Vermont quartet Twiddle has been creating music for a little over a decade now, but it wasn’t until roughly three years ago that the buzz about the group became something palpable. All of a sudden, wherever you went, somebody was dropping their name and you began to ask yourself “Who the hell is Twiddle?” And then you catch one of their many festival appearance sets, or at some club in your hometown, the entire place is singing and hanging on to every lyric to a song like “When It Rains It Pours” in sheer bliss, and you now have found the answer to that question.Now the band is preparing for their first headlining performance at legendary venue The Capitol Theatre on May 7th, with incredible New York-based instrumental rock fusion act TAUK (get tix HERE). This is a show that will not only tout a packed house, but is a clear example of two acts that are on the path to be the next big things in the jam scene for years to come. If you have been to The Cap, then you already know why you need to be there. And if you haven’t been there, then you best get on it.Check out Twiddle perform “The Great Gatsby” from their sold-out album release party for PLUMP at Boston’s Paradise Rock Club:Moving forward from The Cap show, Twiddle will be hosting their own festival in Burlington, VT July 29th and 30th. Tumble Down is a two-day event at Waterfront Park in downtown Burlington, and will feature two nights of headlining sets from the band, as well as additional bands to be announced in coming weeks, along with late-night sets, and a myriad of recreational activities, including a Charity Disc Golf Tournament that will support Twiddle’s charity, The White Light Foundation.Twiddle’s sound fuses several genres, but relies heavily on a funky reggae sound that has seriously catchy hooks and lyrics. If you could describe Twiddle music and their live performance in two words: Positive Fun. The band has unabashedly and unapologetically laid it all out on the table for the masses, and they are getting back what they have given. With their latest album, PLUMP, the band once again delivered “plush musical arrangements drawing from many different influences and positive messages and themes.” Long story short, 2016 is the biggest year yet for Twiddle, and the future is only getting brighter.Twiddle Captures The Healing Power Of Music On ‘PLUMP’Purchase tickets for The Capitol Theatre show w/ TAUK at this LINK.Tumble Down tickets are currently on-sale, check out the WEBSITE.Tune in to Twiddle’s Facebook page at 7 PM tomorrow for a Live Q & A!
Portland, Oregon’s own Americana band Fruition have lived up to their name with their latest release, Labor Of Love. From their days busking in the streets for spare change to the stages of Bonnaroo, the band has made a steady climb towards this new level through a mixture of hard work, talent, and a seemingly unwavering commitment to improve themselves as a band.The three singer/songwriters that make up the creative core of Fruition, Jay Cobb Anderson, Kellen Asebroek, and Mimi Naja all share the same general musical aesthetic of string music done soulfully. Having multiple songwriting perspectives can be a blessing and a curse for a band. If the thoughts and sounds put forth don’t mesh, the music runs the risk of not fully engaging the listener. That said, like the legendary group The Band, Fruition’s parts are all working together to keep the music going in the same direction.Now, releasing an album of impressive original material that culminates all their efforts and creates a collection of songs that provide a snapshot into the bands minds and hearts. The album leads off with the title track, “Labor Of Love,” which shows the effortless nature of the band’s musical blending. Mixing rougher sounds like distorted guitars and mandolins at the same time as the three vocalist partake in a old school “Call-And-Response” that shows an absolute comfort that enables the band to focus their energy fully on the job at hand. Though their skill sets my differ, they are completely in harmony with each other..Check out the first video from the album, “Labor Of Love”, below.The next track gives Mimi Naja a chance to shine in a bluesy, almost gospel like spiritual direction; a wistful ode to a too-far-away love, and a promise to move to the mythical city of “Santa Fe.” Naja’s voice is as powerful as any of the modern blues ladies, and she exudes a startling mix of confidence in