Photo by Paul Hitz
You can download Super 700’s
If there is one band that truly knows their sound and how to capitalize it, Super 700 might just be it. With eerie and epic rock noises flowing in every direction throughout the bands new album, “Lovebites”, Super 700 is sure to spread its viral bites of love across the ocean from Germany to the American cult-fans of bands like M83 and Goldfrapp.
The MuseBox is proud to have the opportunity to introduce this German electro-rock band and their brand new album (out TODAY!) to the tastemakers and early adaptor fans of American indie-rock culture for the first time.
The number 700 is a sacred number.
What makes Super 700 so special?
Super 700 are wild and smart, gorgeous and dishevelled, progressive and totally focused, very normal and extremely cool. Only the best can be heroes.
What the first worldwide download “Tango” promised, they delivered with their second album “Lovebites”: 13 tracks that that will wreck royal palaces, illuminate the darkest forests and makes the time disappear while listening on your iPod or your home stereo. “Lovebites” is infectious and addictive, but remains mysterious. Take “S.T.T.S.M.C” (abbreviated for “Somebody Tried To Steal My Car”), a sweet elegant late summer rain pop song or the dangerous and unconventional, “Second In Line” with oriental strings and forceful percussion breaks.
In the song “Rosebud” lead singer Ibadet Ramadani is only being backed up by a guitar and the background vocals of her sisters Albana and Ilirjana, a jazz ballad, like liquid glass. The title track “Lovebites” is inspired by late night horror movies culminating into a bombastic torch song, dangerous and majestic. Guitar and organ entwined like lovers. Like a slipknot around your neck. “Every honey bee is an angel of death” sings Ibadet in “Spring (The Old Pretender)”
Needless to say that Ibadet Ramadani has one of the most exciting, impressive, alluringly and hauntingly wonderful voices with attitude in modern music. The rest of the band: Albana and Ilirjana Ramadani are singing the harmonies, Johannes Saal on guitar, Simon Rauterberg on keyboard, Michael Haves on Bass and Sebastian Schmidt on the drums.
After Super 700 emerged as Berlin’s number one underground darlings, they released their debut self titled album in May 2006 on Motor Music. They created waves on their consequent tour that also took them to Los Angeles and Vancouver.
They played the Viper Room and The Key Club and performed in the studio of the radio station KCRW, as a guest of the world famous show “Morning Becomes Eclectic” – after DJ Nic Harcourt personally invited them, after he saw one of their shows. The songs for Lovebites were written by Ibadet and Bassplayer Michael early 2008 in France. The album is produced by Irishman Rob Kirwan (U2, Depeche Mode) and was recorded and brilliantly completed in the Planet Rock studios in Berlin.
If you still doubt the heroic qualities of the Berlin 7 piece, just listen to this record! All doubters should list as well. Super 700 is on its way. They left their Lovebites on our necks.
Motorcity's DEASTRO has been playing to packed houses here in the DIEtroit for a few years now and is making another trip to SXSW - his next single to be released will be on the newest Detroit based record label called Five Three Dial Tone as its virgin release.
Here's a link to the new track we're circulating from Crimes,
Will debut songs from upcoming third album at SXSW
Tue.Mar.03 ..... Charlottesville, VA ..... IS Venue ..... w/ Plants & Animals
Thu.Mar.12 ..... Louisville, KY ..... The Rudyard Kipling ..... w/ Chemic
Fri.Mar.13 ..... Ft. Wayne, IN ..... Bill's ..... w/ Prabir & the Substitutes, The Orange Opera
Sat.Mar.14 ..... St. Louis, MO ..... Cicero's ..... w/ The Silent Years, Deastro, Brave Citizens
Sun.Mar.15 ..... Little Rock, AR ..... Rev Room ..... w/ Chase Pagan, Johnny Rocket
Mon.Mar.16 ..... Shreveport, LA ..... minicine? ..... w/ The High Strung, The Peekers, Lover!
