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SOME STUFFS: Moon Duo feel space is definitely the place

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The duo known as Moon Duo are so far out, their promotional photo looks like it was taken in 1967. Maybe Sanae Yamada and Erik Johnson are, and we mere Earthlings have yet to fully value their power.

This power has been heard with the help of a 12″ single and an EP, but 2010 will be the year they blast people with their debut full length, Escape (Woodsist). Their influences include Suicide, Moolah, Royal Trux, and Silver Apples, so you know that the event is in their music. How they create their music will soon be seen by many.

(“Stumbling 22nd St.” is one of four songs that will be on the Escape album, which you can listen to for free by clicking here.)

John Book’s Best Of 2009: Best Hip-Hop Song

The moment I heard this song, I somehow knew that it would be my favorite of the year. It’s a very spiritual song for two spiritual artists, but it’s not an overly religious song by any means. Yet what hit me immediately, as I said in my review 9 months ago was the line “in my meditation, I saw a manifestation of elevation”. Braille may have written it as a means of saying he looks towards a higher power, but the song can also be a way to say “aspire for better”. By mentioning “meditation”, Braille suggests looking into yourself for guidance. As Maurice White of Earth, Wind & Fire wrote in 1974 on the Open Our Eyes album, “in our heart lies all the answers to the truth you can’t run from.”

Then you have the instrumental by Symbolic One, and with a drum break that was also used by the Beastie Boys 20 years ago driving the song forward, I was hooked. The song had an old feel, and as someone who has been following Braille’s music since his debut album, I felt this is perhaps what he has been aspiring to.

I am sure amongst their fans, the spiritual side of the lyrics take on one meaning. For me, it simply said “whatever you got, whatever you’re doing, wherever you’re at, try to better yourself. Aim high”. It was a small burst of positivity in a genre that sometimes gets caught in its own hype, or tends to eat itself into oblivion, but in an indirect way, Braille and Symbolic One wanted to “aim high”. In a pool of muck, they offered a bit of hope.

SOME STUFFS: Disco gets a smack, courtesy of Fan Death

Image and video hosting by TinyPic 2010 is vast approaching, and one group you may be hearing about in the new year/decade is a duo from Canada named Fan Death, who come together with a good amount of musical and performance history behind them. Dandilion Wind Opaine (on the left) and Marta Jaciubek-McKeever (the other left) have either been in various bands, have put together interesting projects of interest, or in the case of Wind Opaine, she is a great photographer too. In other words, Fan Death aren’t just going to be your typical female duo who will stand there and make you watch. They’re going to create something so you can have something to look at AND listen to. I would call this their collective (in)genius, because with their backgrounds, who knows what’s going to happen. Jaciubek-McKeever was in Girl Nobody and e.s.l., so if you’ve been wondering of her whereabouts, here she is.

A Coin For The Well will be their debut EP and will be released on Last Gang Records on February 23rd. The two are currently hard at work on a full length album. From what I can tell, these two are individually united for this common cause, and I have a feeling that at times they’re going to surprise each other with what they do within the context of Fan Death. Or their mission to offer disco to the now and future generations is deliberately/elaborately planned. Fresh.

REVIEW: U.O. Project’s “It’s Time For U”

Image and video hosting by TinyPic Upon looking at this cover, I knew it was jazz but I didn’t know who U.O. (Ulysses Owens Jr.) was or what kind of jazz it was. I know it’s bad to judge a book by its cover, but I thought okay, maybe it’s a bit of soulful jazz (or jazzy soul) and that he was a vocalist. Keep in mind I didn’t read the bio or the liner notes, I just went in and pressed play. Even with a song like “N’Awlins Greens” (the opener), I wasn’t sure what this could be but a minute into it… then two, then three. The core of this CD is not vocals, although two tracks do feature them.

Owens is a drummer, and a damn good one at that. The kind of jazz he plays as part of his Project is the kind of jazz I enjoy listening to a lot, whether it’s bebop, hard bop, funky jazz but not too much, he knows how to play the drums like someone trying to crack open a safe. He knows how to do all the right things at the right times, hold himself back and gently decorate the music, and then just play not only as the leader, but as a team member.

When vocals come into the mix, he allows others to share their talents. In the case of “Stop This Train” (a John Mayer cover), he brings in Alicia Olatuja, who easily makes you forget this is a Mayer song. My favorite track on here is a cover of Sam Rivers‘ “Cyclic Episode”, and out of the many jazz CD’s I receive on a regular basis, Rivers is not exactly a name that pops up along with those within the great American songbook. This is where his Project gets a chance to truly shine, as Sullivan Fortner (Hammond B-3, piano), Ben Williams (acoustic bass), and Tim Green (saxophones) take the long road towards musical ecstasy. For more of that spotlight, also realize that four of the seven songs here are Owens originals, including the tight “T.I.” and “Red Chair”, and Owens sounds incredibly comfortable behind the drum set playing these songs and showing off his skills, and skills he has.

As the title says, it is indeed …Time For U, but are you ready for U? Make yourself ready.

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