Tag Archives: hiphop

Show Review: Jacob Banks heats up Barboza

There was nothing like soul-infused Tuesday night when Jacob Banks hit the stage at Barboza. Watching flashes his fans a stunning white smile, while shyly saying “Hi, I’m from London,” we felt nothing but warmth for the soulful artist as he sang a cover of Corinne Bailey Rae’s infamous “Put Your Records On.”

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Originally from Birmingham, England, the British singer-songwriter first became active in 2012, when he was the first unsigned act to ever appear on BBC Radio 1 Live Lounge. Influenced by a multitude of soul, R&B, and hip-hop, Banks first recorded his debut EP The Monologue, released in 2013, with his top hit “Worthy,” a popular play on various stations. A tall, brooding man with a bright smile, Banks reminds us of a combination of Benjamin Clementine, Seal, and Jack Garratt. Soft smooth vocals always seemingly complemented by melodic piano, Jacob Banks is crossing genres often acoustic singer-songwriter ballads, like tracks “Homecoming” and “Hostage” on his EP The Monologue. Yet, the man has range, both vocally and emotionally, demonstrated in “Something Beautiful,” also seen on his EP The Monologue. On his newest EP The Paradox, Banks delves more into soul and R&B, experimenting with melodies in his vocal range, seen in “Home,” and “All Mine.”
Playing fan favorites from his newer EP, Banks succeeded at demonstrating a mix of softer vocals and instrumentals in “Unknown,” while demonstrating a hard, grittier audible aesthetic in “Sink or Swim.” Highlighting the soul aspects of his set list, the British artist catalyzed a complete feeling of union and communal love, as the audience swayed in unison to “Home,” a song similar in feeling to any calmer Stevie Wonder track— a nice complement to the upbeat and diverse sounding track “Monster.”

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Finally ending his set with new single “Unholy War,” the audience vibe completely shifted as we all came together and empathized together with the emotion in Banks’ vocals as he glided on the stage and crooned chorus “Let love lead you home, oh no/ Let redemption keep you warm.” And just as Banks climaxes as he reaches as the height at the bridge taper off, the audience in parallel also drops. We stop, we sway, we close our eyes, and we dance as the rest of the chorus plays out. Jacob Banks has reached a new level of soul, and it’s dipping into funk—and we’re sort of hoping he continue only to reach new heights with his artistic creativity. 

And if we can’t convince you with our words to fall in love with Jacob Banks, just let his music persuade you himself.

-Ariana Rivera

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Juicy J Changes Lives Over Course of Emotional Night

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Oscar winner Juicy J wrecked my soul at The Neptune Theater last night. Oh yeah, yes, it’s true, Juicy J and Leonardo DiCaprio have the same number of Oscars.

Project Pat brought out Nasty Mane and they performed some
booming bass music with predictable yet catchy lyrics.

Belly came out next. Never heard of him before. He does boast a bit of a belly though, which could point to the origins of his stage name. His
real name, according to the internet, is Ahmad. Further perusal of the internet
reveals that Belly was born in Palestine. Diversity! Yay!

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Okay, that’s enough with the facts. Here’s more opinion:
Belly’s set was damn good. I now follow him on Spotify. His song with Travis
Scott bangs confirmed.

Then the stage was empty for a while. Anticipation hung in
the air thicker than the sweat—and there was a butt ton of sweat.

Juicy J is a distinguished dude with an enviable career—Three 6 Mafia
and an Oscar then a TGOD comeback with Bandz a Make Her Dance then a really
good album and now mixtape after mixtape of roof rattlers.

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Anyways he stormed on stage, scarf draped over his head just like my mom wears a dupatta. Instantly I declared him my newest role
model. My list of role models was 29 pages long on Microsoft Word. Now it is 30.

I’ll be honest—I don’t know that many Juicy J songs. But
that didn’t stop me from leaping around like an electrified monkey. Bass on The
Neptune’s speakers exploded my brain into dripping mush—Beautiful. I still
haven’t recovered. At one point Juicy played a bunch of Three 6 Mafia numbers and
I knew the words so I screamed them and it was great.

Times like those, watching awestruck as an Oscar winner
screams down at you “YOU SAY NO TO DRUGS, JUICY J CAN’T,” you wonder what life
is really all about. Because maybe, just maybe, all you have to do is keep doing
your thing—whatever that thing may be—and you’ll eventually win.

Juicy J, legend, you inspire me to be the best possible me. Safe travels.