Wed.Mar.18 ..... Austin, TX (SXSW) ..... HypeMachine/BlogFreshRadio/TheMusicSlut Party
Wed.Mar.18 ..... Austin, TX (SXSW) ..... Friends Bar ..... DC Does TX Day Party
Thu.Mar.19 ..... Austin, TX (SXSW) ..... Club Primos ..... A Blog and A Band Day Party
Thu.Mar.19 ..... Austin, TX (SXSW) ..... Habana Calle 6 ..... Official SXSW Showcase
Fri.Mar.20 ..... Austin, TX (SXSW) ..... Mohawk ..... Hot Freaks Day Party
Sat.Mar.21 ..... Austin, TX (SXSW) ..... House Party ... website for details
Mon.Mar.23 ..... Denton, TX ..... Rubber Gloves ..... w/ TK Webb & the Visions, Appomattox
Tue.Mar.24 ..... Amarillo, TX ..... The Golden Light ..... w/ Cartright, The Shade
Wed.Mar.25 ..... Santa Fe, NM ..... The Sub ..... at the College of Santa Fe
Thu.Mar.26 ..... Boulder, CO ..... The Sundowner ..... w/ TBA
Fri.Mar.27 ..... Denver, CO ..... Hi-Dive ..... w/ the She-Bop She-Bops
Sat.Mar.28 ..... Nederland, CO ..... Venue TBA
Sun.Mar.29 ..... Manhattan, KS ..... The Dusty Bookshelf ..... w/ We Are Voices, McCoy
Mon.Mar.30 ..... Omaha, NE ..... Slowdown ..... w/ Oui Bandits
Tue.Mar.31 ..... Minneapolis, MN ..... Nomad World Pub ..... w/ Michael Morris
Thu.Apr.02 ..... Iowa City, IA ..... The Mill (Mission Creek Midwest Fest) ..... w/ Cartright
Fri.Apr.03 ..... Chicago, IL ..... The Hideout ..... w/ TBA
Sat.Apr.04 ..... Grand Rapids, MI ..... Founder's ..... w/ TBA
Sun.Apr.05 ..... Detroit, MI ..... PJ's Lager House (early!) .... w/ Great Lakes Myth Society
Sun.Apr.05 ..... Ann Arbor, MI ..... House Party (late!) ..... w/ Matt Jones, Wild Years
Mon.Apr.06 ..... Maumee, OH ..... The Village Idiot ..... w/ TBA
Thu.Apr.09 ..... Indianapolis, IN ..... Locals Only ..... presented by My Old Kentucky Blog
Fri.Apr.10 ..... Cincinnati, OH ..... Comet Bar ..... w/ M. Shelton's Picnic
Sat.Apr.11 ..... Lexington, KY ..... Transylvania University ..... afternoon show
Sat.Apr.11 ..... Lexington, KY ..... Al's Bar ..... evening show, w/ Coralee & the Townies
“After recently completing the comp’ I can’t wait for it to hit the shelves. I haven’t done a solo compilation in over two years so I really went to town on it,” he adds.And he isn’t kidding… James has produced two incredible discs that differ, yet compliment each other perfectly. Disc One – Down is what James describes as an ‘audio travelogue’, an intricately produced collage of beautiful electronica over-laid with his own ‘field recordings’, a suite of ambient sounds and spoken word that represent both his journeys on the road and in the air, and time and thoughts between gigs.
The result is one of the most beautiful, unique mixes to emerge in recent years.
In 2006 James was awarded the People's Choice accolade as 'Best International DJ' at the Australian Dance Music Awards. In 2007 he was awarded the Best British DJ at the DJ Mag Best British DJ Awards.
Taking place over the course of two decades, the story of the Best Friends organized crime syndicate—a notorious Detroit-based, all-black mafia dedicated to contract killings and the wholesale cocaine drug trade—major dealers with shipments directly from Columbian drug cartels. The Feds identified the gang as the first to monopolize the I-75 corridor: the distribution route that moved Colombian drugs from Miami to Detroit.