her skill and vulnerability in her lyrics that grabs the very hearts of listeners and never lets go. Asebroek contributes some divine organ to that track, and drops his first contribution to the proceedings on the next track, “The Meaning.” His more lilting tones and the three part harmonies make a bit of musical alchemy, making the resultant blend truly golden.The rhythm section of Jeff Leonard on bass and Tyler Thompson on drums have a difficult job backing these accomplished writers, and their various takes on the material. Though they are called upon to keep the momentum going in times of near silence and absolute abandon they manage both points of the spectrum and all those in between in a way that many bands could learn from. The lack of musical ego in these songs is refreshing. Everyone in Fruition seems to be far more concerned with the songs integrity above and beyond all else, and the result, especially on tracks like “Falling On My Face” and “Beside You.”As the album winds to a close ,a bit of darkness creeps in around the edges within the psychedelic tune “Early Morning Wake Up,” which seems to capture the spirit of some of the denser oddities of the sixties while still remaining contemporary and easily related. Their string band roots show through in the short, succinct “Death Comes Knockin,” a defiant, grinding bluegrass number that could have easily be written a hundred years ago, but again seems as timely and as present as anything on the album. To finish out the album, the band delivers a blast of pure intentions through Naja’s fierce howl, as she cries out what might actually serve as a mission statement for these five talented friends. She sings of their drive to always move forward, no matter the cost. She sings of the possibility that she, and the rest, are losing ground, when that is clearly not the case.Labor Of Love is a startling complete record, sure of itself and what it’s trying to say. Fruition have reached a new level with this album, but if their past is anything to judge them by, there is much to look forward to from Fruition. But until then, they’ve given the world a wonderful example of what dedication and soul can accomplish when people work together.
The acclaimed Dave’s Picks series has just announced the 19th volume in their archival series, picking out a gem of a performance from the Grateful Dead’s career. The new Dave’s Picks Volume 19 release will spotlight the Dead’s 1/23/70 performance in Hawaii, as the band took their jams across the Pacific to the Honolulu Civic Auditorium.The show sees the band turning from a psychedelic novelty to a legitimate and talented grouping of artists, highlighting the transition between the 60’s and the 70’s. There are plenty of highlights from his great release, including the 38-minute version of the classic “Turn On Your Love Light” by Bobby “Blue” Bland, as sung by Pigpen.Check out more info here, and the full tracklisting below.Disc 1 1. China Cat Sunflower> [4:35] 2. I Know You Rider> [6:11] 3. Black Peter [8:36] 4. The Yellow Dog Story [3:14] 5. Hard To Handle [5:41] 6. Mama Tried [3:10] 7. Casey Jones [1:22] 8. Dire Wolf [4:27] 9. Good Lovin’ [10:00] 10. That’s It For The Other One [21:57] Disc 2 1. Dark Star> [18:45] 2. St. Stephen [5:02] 3. Turn On Your Lovelight [38:09] Disc 3 1. Cumberland Blues [5:37] 2. Cold Rain And Snow [5:36] 3. Me And My Uncle [3:32] 4. I’m A King Bee [6:25] 5. Mason’s Children [6:47] 6. Black Peter [9:41] 7. Good Lovin’ [6:23] 8. Feedback>[1:23] 9. And We Bid You Goodnight [4:25] 10. Dancing In The Street [9:18]
On Wednesday, December 14, 2016, a small portion of those affected by the devastating fire at the Oakland, CA artists’ collective known as The Ghost Ship, which took the lives of 36 people, gathered for an impromptu, collective mourning and celebration of the lives lost, those left and attempt to heal the numbing.Organized in only eight days, a slew of Oakland born and curated artists, writers and musicians took to the stage at the Fox Theatre, delivering their talents for anywhere from five to 25 minutes long, for almost four hours total.