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Five Artists to Watch in 2017

A new year means another year of new music and breakout artists. Last year was a monumental year for music, bringing both major album releases and newcomers to the forefront. That being said, here are five artists that are sure to impress this year.

Smino

The St. Louis, Missouri native has already gained a following with the release of two EPs and as an opening act on Mick Jenkins’ recent tour. Now Smino is prepared to enter the spotlight with the release of his debut album blkswn early this year. Though a release date hasn’t been announced yet, Smino has been teasing its release with snippets of new songs on his snapchat as well as a new single, taking the same name as the album. Expect the album to be packed full of bars and smooth production, both staples of Smino’s craft. Listen to “blkswn.”

Ravyn Lanae

Ravyn Lanae has slowly made her mark through features with notable rappers, including Mick Jenkins, Noname, and Saba. Her debut EP, Moon Shoes, established her as a strong solo act, making effective use of her angelic voice and versatility to create songs that can be both groovy or moody. Her busy year has already begun, opening for Noname on tour (in Seattle February 15) and hard at work on her debut album, which is set to drop sometime this year. Be on the lookout for Lanae to drop new music soon and possibly perform in a city near you. Go hit up Moon Shoes.

Aminé

Hailing from Portland, Oregon, Aminé has already made a name for himself with the smash hit “Caroline”. His performance last year on Late Night with Jimmy Fallon further elevated him status when he added an additional verse to the song, addressing the recent presidential election and his disapproval of its unfortunate results. His unique style and upbeat flow are a joy to listen and dance to, even though his library of work is relatively small (he has two singles on Spotify and one album on Soundcloud). Although he has yet to announce an album release this year, more new music is expected to come from the young star, so make sure to stay alert. Watch Aminé’s performance on Late Night with Jimmy Fallon.

Kaiydo

Florida has recently become one of the hottest spots for new artists, introducing the likes of Denzel Curry, Kodak Black, Twelve’len, and Marcellus Juvann. Kaiydo is another one to add to the group. His typically bouncy songs have caught fire in the hip-hop community. My personal favorite, “Arcade”, has an incredibly bangin’ beat paired with a catchy hook. Kaiydo’s library only includes a few singles, but he told the music blog Pigeons and Planes that his debut mixtape Kartoons is on the way. Hopefully his mixtape includes the same catchy songs that he has released so far. Be sure to listen to “Arcade.”

Khalid

Khalid uniquely fuses electronic and R&B to create a genre all his own. His breakout single “Location” has already amassed over 30 million plays on Spotify, and his performance at ComplexCon has helped him gain national attention. He recently kicked off a tour to promote his debut album, releasing March 3. Khalid manages to create diverse music, as is evident on the song “Coaster”, a piano-driven ballad, and “Hopeless”, a song that sounds like an ode to 80s electronic music. Make sure to give Khalid’s album a listen when it releases, as it is sure to blow up in the weeks following its release. Definitely check out “Location.”

-Archie O’Dell

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Interview with artist K.Flay

Walking onto her tour bus, we were taken aback by Kristine
Flaherty Halloween skeleton costume, but her kindness and warmth radiated from
her body as she said hello. 31-year old artist,whose stage name is K.Flay, didn’t
start music at a young age. Raised in a suburb of Chicago, Flaherty was just a
normal kid growing up. It wasn’t until she moved out west that she found her
niche.

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“I didn’t know music in the Chicago area,” she said. “I
didn’t start making any sort of music until college. It wasn’t until I moved to
the west coast bay area music. In general, college and university setting are a
place to just be open to ideas—whether they’re cultural ideas, political ideas,
academic ideas. I started listening to a lot of west coast rap. Just a lot of
music that has been previously unknown to me. A bit more left of center.  Stanford was a great place to be for me just
because it was a great incubator for all these ideas and thoughts I was having.
And I could explore that in a low-risk environment. There was a pretty good
scene there. There was a lot of people from Stanford who went on to make music
so it was a good community. I finished school and released my first mixtape.”

And even then, although the future artist was surrounded by
talent, she didn’t expect her career to take off. “I had no aims of any sort of
music trajectory,” she sheepishly said. “I sort of wanted to do research based
sociology. And then music just sort of happened.”

And it did. One mixtape turned
into 4 mixtapes, 4 EPS, and one studio album. Her latest EP Crush Me, just
released with latest sick single “Blood in the Cut.” And although the artist
has blown up since early 2003, she was modest about her early beginnings.

