Monthly Archives: August 2011

Filthy Children Live at Cervantes’ Other Side, Denver, CO [Photos]

Filthy Children Live at Cervantes’ Other Side, Denver, CO

Filthy Children – “Butter”

Jimmy Iles Beat-Play Filthy Children

Click The Pic for More Concert Shots!!!!

Check Out Filthy Children!!!

More Previous Concert Coverage of Filthy Children!!!

Photography By: Jimmy Iles | Director of Artist Relations | @JimmyMWL | Beat-Play & Music Without Labels, LLC

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The Man Whom – The Greatest Event [NEW MUSIC]

The Man Whom is the moniker for Wexford-based singer songwriter, producer/composer and multi-instrumentalist Ian Doyle. The Greatest Event is his debut Album. With the help of musicians and friends, Brian Hassett (bass), Christian Best (drums), Doyle and his band retreated to the seclusion of a house in Kilrane Village and worked intensely to record the majority of the album. The piano parts were …subsequently recorded in the local arts centre.

Further contributions to Doyle’s album include polished string arrangements written by composer Peter Fahey and performed by the Mamisa Quartet, as well as local guitarist Clive Barnes who played peddle steel for the current single Over and Under.

For the finishing touches, Doyle went to Exchequer Studios, Dublin with producer Brian Crosby and mixing engineer Phil Hayes who shaped and honed the original recordings. The result is an album which is the sum of its parts, held together by a shoestring and interwoven with the goodwill of creative, talented friends.

WHAT OTHERS HAVE SAID :

Hotpress 4.5/5

Sing Till There’s No Songs Left’ features emotive harmonies, uplifting brass, and swagger in spades. ‘Over And Under’ brims with good vibes, while ‘Leavin This Town’, with its unsettling melancholy, is a handsome tune with a lyrical edge that makes it relevant to these forlorn times. The string-tinged and choral ‘Easier To Run’ is almost illegally heart-breaking, while the restrained ‘Call All The People’ climbs with uncanny power, with Doyle taking it to higher and higher levels of elation. ‘Puppeteers’ is a long-held favourite of mine and ‘Til It’s Gone’ wraps it all up so you want to start all over again. The Greatest Event has enough charm and inventiveness to fill your head and nourish your soul. Eat it.

The Sunday Times ****
A slick production with accomplished musicians, elaborate scores and scrupulous string arrangements. Call all the People has the heartfelt passion of an anthem, including melodic bursts of melancholia, while Sing Till There’s No Songs Left, I know your Face, and Over and Under, the current single, strike all the right chords.

News of the World on Sunday ****
This debut album from Wexford man Ian Doyle takes the joyousness of Sufjan Stephens and the unusual phrasing of Villagers, filtering those elements into an eventful listen.

The Irish Times***
“New name, fresh approach, adventurous songwriter: that’s Wexford’s The Man Whom (aka Ian Doyle) for you. Songs such as I Know Your Face and The Man Who Knew Too Much display Doyle’s nifty craftsman- like process, while Call All the People and Autopilot highlight a working knowledge of the kind of music and musings that have gained him comparisons to Villagers and Neil Young. Out of the blue, then – another new, good Irish singer-songwriter”.

for more check out http://www.themanwhom.com

By: Shayne Byrne | Beat-Play Ambassador Ireland | @shaynewithMWL | Music Without Labels & Beat-Play, LLC

Bombay Bicycle Club – “Shuffle” [NEW MUSIC] [EVENT]

Bombay Bicycle Club

 

Bombay Bicycle Club is an indie-rock band from London.  Comprised of Jack Steadman (lead vocals, guitar), Jamie MacColl (guitar), Ed Nash (bass) and Suren de Saram (drums), the band just released their third studio album, A Different Kind of Fix.  The first single released, Shuffle, provides a microcosm of the album’s feel. Building a gentle, hooky pop song over a looping, dance-inducing piano sample, it’s, like all the best late summer sounds, seventy-five percent exuberant and twenty-five percent melancholy.  This album is different than the previous two; it incorporates more electronics and has less folk influences.  Watch the video for Shuffle to see for yourself, or see them live in Brooklyn (Music Hall of Williamsburg – Sept. 7) or Philadelphia (Theater of the Living Arts – Sept. 9) – for more tour dates check out their schedule!

