By Ali Shaheed Muhammad and Frannie Kelley

Terrace Martin takes his job very seriously. Here’s just a taste of what he sees as at stake when he goes to work: “You got the Marines. You got the Army. We are the only people that soothe them. The art community are the only people that soothe the people that violently defend us cause they have to sometime, or sometime they don’t, but regardless we are the only community that defends them.”

This conversation, our second with Terrace, got heavy, even teary. It was always going to, and we taped only two days after Phife passed. All these words came out of a too-tired-and-sad-to-be-false period of time, which isn’t to say that they aren’t leavened by Puffy stories and suspect relationship advice.

ALI SHAHEED MUHAMMAD: Terrace Martin in the building.


MUHAMMAD: Part two.

TERRACE MARTIN: Part two, man. The sequel.

MUHAMMAD: It’s happening, when we have return guests.

MARTIN: I love that, yeah.

MUHAMMAD: I’m like, “Oh, yeah. We official. We growing.”

MARTIN: I’m almost there, baby.

MUHAMMAD: No, you there.

MARTIN: I’m there. I’m here.

MUHAMMAD: Actually, you’re making us official.

MARTIN: S***. Shoot. Can I cuss on this?


KELLEY: Yeah. It’s fine.

MARTIN: I’m going to still not cuss. That’s my new thing, try not to f****** cuss so much.

MUHAMMAD: How you doing?

MARTIN: Cool, man. I’m happy, man.

MUHAMMAD: That’s important.

MARTIN: I’m happy.

MUHAMMAD: A lot of people might not be able to say that readily. Why are you happy?

MARTIN: I’m happy because, no matter, what I’ll always go under the understanding of: you could find beauty in every problem, and every day you wake up it’s always going to be problems. And this is not even no — this is not no deep miracle, spiritual s***. This is just really how I really feel. It’s beauty in every problem, and when I was younger, I could never accept challenges. I would turn away from challenges, life challenges, this, and that.

And then I realized that these challenges will never go nowhere in your f****** life. Challenge will always be here, so you have to press through every challenge. And I know every day is going to wake up; it’s going to be some form of challenge, but now I’m excited for every challenge. I’m excited for every challenge, every obstacle. I’m not even talking about in music; I’m talking about in life. None of my conversations are really on music now anyway.

But every obstacle that I encounter, I feel like once I go through it — cause I’ma make it through all of them — so once I go through the obstacle and I make it through, it’s like my own spiritual trophy. So I actually get up and I look forward to what may be the obstacle, cause whatever it is I’m gonna conquer it.

So that’s when I say I’m happy, that means I don’t live in fear. I don’t live in disbelief. I understand faith. I understand you have to lose faith to gain faith and to really understand faith. So that’s why I’m happy. Cause I understand those Earth, Wind & Fire-type things in my life right now. And I didn’t always use to understand that s***.

MUHAMMAD: What became the eye-opener for you to begin to see life that way?

MARTIN: When I started — when I realized this — cause I was young growing up in this record business. What started me — those things — I started opening my eyes about five or six years ago when things wasn’t that moving, as far as in Los Angeles with the hip-hop scene and certain — it was just another scene that I wasn’t versed at that was going on.

And sometime when — sometime in music when you don’t — it’s a psychological thing that happens cause in music, especially — unfortunately in a lot of things — but hip-hop music now, and I believe the past 15 years, some people — it became a thing to where it was OK to sound like everybody else and be like everybody else and look like everybody else. But all of my heroes and all of my teachers told me on records that I had to be different. So at the time, when I finally got good enough to be different, it was popular to sound like everybody else. And that was puzzling to me just in music in general, cause I don’t believe — I believe you should be yourself.

So it was a dark time business-wise for me and a lot of my friends in Los Angeles on the music scene to where we wasn’t working. Nobody was calling us to produce the records, to do the records, or record labels wasn’t calling. It was just a strong thing that was like a black cloud, I felt like, over Los Angeles, that — it really helped me get closer back to my saxophone. Cause I’ve always been a saxophone player, but when the records wasn’t going on, I had to play my horn really to make a real living again.

And through that is where I found out that — I realized what loyalty was, cause I had been disloyal really to the art. And I fell in love with kind of what it was supposed to be about, and that’s how I got lost in transition. That’s how all of us got lost in transition though. It was like a plague of some f***** up s*** going on in the music business. Just something was going on. But it —

KELLEY: Wait. So what was happening then? 2010.