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“My understanding of dynamics was
very limited when I first started. I just didn’t understand sonically how to
create something that had true peaks and values and took someone in different
directions. There’s a certain logic to that and I think it’s something you figure
out when you’re beginning.”

The modesty was unexpected, but
refreshing with as good an artist as K.Flay. Something else we found unexpected
was when we heard that Warped Tour was the one festival that helped K.Flay grow
as an artist. We were intrigued why.

“It’s totally vibe-less. It’s
bright out, it’s hot, there’s no atmosphere, there’s no lights, you don’t know
your set time until that morning and it could as early as 10 am or as late at 7
pm. To me it was a real test of how to break down the basics of a real
performance. You can go see a show and it’s shrouded in darkness and haze, you
don’t even know what the artist looks like and it’s cool right? I guarantee you
if you saw that in the light of day, you would not think it was cool. So, I
think it reminded me of a show ultimately performance is about looking people
in the eye, connecting with them and conveying something that stay with them.
Things like lights and atmosphere shouldn’t be the foundation of what you do,
the foundation of what you do should be your music and the other things should
supplement it.”

And with smaller Halloween shows like the one she played
last night, she was in her element.  “At
a show like this at Barboza I’m looking people in the eye, we’re connecting and
creating this experience together. At a festival, you don’t have that ability,
but you can reach a huge audience and there’s something fun about playing big
stages where you can run around. So, I think a balance of big and little shows
is the ideal.”

What’s next for K.Flay? Hoping for collaborations in the future,
K.Flay laid out something she thinks would be dope. “Every collaboration that
I’ve done has been a very organic process of give and take—someone sending me
something or me to them and just seeing if it’s a shared process. And I think
those collaborations are the most fruitful ones I’ve done because I think when
things are structured or planned, it feels forced and doesn’t create that
energy. I’d like to do something with Unknown Mortal Orchestra. He’s got an
interesting story and a great song-writing perspective, with him being inspired
by classic hip hop breaks.”

And although K.Flay is influenced
by hip hop, she wouldn’t classify herself as a rapper or hip hop artist. “I can
rap and it is part of what I do,” she explained. “I think a lot of what I do
sits in between genres—and I think I’m just embracing that— and I’m not
trying to put any defining characteristics on it. I draw influence from a lot
of honest vocalists. Right now, I like and am listening to the new Glass
Animals
record, where each song is about a person. And I think I really
appreciate it because it’s honest to an experience.”                                                                                                      

Genre hopping real experience
music is what K.Flay hopes to convey and at Barboza she fulfills her goal.
Engaging the audience thoroughly, the artist’s vocals are studio album quality,
with a performance attitude that causes you to take a step back. There’s no
stopping with K.Flay and we hope only for more.

Check out her latest EP Crush Me.

Ariana Rivera

Check out more music and news from Rainy Dawg Radio @ RainyDawg.org!

Canadian artist Sonreal interview

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Aaron Hoffman walks up into a room and knocks down a
handshake for a warm hug. “Hey, how are you doing?” with a huge smile on his
face. “Are you ready for this? It’s going to be a real fun night.”

Canadian artist Hoffman, who goes by the stage name SonReal,
is incredibly humble—yet still cognizant of his skill. When first asked about
how long he’s been doing music, he responds, “3 years, but you know, like
everything it’s a journey. I wrote my first rap when I was a kid, but I was
lucky enough to get signed and here we are.”

Here we are indeed. We reference SonReal’s elaborate music
videos, which portray Hollywood level quality of budget and casting, and the
artist is all humble smiles. “I’ve always loved acting, I’ve always loved
trying new crazy things. Rappers always try, since the beginning of time, to
look and be cool and I can’t do that. I can’t do that, but I do know how to be
goofy and have fun and that’s what I love about the videos we make.”

He laughs when we asked how he does it, over and over. “I
have an incredible team,” he replies. “I have the same director for each video
who pushes me over and over to get things perfect but it works.

First a rapper, SonReal’s musical aesthetic has progressed
over time, with more melodic vocals intertwining into his albums. The artist
smiles when trying to explain his musical structure but finally expresses
himself with a declaration of love for music. “I just love singing,” he says. “I’ve
always just loved music. You know, when I first started, I just wanted to a rapper. I wanted to rap and that was
what I knew how to do, and I wanted just that. But as time passed and I started
making more music, it was just a natural progression. I would be writing a lyric
and I just wanted to sing, so I did.”