 

 

By: Elizabeth Stene | Beat-Play Ambassador South Africa | @LizMWL | Music Without Labels & Beat-Play, LLC

 

 

CABAL live at Ceviche in Sarasota, FL [SHOW/NEW MUSIC]

I said goodbye to Nashville last week for a little vacation in Sarasota, FL.  However, my music and ambassador senses were still fully intact, keeping an ear out and listening for any interesting new music that might come my way.  This has been a long weekend of afternoons on the beach, and dinners by moonlight.  You will almost always hear live music playing if you eat out for a couple meals in this town.  Whether it’s lunch at Clearwater beach, dinner in St. Armonds, or a night on the town in the Village, you’re going to see some performers.  This is when we came across a hidden gem amidst the typical beach bars of the town.  After dinner one night, we decided to have a drink at Ceviche Tapas Bar & Grill and boy were we pleasantly surprised.

Contemporary flamenco music filled the air and we were thoroughly entertained by a reggae flamenco band called Cabal.  Because of the Spanish tapas atmosphere, Cabal was in flamenco mode, and it was awesome.  Ever since visiting Spain last summer, I have really enjoyed and appreciated flamenco music, especially the guitarists. The skill level is far above your typical rock guitarists, and the feel is so precise, but also natural.  Every member of Cabal is an excellent musician and the fact that they are able to play flamenco music so well proves it.  “Individually, the band members have achieved an abundance of diverse experiences and accolades, including: Cordoba Guitar Company endorsements; a 4 star review in Modern Drummer magazine; performances with Santana, Willie Royal of Willie and Lobo, Greg Osby, and Christina Aguilera among others; tours in Western Europe, Latin America, and North America; and numerous CD recordings.”  Cabal has been able to combine their individual experiences to create a truly excellent sound with powerful vocals, ripping solos, and pocket grooves.   Check out a video of the band performing their Tango arrangement of “Besame Mucho.”

I know this is different from your typical article here at the Beat-Play Experiment, but we aim to cover a variety of genres, and this band has talent that shouldn’t go unheard.  There are a lot of bands like Cabal that don’t get much credit for their performances just because their music isn’t very popular in our current culture.  However, I think a lot of people could appreciate it.  Cabal consists of Ari McManus on vocals, Nicolaas Kraster on guitar, Christopher Austin on percussion, Jon McLaughlin on guitar, and Daniel Brock on bass.  If you’re ever in Sarasota, FL, be sure to see if this band is playing at a local spot.  Ari is a fantastic performer and creates a sensitive and fun vibe on stage.  They create a performance and atmosphere that you don’t want to miss!

By Steve Harpine | Nashville Ambassador | @Steve_MWL | Beat-Play, Music Without Labels, LLC

Digital Native Tongues

For whatever reason, I equate a lot of my experiences as a Beat-Play company member to several verses and hooks in my favorite songs.  I was born in ’77.  So, that sweet spot has EVERYTHING to do with A Tribe Called Quest, Wu-Tang Clan, The Jungle Brothers, Freestyle music, Gang Starr, Rakim, Big Pun, Biggie, and all of the other greats.  If you’re feeling me on this already, then read on.  If you’re a bit hesitant, then I invite you to step in; and understand why these pioneers have laid the foundation for elevated thinking and prosperous language skills.

And it goes a little something like this….

Lyrics from A Tribe Called Quest’s “Steve Biko”

Q-Tip simply rips it with:

Okay
I am recognizing that the voice inside my head
Is urging me to be myself but never follow someone else
Because opinions are like voices
We all have a different kind
So just clean out all of your ears
These are my views and you will find that
We revolutionize over the kick and the snare
The ghetto vocalist is on a state-wide tear
Soon to be the continent and then the freakin globe
Theres room for it all as we mingle at the ball
We welcome competion cuz it doesnt make one lazy or worn
We gotta work hard, you know the damn card
Try to be the fattest is the level that we strive
Try to be the fattest also to stay alive

This is the feeling and the passion that is communicated in every single one of our meetings.  Whether we’re tawkin’ about our Creative Designs, our Integrated Marketing plans, our Social Media tactics, our Web Development, or whatever.  We’re very fortunate to have a really strong support network.  This is a team of entrepreneurs and innovators.  There’s a magical chemistry that we’re brewing.

I remember when I first heard Tip spit this verse, I always knew that he would forever be a voice that leads a generation.  This verse kills in more ways than one.  4 highly essential things happen in one key exchange.  First, Phife’s dish to Q-Tip is classic:

Tip educate ‘em, my rhymes are strictly taboo

Fill ‘em with some fantasies and I’ll look out like Tattoo

Then DJ Ali Shaheed Muhammad just completely destroys it with the phattest jabs; he stabbed that record.    Then, Tip’s lyrics ignite the beast in just about anyone that takes their shit serious.  Peep the talented tempo and the BPM’s.  Fuckin’ Genius!  Finally, the Delivery is just pure HIP HOP.  That’s what’s up, and that’s what we’re all about.