MARTIN: They just —

KELLEY: Like music — what was popular? I can’t remember.

MARTIN: Music is always inspired by life, what goes on around.

KELLEY: For sure.

MARTIN: You know what I’m saying? I think a lot of just back then, it was just — I think it was going through a growing spurt. A growing thing. And that’s just what I — now that I’m older and I look back, I think it was that, and — I just think it was that.

But going through that dark time and not being called, not getting the phone answered or this and that, then I realized once it was just me alone in the room with my art, with my music, and I realized like, “You know what? Let me stop complaining about everything, cause at least I have my health and I’m able to get up in the morning. Play the horn, and I could still listen to music and then I’m just going to keep practicing everyday and stay loyal to the sound I want to do. And one day, something’s going to happen.”

MUHAMMAD: That’s a very —

MARTIN: And then that little m*********** from Compton came out, Kendrick Lamar.

MUHAMMAD: Well, I was gonna ask about him.

MARTIN: What happened?

MUHAMMAD: Since you brought him up, I was like — well, some people may take that and say, “Well, things got a little bit better. Maybe that’s why you can see things, life, from a brighter perspective.” But —


MUHAMMAD: But before we go there, in that sort of adversity, in having to look at life through a different lens because you’re now focused on yourself, focused on your relationship with your horn, focused on seeing life from a different perspective, it’s very freeing. And it may be difficult for people who are not there yet to really see how free it is. So in other areas of your life, if that’s how you looking, how does it then begin to pay off for you?

What I’m asking is that, now that you have a new understanding, a new vision, an outlook on life —


MUHAMMAD: — and how you’re treating just life in general when you wake up, how does it then, that transformation, begin to pay off for you? Like, you’re seeing, I guess, the fruits of that growth.

MARTIN: Because it — now that I understand. It’s — I’ve learned how to live alone now. Like, I’ve learned how to sleep alone now. Same thing with a relationship. I’ve learned how to be alone, because I had to be alone, you know what I’m saying? There was nobody to call or — and what I mean nobody to call, I mean it was — and when I mean me, it was — it’s a few of us. But me in general, I had to learn how to be confident and happy with the blessings I have around me and the people that I have around me and the facility that the creator has giving me to be able to move how I move, in general.

So I think once I really humbled myself within myself, things start turning around. So it’s paid off, because I’ve learned how to be alone. I’ve been stripped down of everything to be made whole again, to build back up again. You know what I’m saying? So now my values are different, my morals are just totally different, my foresight, I know my job. My job is only to be a servant of the community, and just to inspire. That’s it. That’s my whole job, and I know that.

That’s why certain things don’t really get to me. Cause I’m grounded. I know what I have to do, and I know that we’re on a mission. I know this whole movement that we’re on, art, is on a mission. We’ve been told to do something by the forefathers before us, you know, P.E., Tribe Called Quest, N.W.A. Like, we’ve been set a manual. So we have a mission. We have a book that we’re following right now.

So that’s how it’s paid off, because I’ve stayed loyal and I believe your gift will make room for you if you just stay loyal and just stay put. So many people just get — right when you get frustrated like “Ah!” and then bam something cool could happen, you know what I’m saying? And I believe that’s what — that’s what those negative energies want to do. It’s like, they want to confuse you, and they want to steal your joy.

Cause once your joy is gone, it’s a wrap. Cause happiness is temporary; joy is everlasting. So once your joy is gone, damn, then they could f*** with your head, and once they f*** with your head, you just left on the side of the road.

MUHAMMAD: So with regards to the new record, Velvet Portraits, it definitely sounds — it sounds like a transformation, this record. I don’t know what it is. It’s something about it. It seems lighter and pleasant. I don’t know if that’s —

MARTIN: Yeah, it is.

MUHAMMAD: — deliberate, or if that’s just manifestation of where you are.

MARTIN: My art, most of my art, is — a lot of it, at least 75% of it since I could remember it, even when I used to draw pictures as a kid on canvases, most of my art sometime is always reflecting the opposite of what I’m seeing or what I’ve been through or what I’ve seen.