It works well, on tracks like the single, “Can I Get A Witness,”
in which SonReal showcases his vocal range—a range, we might add, we did not
expect the artist to have. In the chorus of the track that has, as the artist
scales higher in octave, we’re shocked, but pleasantly. It’s a distinct switch
from his lyrical verses of rap to the almost reggae chorus he sings, and
unpredictably so. “I like that I’m unpredictable,” he says. “I don’t want
people to ever just get used to what I do or sing or rap. I want to keep you on
your toes, and so sometimes that might mean just singing a whole song on the EP [The Name] with no rapping at all or rapping a love sing entirely. Who knows, but I don’t want
to be predictable.”

And the artist is anything but, as we see him pump it out on
stage, dancing every which way, reminiscent of Chance the Rapper’s stage
presence and Macklemore’s dance floor energy. We see big things for SonReal,
currently touring with Jon Bellion. With a new album out in August, we’re hoping
to see Sonreal make more unpredictable music and collaborate and work with big artists,
making a name for himself.

“Here’s thing,” he tells us, sitting back. “I want to work
with people, I do. But the thing is I kinda just want to make my own music. You
know, I don’t want to ever walk into a room and have to tell you who I am. I
want to get so good, be so well recognized, that someone walks in and says, ‘I
like that guy, his shit’s dope, I really like what he does because he’s
different and unpredictable and does what other people don’t, I want to work
with him.’ It doesn’t matter how I make people feel with my music, whether it
makes them cry, smile, laugh…I want to work with other people.” He smiles and
looks off for a second before back on us. “But it’s not my time yet, I need to
get there first.”

Be sure to take a listen to SonReal’s singles currently out,
and be the first to grab that new album, The Name, August 12.

Ariana Rivera

Check out more music and news from Rainy Dawg Radio @ RainyDawg.org!

Album Review: Oddisee – The Good Fight

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It’s always admirable when a hip-hop producer can step in front of the mic and demonstrate serious lyrical and vocal talent. Artists like El-P, Flying Lotus, and Madlib got their starts crafting some fantastic beats before trying their hand at rapping, and each has found success on both fronts.

The latest artist to give it a try is D.C.-based artist Oddisee, who has built up quite a bit of hype in his hometown for his various talents. The Good Fight, his second official LP, is Oddisee’s most expansive and fleshed out release yet, displaying a newfound confidence from the MC. He manages to pay tribute to his city’s diverse musical past while also acknowledging current sounds and styles in hip-hop nationwide.

The most immediately noticeable aspect of this project is – of course – Oddisee’s production. The Good Fight is loaded with jazzy instrumentals that are just off-kilter enough to feel cohesive, but not dull. I could imagine someone like Chance the Rapper or Mick Jenkins sounding pretty great over these beats. Horns and acoustic drums are consistent features on this album, and they both help give Oddisee a discernible and recognizable sound.

I was pleasantly surprised by Oddisee’s abilities as an MC. His confessional and personal lyrics go well with his distinct voice and inflections. This isn’t the most creative or original sounding hip-hop album of 2015, but Oddisee deserves praise for the many strengths of The Good Fight. For example, he dismantles hip-hop’s standard 4/4 time signature by rapping in 5/4 on the track “Counter-Clockwise,” and it’s equally disorienting and impressive.

Where Oddisee could use improvement is the album’s hooks, which tend to feel out-of-place or otherwise pale in comparison to the usually dense and lyrical verses. The vocalists he tends to employ are good singers, but the melodies and lyrics on the choruses aren’t nearly as compelling as the production and verses.

Also, not every track on The Good Fight is a winner. The hook on “Meant It When I Said It” is too close to rap punchline G-Eazy’s “I Mean It” for comfort. I also don’t particularly like the outro that follows the last track, on which an unnamed interviewee sings the praises of Oddisee, comparing him to Blu, while also saying hip-hop has lost its replay value. Self-promotion and braggadocio are important parts of hip-hop culture, but it feels weird and superfluous in the context of this album.

Check out the whole album via the Bandcamp stream below:

The Good Fight by Oddisee

All in all, Oddisee impressed me with this album. The production is consistently fantastic, and I love that the beats come off like updates to go-go, an essential D.C. genre. He’s also an ostensibly talented rapper, delivering some of the best bars of his career.