*{pick it up @ 2:45}

 By: David Botero | Harrisburg | @DavewithMWL | Beat-Play & Music Without Labels, LLC

Dear Creek – “Dear Creek” [MUSIC]

Dear Creek

Dear Creek is a folk duo from Winchester, Virginia, who is accompanied by the Barefoot Wanderers, a collection of at least ten other artists, each of whom pitched in to make Dear Creek’s self-titled album a true masterpiece.  Combining folk with blues and jazz, the guitar with the harmonica and dulcimer, and flawless vocals with impeccable production Dear Creek and the Barefoot Wanderers create an incredible album. I really like track 2, Sunflower Seeds.

By: Elizabeth Stene | Beat-Play Ambassador South Africa | @LizMWL | Music Without Labels & Beat-Play, LLC

Perfect Monitoring [MUSIC HELP]

Think of your studio monitors as a window through which to view your mix. If that window is dirty or the glass warped, then your view becomes distorted. So In audio terms, working in an inaccurate monitoring environment means that every decision you make, be it balance, equalization or panning, is based on a distorted perception of your mix. The result will be mixes that will sound great in your studio, but don’t translate well to other systems. In this tip we’re going to explore the key factors involved and see what you can do to make the best of your monitoring situation.
Although The Yamaha HS80M monitors (above) aren’t ruler-flat they perform pretty well without any major peaks and troughs and a good bass extension. However the Yamaha MSP3’s (below) are somewhat less accurate with a more significant rippling across the mid & top end. The bass / lower-mid is somewhat recessed and the very low end rolls off early with a pronounced bass port ‘bump’
Room Acoustics:
Room acoustics play a significant part in shaping the sound that arrives at your ears. In addition to the direct sound from the monitors there will inevitably be some reflected sound bounced off walls, ceilings and any other surfaces in your studio. Because these arrive slightly delayed (having travelled further) they will cause phase cancellations / additions, affecting the tonal balance of the sound you hear. In the worst cases (think small box rooms with shiny wooden floors) the reflections may be almost as loud as the direct sound creating a very confused sound (like listening to your mix through a reverb plugin).
All rooms (and objects) will also have a what is called a resonant frequency, the frequency at which they will start to ring, a bit like a tuning fork. If your room exhibits an obvious ring then, again this can affect the accuracy of your monitoring. In the same way as you can identify frequencies to cut when EQing, set up a narrow EQ boost, turn up your speakers and sweep the EQ up and down, you’ll probably hear that certain frequencies jump out.
Full room treatments can run into tens of thousands of pounds, but there are plenty of solutions that you can implement on the cheap: Move your speakers away from walls to prevent any early reflections – particularly out of corners which will cause a noticeable bass boost. In an ideal world the distance between your speakers the nearest surface would be at least twice the distance between you and the speakers. If you have a shiny wood floor then a rug will make a noticeable difference with the added benefit of being cosy under foot and try to break up any other flat surfaces with furniture (a sofa or bookcase along the back wall is a good option).
With the home studio revolution the cost of actual acoustic treatment has hit the floor so for just over £100 Universal Acoustics offer a kit that includes 20 acoustic tiles and 2 bass traps. With tiles placed directly above, beside and behind the listening position a kit like this is a very cost-effective way to get a decent sounding room up to scratch.
If you’re going to get serious about treatment then it’s worth spending some time working out the flaws of your room and the designing a solution to suit that need, using a variety of tiles and traps to absorb and diffuse different frequencies.
Speaker Quality:
Perhaps the most obvious variable at play is speaker quality. In general the flatter the frequency response the better, as any significant peaks or troughs will result in the opposite peak / trough in the tonal balance of your mix – bright monitors will create dull-sounding mixes and visa-versa. You also want to use monitors with a decent bass extension, particularly if dance music is your thing, as the bass-end is always a tricky area to judge. A bass driver around 8 inches is usually provides sufficient reach, but you might want to complement smaller systems with a matching sub.
If a manufacturer doesn’t supply a frequency plot as part of their technical specs then that’s usually a bad sign, but specs should only ever be a guide, the real proof is in the listening.
Positioning:
You can have the flattest sounding monitors in the world but if you don’t position them and yourself correctly you won’t be receiving the full benefit. The ideal listener position is commonly refereed to as the ‘sweet spot’. If you imagine a triangle with speakers at two of the corners and you at the third, the distance from you to each speaker should be the same as the distance between the two speakers (probably around a metre for most home/project studios). The speakers should also be angled inwards to focus the sound directly at each ear with the treble driver at roughly ear height. Just as with microphones, the off-axis frequency response of speakers (i.e. outside the sweet spot) is often a lot more uneven.
It might sound obvious but you also want to avoid any obstacles, such as computer monitors or mixer meter bridges sitting between you and the speakers (an all too common sight even in commercial facilities). And you should lay out the rest of your kit so that during any critical listening you will be sitting in the sweet spot. As more and more production work becomes computer-focused the traditional setup of mixer between the two speakers and computer to one side is an increasingly imperfect solution.
Finally, you want  to make sure that your speakers are decoupled from the surface they sit on to avoid them vibrating in sympathy with your speakers and colouring the sound. Genelec’s 8000 series monitors feature an integrated decoupling and positioning system (called Iso-Pod)  that both minimizes vibrations and allows for precise angling of each monitor. But separate foam-based decoupling products are also available from companies such as Auralex that sit under your monitors and acoustically isolate them from the surface below. Beside the beneficial acoustic properties these will also help protect any other studio equipment on the same surface from potentially damaging low frequency vibrations.
Volume and Listening Behaviour:
Research by Fletcher and Munson in the 1930s demonstrated that the human ear’s frequency sensitivity varies with volume. These Fletcher-Munson Curves, as they have become known, show that at low volume we are most sensitive to the mid range and that as volume increases our hearing starts to flatten out. But monitor too loud and you run the risk of creating tracks that will sound bass-light in a typical listening situation. And of course there is also the issue of damage to hearing.
83db SPL has established itself as a good balance between a flat listening experience and safe listening level and in a future production tip we’ll run through how to calibrate your setup. An important part is working with at a fixed monitoring level and avoiding the temptation to gradually turn up the volume over the course of a session. So find a comfortable listening level and keep it there, only turning up when you need to hear the detail in a particular mix element.
Go forth and monitor accurately!
By: Shayne Byrne | Beat-Play Ambassador Ireland | @shaynewithMWL | Music Without Labels & Beat-Play, LLC