So you have some cases in hip-hop, the gangster rapper, some certain ones will talk about everything they’ve seen, everything they’ve been through, everything they’ve done. Then you have the gangster that don’t rap, that doesn’t talk about anything. Those are my heroes. And all they did was do things and they would soothe people in the neighborhood of the other guys that sometime would come in and disrupt the neighborhood.

Those are my — that was my earliest experience with the first formation of what kind of Africa was I read about, just in a different way, as a village and a community. So my heroes are people like that, that just stayed and made sure their family was taken care of.

So art-wise, my thing is like with all these crazy things going on — you have some people that literally talk about what’s going on. Like, you have “We gon’ be alright.” You have J. Cole. You have all these people. And MCs can just — bam — pinpoint it. So my thing is I didn’t want to do art like that, because that’s being done by greats right now. I’m — I don’t believe in — I believe in finding my corner and trying to fill that void to paint a different picture. So my thing is I want to do, musically, soothing music to soothe the times of what’s going on.



By Andy Kellman, AllMusic

Jaye Adams, known as Jazz Cartier (and alternately Jacuzzi La Fleur), is a rapper whose vantage is reflected in song titles like “See You in Hell,” “Never Too Faded,” and “Black and Misguided.” Born in Toronto, Adams had to adapt to numerous environments in his youth. The stepson of a diplomat, he lived in several cities across the U.S., and also spent time in Barbados and Kuwait. He debuted in 2011, as a teenager, with the mixtape Losing Elisabeth. After he settled back into his original hometown, Adams temporarily sold drugs to support himself and took his time with the follow-up, Marauding in Paradise, released in 2015. The patience paid off, as the mixtape was a long-list nominee for that year’s Polaris Music Prize. Despite the exposure, Adams remained independent, without a label. Hotel Paranoia arrived the following year and was received with another Polaris nomination.

This article was originally posted on AllMusic.



































Source: http://www.allmusic.com/artist/jazz-cartier-mn0002894400/biography

Photo: http://urbanologymag.com/joey-bada-jazz-cartier-masters-of-the-stage/

Videos: www.youtube.com


By Chuck Dauphin, Billboard

Even if you’re not acquainted with country singer Aileeah Colgan, her “Country Scene” music video will definitely feel familiar. During the clip, she recreates the cover artwork of 21 iconic country albums as a way of honoring the legends she’s looked up to for so many years.

“When we sat down to write the song, we had talked about how people from the outside looking in think that the only thing that country music is about is dirt roads, belt buckles, and Johnny Cash,” she admits to Billboard. “You know what? That’s ok. I am a country girl. I love dirt roads, and I have a collection of belt buckles. I am country and that’s ok. So we wanted to pay homage to all the artists that have paved the way for all of us. We wanted it to be a fun and creative way of saying thank you for shining the light on country music, and making it possible for me to do what I’m doing today. That’s how the video came about.”

The singer filmed the video around her 24th birthday, so she chose the same number of album covers to tip her hat to in the video. Three were omitted from the final cut. When asked about some of her favorites during the clip, she doesn’t hesitate. “I watch it, and I laugh, because there were so many moments where filming it was so funny. The Conway Twitty album cover was so fun. There’s a part in the video where I do this awkward wink, and I am known for how bad of a wink I do. I got a chance to really just be myself.” Colgan stays true to the Twitty image of his later years, complete with his perm from 1979. She says her tributes to artists such as Garth Brooks, Dolly Parton, and Johnny Cash have been well-received.

“Everything has been so positive. People have commented about this or that album being their favorites. I think that people have been refreshed that it was a creative tribute to the artists they love. Obviously, they don’t know who I am yet, but they connect to these albums. It’s been a great experience for me in re-creating the albums, and becoming familiar with all the songs all over again.”

Colgan is proud of her country roots, which she hopes is apparent from “Country Scene.” “Being able to pretend to be in their footprints was an honor, because these people have done so much for me and for country music. I’m just grateful for the chance to pretend to fill those shoes. It’s been a great experience all the way around.

When asked about her formative years, the songstress says that she was born in Missouri, and with her father being a traveling pastor, the family was on the move a lot. But their support for her dreams is something she feels very strongly. “I’m the youngest of seven kids, and my father was a pastor. We didn’t have much money growing up. My parents have always been so great in supporting me. I want to work incredibly hard so they don’t have to. Being able to see some success with the video has been amazing. I can see my path. I can feel it in my soul that this is the right thing for me to do as a career.”