The Good Fight isn’t reinventing the wheel, but it does seem like a significant stepping stone in Oddisee’s career and path to independent hip-hop success. It’s a self-sufficient record that avoids most of the stereotypes involved with most indie hip-hop. It isn’t a “backpacker” record by any means, and I feel like straight-up hip-hop fans will find plenty to enjoy about this album without knowing much about Oddisee or where he comes from. The Good Fight is an admirable effort that doesn’t overstay its welcome or foster any moments of cringe. Oddisee does his thing, he does it well, and then he’s done.

Jakob Ross is a first-time blogger on the Rainy Blawg. You can find him on Last.FM, Twitter, and Tumblr as well as on Rainy Dawg Radio as a DJ! For more posts like this one, check out his music blog, “Jakob’s Album Reviews”

Check out more music and news from Rainy Dawg Radio @ RainyDawg.org!

Artist Profile: Let’s talk about Doja Cat

Whoaaaa, so I’m completely out of my element.

Actually, I was really wanting to share with you another reallyhippie indie, guitar playing artist that “seemed incredibly raw” as I like to
say. But enough of my uppity attitude, we should switch it up sometimes, you know?

Let’s talk about Doja
Cat
.

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I’m not super into hip-hop or rap so when I became intrigued
with Doja Cat, I was a little inspired. Not much is known about her, really, but
born Ami Zindale, she’s an 18 year old singer/rapper and L.A. based. She’s
young and she’s new, but she’s got this weird trippy vibe about her, and I
really just dig it.

This EP Purr! that
Doja Cat has out is relatively new, released in August 2014. It’s got 5 tracks,
and I’m not a fan of all of them, but her sound is just so different and airy and
so blended with soul vibes, I can’t help but like it.

“So High” was a single Doja Cat released prior to her EP, in
April, and is one that definitely gives off the impression of being high. It’s
dreamy, kind of psychedelic with the beats she uses, and her voice is kind of
just this high lilting mystery that pulls you in. It’s not a catchy, boppy
song, but definitely when she sings over and over again “You get me so high/You
get me so high” I catch myself grooving along to her.

It’s good, listen. It’s really trippy.

Okay, so then we continue on to the rest of the EP and it’s
pretty much along this vibe. She has this absentminded, lazy, spacey way of
singing, but once in a while, she dips into smooth straight rap like in “Nunchucks”
get this slower, soul Nicki Minaj
feel to her tracks.

Honestly, I have no idea why I like this, but I just do. I
listen to a track like “Beautiful” and it’s dreamy and mixes her smooth rap with
hippie beats in the background.

I really like “No Police.” She mixes her rap stylings with
some really chill beats, and her overall style makes it one of the best tracks
on the EP. But I also like “Control,” with her slow builds and real, breezy,
echoes that just relax you.

Doja Cat is consistent within her EP and that’s good, but
she’s definitely different. I think that’s what it is. She’s weird. She’s
different, I’ve never really heard anyone like her before and her originality
of mixing soul, rap, and R&B together is intriguing. She mixes her little
cat references into her rap and just randomly purrs or meows in her tracks, so
you definitely can’t escape Doja Cat’s identity. It’s weird. It’s cool.

Or maybe I’m the weird one. Either way, check her entire EP
out here:

Ariana Rivera

“Sunday Candy”: something to be thankful for (New Song)

this thanksgiving, i am SO thankful for Chance the Rapper, Donnie Trumpet, Peter Cottontale, and Nate Fox.

the four, commonly known as The Social Experiment, dropped a song on November 25th, with help from Stix on drums, vocals from Jamila Woods, Jabari Rayford, Eryn Allen Kane, and Macie Stewart, J.P. Floyd on trombone, and Patrick Paige on the bass.

the track, named “Sunday Candy,” is a single from Social Experiment’s upcoming album Surf, set to be released before 2015. 

and, as i said earlier, if you were looking for things to be grateful for during this lovely holiday break, search no more. this song is a blessing. the vibrant and upbeat trumpet accompanies a soulful, smooth beat that makes you want to sing at the top of your lungs, probably in the shower, or at all times, whatever works. 

another reason to fall in love with this song is the lyrics. the first verse Chance the Rapper raps about how much his grandmother loves him and Taylor Bennett, his younger brother, because of everything she has done for them. 

