for her uniquely expressive rap-sing and whip-smart songwriting. As for Dessa’s live shows, New York’s Village Voice says “Dessa’s fluid, dynamic presence beautifully blends rap and poetry, and does the difficult job of humanizing the explosive beats.”
Watch the lyric video for “dark, hard-stomping” (Billboard) single “Warsaw” from Parts of Speech
Dessa Tour Dates: 6/22 – St. Paul, MN – Fitzgerald Theater (SOLD OUT) 6/29 – Minneapolis, MN – First Avenue (SOLD OUT) 7/08 – Omaha, NE – The Waiting Room 7/09 – Colorado Springs, CO – Black Sheep 7/11 – Phoenix, AZ – Cresent Ballroom 7/12 – San Diego, CA – The Casbah 7/13 – West Hollywood, CA – The Trobadour 7/15 – Costa Mesa, CA – Detroit Bar 7/16 – San Francisco, CA – Cafe Du Nord 7/17 – Santa Cruz, CA – Catalyst Atrium 7/19 – Bellingham, WA – The Shakedown 7/20 – Seattle, WA – The Crocodile 7/21 – Portland, OR – Mississippi Studios 7/22 – Boise, ID – Nuerolux 7/23 – Salt Lake City, UT – Urban Lounge 7/25 – Fort Collins, CO – Aggie Theatre 7/26 – Denver, CO – Bluebird Theater 7/27 – Kansas City, MO – The Record Bar 7/29 – Chicago, IL – Millenium Park, Jay Pritzker Pavilion 7/30 – St. Louis, MO – Firebird
– Album available on CD/limited edition vinyl LP and digital on URBNET – Pre-order now available on http://www.urbnet.bandcamp.com – Album features guest appearances by Snak the Ripper, Def 3 and Claire Mortifee
Canadian hip-hop heavyweights Sweatshop Union, one of the hardest working ensembles to ever emerge from British Columbia, are preparing for the May 28th release of Infinite, their most ambitious album to date.
“Infinite spans about a year’s time of experiences and sounds from us, whereas other albums represented maybe a few months,” explains SSU rapper/producer, Mos Eisley. “It bridges the so-called gap between conscious music and fun party music. It deals with some deep esoteric themes and it also throws caution to the wind when it’s time to kick back. Its strength lies in this dichotomy.”
Infinite follows 2011’s Bill Murray EP, which won the Western Canadian Music Award for Hip-Hop Album of the Year and raised their profile beyond their grassroots following. The new LP contains a range of vibes and sounds, combining old-school hip-hop sounds with futuristic, electro headbangers, not to mention some ballads and spoken word interludes. It accomplishes the tricky task of reflecting the outfit’s individual tastes, as they inform SSU’s collective vision.
The group is prolific and moves quickly but, as of this moment, Infinite currently stands as the most eclectic record in the Sweatshop Union catalogue.
“People are gonna feel many different ways about this record, and that’s the point: it forces the listener to recognize that Sweatshop Union can not be easily categorized or predicted,” Eisley says. “I hope sincerely that people can tell that we had a lot of fun putting together all this music, and that there are many more layers left to explore.”
Event to take place on June 15th at Ryerson University’s Campus Common.
Independent Label Market is proud to announce that it will be holding its first market in Canada in cooperation with Paper Bag Records, NXNE and StageFright Publicity on Saturday, June 15th at the Ryerson University Campus Common. The heads of a number of Canada’s finest independent labels will come together to sell their product directly to the public.
Independent Label Market will welcome a host of labels including: Paper Bag Records, Arts & Crafts, The Outside Music Label, Last Gang Records, Dine Alone Records, Static Clang, Nevado Records and Maple Music with many more to be announced soon.
“People love to buy music when they can hold it and feel it, and in our digitally focused age it’s a pleasure to be bringing a more intimate format for record-buying to Toronto as part of NXNE festival,” says Independent Label Market’s founder Joe Daniel. “Expect label bosses from the cream of Canada’s independent music scene selling catalogue items, rarities, and one-off special items made just for this event.”
“As the music industry embraces mp3s and a more digital strategy, Independent Label Market is proving to be an valuable reminder of how music retail can be a social affair; people hanging out together as a community and buying records,” says NXNE Festival Director Christopher Roberts.
Independent Label Market Media:
Since launching on Berwick Street in May 2011, Independent Label Market has brought together the founders of over 120 of the World’s greatest Independent Record Labels on both sides of the Atlantic to sell their fresh vinyl produce directly to the public at that traditional goods exchange, a market stall.
Independent Label Market values the experience of the consumer and the music fan above all.
‘They’re a hype worth following. A sensation worth to track. Martin Volt & Quentin State make a statement on Trice Recordings, kicking in with their ‘Shadows’ ft. US vocal duo Rico & Miella!
Young at heart, but strong in skills. That Dutch duo Martin Volt & Quentin State. We’re very sure you’ve met them on the dance floor before, with their tracks heavily supported by the likes of Tiësto, Laidback Luke, Hardwell and many more. They’ve caught a right groove, especially with their now smash ‘Shadows’.
Featuring upcoming vocal duo Rico and Miella, they present a strong, melodic tune with a highly addictive hook and peak-time climax. Addictive to say the least!’
Thundercat just released “Oh Sheit It’s X,” the latest track from his forthcoming second album Apocalypse, due on Brainfeeder Records June 4 digitally and via CD/LP on July 9. The follow up to his hugely successful first single “Heartbreaks + Setbacks” sees Los Angeles bassist/songwriter/vocalist Stephen Bruner reteam with co-writers/co-producers Mono/Poly and Flying Lotus as they kick up the funk and get ready to party. The track is available for download instantly with album preorders via iTunes.
Forever a wildcat and wild card, Thundercat is impossible to tame artistically. His 2011 solo debut The Golden Age of Apocalypse, co-produced by Flying Lotus, created a genre-blurring enigma of indie rock and jazz, with a touch of electronica. On Apocalypse, Thundercat brings a fusion of pop, soul, electronica, prog rock and funk into an unexplored dimension. He again pairs up with executive producer Flying Lotus to pull the veil back and reveal the simple truths of the cycle of life, for all its beauty and destruction. It’s an album about loss and rebuilding, trying to gain something back, and capturing that moment of clarity where one finally finds feet back on the ground again.
Thundercat is currently serving as a studio mentor at the Red Bull Music Academy in New York City and heads back out on the road May 12 with Flying Lotus and Teebs.