Wolftown – “Settle Down” [NEW MUSIC] [EVENT]

Wolftown

Wolftown is a promising new rock band out of Cape Town.  With edgy, bold sounds they are sure to make a footprint on the South African music scene.  All songs are written by the band, which consists of Sarah Pope (lead vocals and guitar), Damian Upton (bass) and Kyle Sanders (percussion).  When recently asked how they chose the name of the band they responded, “It has a massive meaning for us three. In this industry its dog eats dog and while preparing our songs for studio, we choose the name that we felt was the most dominant. We’ve worked really hard to be at the top of our game and we needed something to go hand in hand with all the hard work we’ve put in. So Wolftown is our way of representing our music, our passion, our past, our future.  See them live at Zula on September 16th if you’re in Cape Town!

 

 

By: Elizabeth Stene | Beat-Play Ambassador South Africa | @LizMWL | Music Without Labels & Beat-Play, LLC

 

Pure Solid – “Dub Lockdown” and set from Cold Turkey [FREE DOWNLOAD]

Pure Solid

 

Pure Solid is producer Damian Stephens (Dplanet) and VJ Anne-Sophie Leens (spo0ky). Together they create an intense audio-visual assault on the senses. Dplanet describes his musical style as ‘soundsytem music’, ‘robot army music’ or ‘dark’. This sound has influences of dub, grime, Detroit techno, Chicago house, acid, hip hop, juke and electro.  Spo0ky creates bespoke graphic design and video treatments that interpret and enhance the music, providing a powerful, immersive, hypnotic, audiovisual experience.  Check out the second track – Dub Lockdown – off their recent double EP Ghetto Dubs.

 

Cold turkey featured Pure Solid a few weeks ago, you can play or download their set.

 

By: Elizabeth Stene | Beat-Play Ambassador South Africa | @LizMWL | Music Without Labels & Beat-Play, LLC

 

Reigndear – Hurse [MUSIC]

Reigndear

 

Reigndear are a 3 piece experimental psychedelic folk band officially founded in Taiwan, January 2007, by South African brothers Kent Dylan & Wesley Jay as well as lifelong friend and multi-instrumentalist/producer Johnny Atterbury. Reigndear are a band who believe in the profound effects of music and they create a blend of music that is best described as “a nostalgic look at the present through the past & future” Starting January 2009 Reigndear began touring as a live duet in and around the greater Johannesburg area playing acclaimed venues such as The Bohemian, Tanz Cafe & Voodoo Lounge. In December 2009 Reigndear left Johannesburg for the sunny shores of Cape Town for four months, where they have been playing gigs at venues such as Zula, The Purple Turtle, Boo Radley’s & The Royal Albert Hall.  The band also released their first EP that same year and continued to travel to Taiwan and the United States to work on and promote their music.

 

 

By: Elizabeth Stene | Beat-Play Ambassador South Africa | @LizMWL | Music Without Labels & Beat-Play, LLC