Later, their sophisticated McDonald's-esque retail franchise model allowed them to expand drug trafficking operations outside of Detroit to over fifty major cities. Their unwavering taste for violence left a wake of over a hundred known murder-for-hire hits and an unrivaled reputation. Their multi-million dollar flamboyant lifestyle allowed them to socialize with the celebrated likes of Mike Tyson to Mary J. Blige.
The organization's extensive social connections also fostered a last minute aborted hit on now-famous former target – Sean "P. Diddy" Combs.Some times its OK to walk the other way when you love your friends and you know that the road they have chosen is the wrong road. Brian ''Champtown'' Harmon tours the world with Kid Rock, deejays for Rock and Roll Hall of Famer Sammy Hagar's Cabo Wabo Radio, and runs his own Straight Jacket record label. He also teaches and is the artists and industry coordinator at the Institute of Production and Recording, a media-intensive private college in Minneapolis, MN.
The love of hip hop saved his life. Champ says he owes it all to LL Cool J, Whodini, Run DMC, The Fat Boys, and the business mind of Russel Simmons, all for being such positive influences and keeping him focused on something to live for, a goal to shoot for.
Quotes by Federal Authorities Note:
The Best Friends Gangland episodes airs March 2 on the History Channel, 8:00 p.m. central time ~ Watch Champtown put it down in celebration of taking the right path.
Release Date: March 3, 2009
A lot of great artists have come out of Montreal, a city that recently has given the world such celebrated bands as Arcade Fire and The Stills. Out of this vibrant music scene comes Beast, a new collaboration between Jean-Phi Goncalves, leader of his own cutting edge electro band Plaster and also an established platinum level producer (Ariane Moffat, Pierre Lapointe, Daniel Bélanger, Lauryn Hill), and acclaimed singer Betty Bonifassi (DJ Champion, The Triplets of Belleville soundtrack).
On the strength of its richly panoramic debut album and recent arrival as a galvanizing live band, Beast is off and running. The album is due for a March 3 release on Verve Forecast, but the song “Mr. Hurricane” was offered November 4, 2008 as iTunes Single of the Week. Not just in Canada, but wherever this important new bellwether is featured around the world.
The dynamic duo met in Montreal, but both are from France. Growing up in Angouleme (a town northeast of Bordeaux), Goncalves started at music conservatory when he was seven years old. He picked up drums at 10, and opted to continue his studies in Canada for college. Betty, who was born to a Czechoslovakian mother and Italian father in the French town of Nice, is more self taught, learning from singing along to many of the great jazz and soul singers. She also dug into the work of Jimi Hendrix and Led Zeppelin as well as horn players like John Coltrane and Chet Baker. “With Chet, all the singing was a continuation of his playing,” she explains. “I love that about listening and learning horn solos or guitar solos.” The result is a big voice that recalls the texture and sass of Shirley Bassey and Grace Jones and the dark subtlety of modern day singers like Beth Orton and Portishead’s Beth Gibbons.
After Plaster and DJ Champion shared some bills together, Goncalves, who plays drums in Plaster and Beast, invited the singer to come into the studio to add vocals to some unpolished pieces he was working on. Something immediately clicked, and that first session yielded “Devil,” the opening track. “I came in with text that I wrote, and the song came in an hour,” Betty recalls. “It was just obvious that there was something there.”
That something is a vibe and sound that inhabits a place where the cinematic grandeur of Portishead meets the immediacy of Rage Against the Machine. With help from lyricist Simon Wilcox, Betty strikes a balance between telling vividly detailed stories and still adhering to the concise songwriting structure of pop. Soul, rap, electro, rock and jazz (complete with a Charles Mingus bass sample on “Satan”) collide in Beast. “Trip rock,” Betty calls it, the phrase invoking the way haunting choirs and glitchy electronic bits run underneath saw-toothed bass and grinding guitars.