Music is something that runs in her blood, as her mother had a stint as a recording artist years ago. “In her early years, my mom was a touring Gospel singer. I love going into used record stores and Goodwills and trying to find her records. They were Katie and The Sunshine Girls and the Blessed Hope Singers. You can still find their records around. I’m very fortunate to have parents and siblings that support me.”

Colgan, who now calls Illinois her home, will soon be releasing a new EP titled Life’s A Beach, which she plans to promote on the fair and festival circuits. Her method of travel? A red Ford conversion van named Reba.

This article originally appeared on Billboard.































Source: http://www.billboard.com/articles/columns/country/7783955/aileeah-colgan-country-scene-classic-album-covers-interview

Photo: http://www.aileeahcolgan.com/

Video: www.youtube.com


By Timothy Monger, AllMusic

The New Respects are a high-energy throwback rock and soul quartet comprising siblings Alexandria, Alexis, and Darius Fitzgerald and their cousin Jasmine Mullen. The children of a Nashville preacher, twins Alexandria (guitar) and Alexis (bass) and their brother Darius (drums) grew up on gospel music, and while Mullen (vocals) heard a wider range of influences in the house, her parents were both songwriters in the Christian music industry, with her mom, Nicole C. Mullen, having established herself as a prominent recording artist in the early 2000s. Forming in high school as the John Hancock Band, the quartet was initially based around more of an indie folk sound. As they became more established, the influences of early rock, R&B, blues, and soul began to inform their sound, and their music became more dynamic. By 2016, they’d signed with Capitol CMG and changed their name to the New Respects. Following a pair of singles later that year, they made their debut in early 2017 with the Here Comes Trouble EP.

This article originally appeared on AllMusic.





















Source: http://www.allmusic.com/artist/the-new-respects-mn0003515695/biography

Photo: http://www.robcros.com/

Video: www.youtube.com


With his thick-rimmed glasses and sheepish demeanor, Will Toledo is much more Clark Kent than Superman. Sure, the 23-year-old songwriter behind Car Seat Headrest may be taller than most of the people he stands next to, but he has yet to find the particular swagger that’s so often apparent in rock stars of his stature.

Don’t blame the good folks at Matador Records, who have done everything they can to position Toledo as the heir apparent to Stephen Malkmus, Robert Pollard, and other titans of guitar-based indie rock. Last October, the label released Teens of Style, a collection of songs hand-selected from Toledo’s 11 Bandcamp albums and re-recorded as his proper solo debut. It was meant to register as a sonic boom on the rock-music landscape, but its frequent lightning flashes of brilliance only signified something bigger to come.

That something bigger has now arrived in the form of Teens of Denial, Car Seat Headrest’s second proper studio album and the first to feature an all-new collection of songs. “It’s sort of a unique situation,” Toledo explained when we caught up with him in Los Angeles, before a headlining show at the Natural History Museum of all places. While their names are similar, Style and Denial aren’t exactly sibling albums. Toledo describes Denial, out via Matador on May 20th, as the most ambitious thing he’s ever done, and early singles like the sprawling “Drunk Drivers/Killer Whales” might be the closest indie rock has come to perfection since Pavement bit the dust.

Rousing choruses, cut-to-the-heart lyricism, superfluous alter-egos — Teens of Denial pretty much nails every single ingredient that goes into a great rock record. And standing at the center of it all is the quiet, contemplative Toledo, who might just be the indie rock Superman we’ve been waiting for all these years. After chatting with the guy in person, here are five reasons why the glasses aren’t fooling us.

He Writes Angsty Rock Songs that Won’t Be Embarrassing 10 Years from Now

Toledo may be a few years removed from his teens, but he isn’t trying to hide the fact that teen angst still dominates his songwriting. “Drunk Drivers/Killer Whales” approaches that well-worn topic from a different perspective — or rather, several different perspectives at once. Toledo knew he wanted to write a song about that vague, listless, depressing feeling that settles in on the way home from the party, but he also wanted to reach beyond that, toward some kind of cosmic truth. He had just finished watching the documentary Blackfish and felt equally depressed about its depiction of captive killer whales, so he thought, “Why not conflate both forms of depression?”.