“I spent the whole day really pondering this thing,” said Les Claypool, founding member, bassist and visionary behind the event’s top-billing group, Primus. “There’s this heaviness and this darkness. I don’t think I’ve ever done a show that has been surrounded by so much pain.”Other performances included a DJ set from Beats Antique, Tycho, The Coup, Hieroglyphics, Thao Nguyen, the tUnE-yArDs, Kennedy Ashlynn of Them Are Us Too, Fantastic Negrito, Rogue Wave, Geographer and Dan Deacon, the only act on the stage that was not a native of the Oakland/ SF Bay Area.Of the dozen acts and performances on the stage, three were recently nominated for a Grammy Award: Tycho’s fifth album Epoch was nominated for Best Dance/Electronic Album, Fantastic Negrito’s Last Days Of Oakland was nominated for Best Contemporary Blues Album and Primus & The Chocolate Factory was nominated for Best Surround Sound Album.Ashlyn, who’s bandmate and significant other Cash Askew was claimed by the tragedy, gave the most haunting performance of the evening with Anya Taylor. The tribute to Askew, a quarter-tempo mammoth rendition of “The Sweetness” by Jimmy Eat World, encapsulated the days since the fire with brilliant exhaustion as the chorus and ghastly woah-oh-ah-oh’s begged, “are you listening?”Deacon’s high energy performance offered an injection of positivity that the somber crowd desperately needed, going as far to turn the floor of the Fox into an impromptu dance-off, and concluded the set asking everyone to stretch their arms out, and grab a hand.“It doesn’t matter if somebody else is already holding that hand,” Deacon said. “We all need all of each other right now. Hold each other up, it’s not an exclusive need.”The entire evening played through like a festival in fast-forward. The acts were eclectic, there was barely any overlapping of genre or sound and the unified message of solidarity and togetherness was stronger than I’ve personally felt at any typical indoor gathering.In between acts, while the stagehands worked in overdrive to turn around the stage for the next artist, local figureheads in the underground community – architects of safe spaces and outlets for outcasts. This included the event organizers like Another Planet Entertainment, who runs shows at The Fox, The Greek, The Independent and several other staple music venues in the Bay Area, Noise Pop, and Paradigm Talent Agency as well as community organizers such as Josette Melchor, executive director and founder of the Gray Area Foundation for the Arts.Gabe Meline of KQED gave a heavy, emotional reading of his December 4 article titled It Could Have Been Any Of Us. He, as well as nearly every speaker or performer that took the stage, recounted that sentiment and recalled their own introductions into these unsafe corners where society tends to shove the arts.“I feel strange typing these words, because I no longer live in communal artist spaces like this. But they stay with you. They shape us, make us more fearless, give us confidence, validate our dreams. We never forget what those spaces gave us, especially those of us who turned those dreams into a life, and re-fit ourselves back into a once ill-fitting world,” read Meline. “The people lost to the Oakland fire will never get that chance.”Outside of Dan Deacon’s engagement of the audience, the crowd on the floor and in the balcony was less than animated all evening. People were into the music, and some folks were drunk so it was a far cry from a room of statues. Everyone in the crowd was letting the music do what it has always done: transport your mind away from the limitations of perceived reality, from the world, from the pain.During the closing set, Claypool spoke to that reality from a perspective that doesn’t get tossed around in friendly family circles: as a parent, and called for more of these benefit shows to create a fund for updating the safety of music venues and out of code retreats.Donations are still being accepted, and more information can be found here.
This July, Beck will be headed to Morrison, Colorado, to play the legendary Red Rocks Amphitheater. New Orleans’ Preservation Hall Jazz Band will join Beck on July 11th for support, making for an exciting and a bit eclectic bill. Tickets for the show go on-sale April 14th, at 10 A.M. (MST) on Friday morning here.Additionally, PJHB shared a live video earlier today of “Santiago” from their upcoming album So It Is. You can watch “Santiago” performed live at One Eyed Jacks below:So It Is is due out April 21 via Legacy Recordings. The record will mark the septet’s second release and will feature all-new original music, inspired by their 2015 life-changing trip to Cuba.Bandleader/composer/bassist Ben Jaffe details the influence in this