While the recording process took two years, Beast took to the stage for the first time, at an industry showcase in Montreal in 2008. Both seasoned performers, which no doubt separates them from many of the technologically savvy bands who record these days, Beast conquered the crowd and have since made quick work of becoming one of the most talked-about live acts in the Canadian music scene. At an inaugural Toronto performance, and with only a handful of live shows under their belts, Beast scored a perfect 100% on their NXNE Report Card from ChartAttack.
Throughout conversations with Betty and Jean-Phi, there is talk of contrast and dynamics. Beast also toys with dynamics in the live setting, projecting a rawer version of the band that is decidedly different than the studio project. According to Jean-Phi, “I love both settings, the aspect that it lasts on the record and that live it does not. I never like to see a live show that is the same as the record. ”
This quest to keep things new and mixed seems to be the mission statement for the two. “Jean-Phi is very fresh,” Betty points out. “He can change the music around in just a day. He keeps the ideas from before, but takes them in a new direction. There were no boundaries, and I love that.” For his part, Jean-Phi adds, “She always sings like it’s the last time in her life, and to me that’s inspiring.”
It all adds up to a Janus-like live band and studio project. Compelling in different ways and full of surprises, Beast will be a band to watch beyond Canada as 2009 unfolds.
"Mr. Hurricane" MP3 Download
Purchase “The Way It Was” and “The Lonely Ones” Here
ACEYALONE PREPS FOR RELEASE OF ACEYALONE & THE LONELY ONES
& pays tribute to the influential doo-wop genre.
The Los Angeles rapper and founding member of Freestyle Fellowship, Haiku D’Etat and Project Blowed, Aceyalone returns with Aceyalone & The Lonely Ones, which draws on Phil Spector, 60s girl groups, the J.B.s and a slew of raw, dirty funk for sonic inspiration.
For legendary emcee Aceyalone, being out of the norm has paradoxically always been the norm. After indulging his love of Jamaican music for 2007’s Lightning Strikes, the musically diverse emcee brings his admiration for doo-wop, blues and funk to the forefront. On the title track, finger snaps, falsetto choruses and Rickenbacker guitar dominate the production, a sound closer to Phil Spector’s Wall of Sound than today’s by-the-numbers beats. “What it Wuz” recalls the same era, but looks more towards Motown and Holland/Dozier/Holland production to emulate and update classic soul groups (think Martha & the Vandellas, Four Tops). “To the Top [Remix],” with its classic Bo Diddley beat, conjures up images of an early-20th century juke joint on Saturday night, while “Can’t Hold Back” is pure grimy funk, showcasing Aceyalone’s faux-bandleader personage as much as his emcee side. In true James Brown form, the emcee genially barks instructions to his band and engages the crowd in a rowdy call-and-response.
“I’m not from that era, but this is my ode to it,” says the emcee of the album’s feel. “I’m just putting myself into that character as a showman and bandleader. But I can still rhyme with the best of them. Artists are going to experiment and go different places and I love that whole era anyway.”
In stark contrast to the quantity-over-quality approach favored by so many emcees, Aceyalone has always prided himself on quality control. Aceyalone & The Lonely Ones is no exception. With Lonely Ones, Aceyalone along with producer Bionik, strikes down sonic boundaries and throwing the listener back to a time when music was pure, energetic, and fun. Aceyalone & The Lonely Ones isn’t just a collection of songs, but an album where every part is essential to its meaning.
In 1995, the emcee released his debut solo album All Balls Don’t Bounce, earning massive critical acclaim and Allmusic.com declaring Aceyalone “one of the greatest lyricists the West Coast has ever produced” and Bounce “a spectacular lyrical milestone.” Since then, the emcee has released eight more solo albums, with 2006 alone seeing the release of two albums. “You might say I’m prolific,” says Aceyalone, “but I’m still a work in progress. I’m just a conveyer of what’s already out there and people just don’t see it. I just interpret it.”
Aceyalone & The Lonely Ones represents another chapter in a consistently evolving career for the emcee. And after nine solo albums and countless more with others, there’s still a whole novel to go.
Aceyalone & The Lonely Ones will be in stores March 31, 2009.