“Yeah, that was a thing where two separate, unrelated ideas came together,” he explains. “After the movie, I just had this idea for what became the bridge and the lyrics in the bridge. I think the killer whales is a perfect image that takes you away from the immediate action and draws out a contrast and comparison between the two ideas. And you know, you go from a car at night to a tank or an ocean.” The result is an odd kind of poetry, which looks silly on paper but really does find a new, mature way to approach the theme of teen angst.

It’s funny, Toledo observes, how the angsty music one listens to as a teen can be painful to revisit as an adult. He’s doing everything he can to fulfill the noble mission of writing honest, angst-ridden music that will actually stand the test of time. “I’m kind of impressed with my tastes as a kid,” he says. “As far as angsty music, I was into Nirvana, which still holds up, and Green Day, which I think in comparison to a lot of other pop-punk bands, they do hold up. American Idiot is still a pretty impressive concept album.

“But I think it’s totally a valid goal to aspire to: Having the sort of album where it can be something that maybe adults will smile a little bit about the kids listening to it, but the kids listening to it can grow up and look back on it and say, ‘That was a good album.’”

His Covers Hardly Sound Like Covers At All

One of the most delightful moments on Teens of Denial comes in a song called “There Is a Policeman in All Our Heads, He Must Be Destroyed”. The song starts off sounding like a straightforward cover of The Cars’ “Just What I Needed”, but Toledo superimposes his own vocal melody on the intro, and soon the “cover” becomes a new song entirely. It’s not until the song’s outro that he returns to the Cars song that inspired him, at which point it catches the listener off-guard. It’s a weird and delightful experience, and none other like it comes to mind.

Except for the fact that Toledo has been pulling off this trick for a while now. He brings up one of his earlier tracks, “The Gun Song”, which appears on his 2013 Bandcamp album Nervous Young Man. “My idea is that it would be a cover of Neil Young’s ‘Down by the River’, but that it would be extremely long and it would only go into that song at the very end of it. So that was the idea, that I would sort of showcase my own songwriting material in what was supposed to be a cover.”


Photo: http://www.spin.com/2016/03/car-seat-headrest-teens-of-denial-interview/
Video: www.youtube.com



By Zo

Like Soundcloud before it, Bandcamp has become the wild west for the beatsman and multi-hyphenates galore over the last few years. Living, breathing resumes of up-and-coming bedroom producers and small-batch labels alike. Look no further than Jakarta Records and Knxwledge for proof. DJ Harrison, a Richmond, VA native with all the tricks in the book, has made particularly good use of the cloud space with 26 releases over the last 6-plus years.

He returns with another stunner on the 21-track beat tape, TapeCookies2For the drummer and producer whose recently placed suites on Phonte and Eric Roberson‘s Tigallero and Joyce Wrice‘s Stay Around, the new tape offers a smooth and eclectic spread of heavy-swung heat from a young producer on the cusp of a breakout. And it may not even take a word-wielding sideman to make it work.

Fill the donut-sized hole in your heart with DJ Harrison’s dreamy new beat tape down below and head over to his Bandcamp page to keep digging into his expansive catalog. Hopefully someone scoops this kid up and makes their post-Dilla masterpiece. It’s time.











By Rob Wacey, AllMusic

Known for her heavily atmospheric and dreamy psychedelic sound that’s aptly described as “desert rock” or an extension of the neo-torch song, Alexandra Savior (full name, Alexandra Savior McDermott) is an American alternative pop/rock singer/songwriter from Portland, Oregon. Developing an eclectic musical taste during her teens, Savior became interested in writing her own songs at the age of 14. Inspired by a broad range of artists such as Otis Redding, Jack White, Amy Winehouse, and Etta James, she began penning her own lyrics and figuring out her artistic direction by logging melody ideas and different guitar techniques via tape recorder.

She first garnered industry attention in 2012, when she uploaded a cover of folk-blues musician Angus Stone’s “Big Jet Plane.” Earning praise from Courtney Love, the magnetic performance also landed the young creative on the radar of multiple industry representatives. The following year, she scrapped her original plans of attending art school and relocated to Los Angeles to pursue her music career more directly. The same year also saw further praise from established artists, particularly from Grammy-nominated Linda Perry, who compared her to Fiona Apple.