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as if i’m not already madly in love with Chance

the second verse, Chance expresses how important his grandmother is to him. he says “I’m pessimistic on Monday if I had tweaked and missed you,” referring to the thought of skipping seeing her at church on Sunday. given how chance is relatively open about his skepticism towards religion/God, this speaks volumes to how much inspiration his grandmother provides. it’s just so cute, okay! Take a listen:

the song is about waiting to see someone that improves your day, your life, any aspect of yourself. its about cherishing the people who are important to you, which is so great to have on a day like today.

anyways, the song is awesomely put together, with so many contributions from so many great artists. Nico Segal (better known as Donnie Trumpet) is noted in The Fader as saying ”this song specifically is a great representation of [The Social Experiment’s] collaborative efforts. It’s my curation, but then bringing it to the table with all these beautiful people and including them in their own way. Jamila sang on that hook, then I brought it to the collective. Peter added some great layers of texture and helped produce, Nate added a bunch of drums, tons of our friends from Chicago played instruments and added their ideas.” 

everything about this song is feel-good, and the people involved are people that you can also feel good supporting. Nico Segal and Chancellor Bennett went to high school together, and have been making music together for years, like Zion released on Donnie Trumpet EP in July 2013 and Wasting Time released from Traphouse Rock EP in 2012. it’s amazing to see the two, and other Chicago natives, succeeding on a larger scale, and releasing an album together years later.

so now, i sit and wait for Surf.

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gnovs

Not-Bad-Not-Bad-Pretty-Good: Belated Coverage of BADBADNOTGOOD (Show Review)


BBNG jamming out somewhere. Image ripped from google.

On Tuesday October 14th, the jazzy hip-hop trio BADBADNOTGOOD performed at Neumo’s for their first time in Seattle. Yes this date has passed. Long passed. Too many days have gone in its wake for a quick-response review. This Tuesday can no longer be looked forward to. Well, maybe I needed time to digest, catch the flu, get distracted, and figure it out. You cannot attend this show unless you have a time machine in between the washer and dryer in the basement. Neglect your laundry. Let’s use this imaginative machine to relive the experience watching three young guns approach jam-virtuosity.

Jazz is all about unspoken communication. Using instruments as vocal apparatus and notes as words and phrases. You’ve heard the concept of phrasing in music if you watched any documentaries or wielded something brass in high school. Now then, you know the insanity of a well-spoken jazz ensemble in the height of improvisation. Jack Kerouac wrote about this in the 40’s. He would dig on these all-night wild be-bop musicians covered in sweat and blood and cigarette smoke in dark and airless clubs in San Francisco or New York. Whooping and cheering at the musicians, acknowledging moments when they had it, man. The whole audience shot glances at each other and simultaneously agreed: the band’s got it.

BADBADNOTGOOD have got it. I swear. They jammed too hard, clearly testing the limits of their musicianship through crescendos in volume and tempo. Their unspoken communication was amazing and apparent during extended solo sections for the jams “Hedron,” “Triangle,” as well as a silky smooth new track called “Velvet.” Conversation was killed, we were all swept off. They clearly lost themselves and we cheered them on, losing ourselves in the process. There was a subconscious agreement in the audience that up there, flooded in the river of lights and smoke, the band had achieved some kind of clarity.

One of their last tunes seemed an experiment in dexterity. There was a section that built and rose, swelling up like all of those 64th note electronic snare clacks before the predictable bass drop, though live, this intensity is more obvious and felt than the slow turning of knob. Every player attempted to burst beyond their comfort zone of their instrument. This cacophony, growing wide with the clashing of voices, the speed of flying fingers and drumsticks, was passionate and intense. This was the lifting of a weight over their collective heads heavier than they have previously lifted.

This sounds exaggerated. But hell. I’ve seen jazz gigs and the audience often appears as though they are trapped in an elevator. My generation of 20-somethings and jazz music don’t seem to go too well together. Sure, as a musician, I love jazz. I whoop and holler. But the crowd responded to BADBADNOTGOOD’s tunes in such a spirit as a punk rock show.

I caught up with Chester, the bassist, after the show and he gave a word of advice to the modern day aspiring artist, “It is about making connections. Meeting people. Saying hello and seeing how far that hello will take you.”

Check out the band’s latest music video for “CAN’T LEAVE THE NIGHT” below:

You never know who you will meet and how they can change your life forever. I know this rings true for the trio as their cover songs of popular rap cuts (Kanye West, A Tribe Called Quest, Gucchi Mane, etc.) introduced them to the absurd artistry of the Odd Future world.

The band will be back. They already have a committed, youthful, following and this is a hopeful advancement in the arts. Also, good on you Seattle for giving them such a warm welcome.

Nate Anderson