Toward the end of 2013, Savior had signed with Columbia Records and begun to work on more material. Subsequently, the label sent some of her material to Arctic Monkeys’ Alex Turner to propose a possible collaboration in order to establish Savior’s sound further. With radically different songwriting structures and style, Turner’s approach began to hone the young singer’s songs along a specific route, more accurately encapsulating Alexandra’s sound, which she describes as “being in the middle of the desert, and being abducted…[a]nd opening up into a desert realm, where there’s a bar with nobody in it, a dark red light in the corner, with a woman crooning in a long black dress.” Such a description exemplified the songwriter’s artistic sensibility and visual approach to her art overall, as opposed to purely focused on the sound of it.

Throughout 2014 and 2015, she got to work on her first full-length effort (under the working title of Strange Portrait) with Turner and producer James Ford of Simian Mobile Disco (Foals, Depeche Mode). Her first demo, “Risk,” then appeared on the second season soundtrack of HBO’s popular anthology crime drama True Detective. Billed on the soundtrack as Alexandra McDermott, she then decided to use her middle name as her last for her stage persona, based on a suggestion from Turner. Savior eventually changed the album’s title to Belladonna of Sadness, which arrived in April of 2017. The record was promoted by the singles “Shades,” “M.T.M.E.,” “Mystery Girl,” and “Mirage” ahead of the record’s release.

This article originally appeared on AllMusic.





















Source: http://www.allmusic.com/artist/alexandra-savior-mn0003425669/biography

Photo: http://buzzbands.la/2017/01/18/photos-hamilton-leithauser-teragram-ballroom/

Video: www.youtube.com


By Last.Fm

Whether surrounded by beating rays of Ethiopian sunshine or melodious waves of sound in a smoky room, Marian Mereba wears the title of your Highness graciously. Her music is a blend between internationally appealing melodies and fine-tuned lyrical ability reminiscent of influences such as Stevie Wonder and Bob Dylan.

Miss Mereba is a college-educated voice of the youth, with music that is the soundtrack for millions of universal stories. The echoes of her sensual voice over versatile, self-produced guitar and piano melodies coupled with lyrics that the whole world can sing to is what sets the immigrant’s daughter apart from otherwise worthy “competition.”

Closing your eyes and listening to Marian Mereba’s music takes you on a flight across the ocean to where everything began, then welcomes you back into a brighter world than the one you remembered.

This article originally appeared on Last.Fm.





























Source: https://www.last.fm/music/Marian+Mereba/+wiki

Photo: https://www.directlyrics.com/introducing-marian-merebagimme-the-light-acoustic-performance-exclusive-qa-news.html

Video: www.youtube.com MarianMerebaVEVO


By in

Yesterday after dropping a rather cryptic tweet, college friends turned R&B duo Majid Al Maskati and Jordan Ullman returned to the airwaves with a new single called “Phases.”

The song is set to appear on the duo’s forthcoming sophomore album of the same name. The sudden releases will definitely kick-start what was looking like a fairly quiet summer for Al Maskati and Ullman – with the exception of their much-anticipated Coachella performance. Per normal, “Phases” sees the guys flawlessly playing their roles – Ullman’s uptempo, synth-heavy production lives seamlessly alongside Maskati’s crooning.

Listen to “Phases” below.

Photo: http://www.brooklynvegan.com/majid-jordan-an/


The clip was shot in Oahu and features a cameo from producer Knxwledge.

Anderson .Paak is working on the follow up to his 2016 album Malibu in Hawaii. The artist shared a short video featuring his NxWorries collaborator Knxwledge yesterday alongside the message, ““Working on the new album in Oahu for a week. (sorry no sxsw).” According to .Paak’s publicist, the album that he is working on is not another NxWorries album but is his first album since signing to Aftermath.

The short video, which catches .Paak in his element on a rooftop, begins with a quote from Nina Simone and includes a rumination on the true nature of freedom. “Being fearless and being able to express, that’s true freedom,” he says. “I feel like I’m closer to God when I make music. I can do extraordinary things.”

Anderson .Paak recently opened up to Flying Lotus about his future endeavors, telling the producer that he and The Free Nationals have been “getting their album together and seeing their potential.”







Video: www.youtube.com

Photo: http://www.billboard.com/articles/news/magazine-feature/6842874/anderson-paak-on-malibu-album-working-with-dr-dre-life-struggles