statement, “In Cuba, all of a sudden we were face to face with our musical counterparts. There’s been a connection between Cuba and New Orleans since day one – we’re family. A gigantic light bulb went off and we realized that New Orleans music is not just a thing by itself; it’s part of something much bigger. It was almost like having a religious epiphany.”The music on So It Is, penned largely by Jaffe and 84 year-old saxophonist Charlie Gabriel in collaboration with the entire PHJB, stirs together that variety of influences like classic New Orleans cuisine. Longtime members Jaffe, Gabriel, Clint Maedgen and Ronell Johnson have been joined over the past 18 months by Walter Harris, Branden Lewis and Kyle Roussel, and the new blood has hastened the journey into new musical territory.Inspired by that journey and reinvigorated by the post-Katrina rebuilding of their beloved home city, PHJB are redefining what New Orleans music means in 2017 by tapping into a sonic continuum that stretches back to the city’s Afro-Cuban roots, through its common ancestry with the Afrobeat of Fela Kuti and the Fire Music of Pharoah Sanders and John Coltrane, and forward to cutting-edge artists with whom the PHJB have shared festival stages from Coachella to Newport, including legends like Stevie Wonder, Elvis Costello and the Grateful Dead and modern giants like My Morning Jacket, Arcade Fire and the Black Keys.So It Is Tracklist:1. So It Is2. Santiago3. Innocence4. La Malanga5. Convergence6. One Hundred Fires7. MadPreservation Hall Jazz Band Tour Dates:4/13 – Solana Beach, CA – Belly Up Tavern4/14 – Indio, CA – Coachella Music Festival4/15 – Pittsburg, CA – California Theater4/17 – Seattle, WA – Neptune Theatre4/18 – Portland, OR – Aladdin Theater4/20 – Los Angeles, CA – Largo at the Coronet4/21 – Indio, CA – Coachella Music Festival4/23 – Asbury Park, NJ – Paramount Theatre4/25 – New York, NY – Highline Ballroom5/7 – New Orleans, LA – New Orleans Jazz & Heritage Festival6/3 – 6/4 – San Francisco, CA – Colossal Clusterfest6/9 – Manchester, TN – Bonnaroo6/24 – Pasadena, CA – Arroyo Seco6/30-7/2 – Rothbury, MI – Electric Forest7/28 – 7-29 – Camden, NJ – Xponential Music Festival7/11 – Morrison, CO – Red Rocks Amphitheatre w/ Beck8/5 – Kaslo, BC – Kaslo Jazz Festival
On Saturday night, Joe Russo’s Almost Dead returned to Brooklyn Bowl in Williamsburg, New York, for the sixth and final night of this year’s Fall Ball. Returning to the venue where the band was first conceived back in 2013 as a one-off project, watching Joe Russo’s Almost Dead last night on the final night of a sold-out six-night run was truly a pleasure and highlighted how far the band has come in past years. In the time since the Grateful Dead-inspired five-piece first came together at the annual, long-running Freak’s Ball (organized by the famous Freaks List of New York), the band has knocked out over 125 shows—with Saturday’s show marking their 24th performance at the Brooklyn Bowl—and collaborated with an enviable list of musicians, including Bob Weir, Phil Lesh, Oteil Burbridge, Jim James, and recently, John Mayer.John Mayer Joins Joe Russo’s Almost Dead On Night 5 Of Fall Ball [Photos/Videos]To celebrate the final night of their Fall Ball, Joe Russo’s Almost Dead was certainly in proper form, leaving nothing on the table as the sprinted toward the finish of the six-night run. Across the evening, though particularly during the second set, the band offered a number of tunes that they hadn’t played since early 2016 or before, with “Hard To Handle” making a reemergence into Almost Dead’s catalog for the first time since March 25th, 2016 at the Brooklyn Bowl (a gap of 56 songs), an “Unbroken Chain” jam returning for the first time since September 6th, 2015 at Great North Festival (a gap of 82 shows), and “Hey Bulldog” being played for the first time since July 2nd, 2016 at Aspen, Colorado’s The Belly Up (a gap of 50 shows).After a show-opening jam that landed in “Let It Grow”, Joe Russo’s Almost Dead transitioned into “Row Jimmy”, which featured teases of Paul McCartney and the Wings’ tune, “Jet.” From there, the group moved into another more formless jam, this time offering tastes of the Allman Brothers Band’s “Mountain Jam”, a song that was getting truly the royal treatment last night in New York City as Phish’s Trey Anastasio joined Tedeschi Trucks Band on a 33-minute rendition of the song inspired by Donovan’s “There Is A Mountain” at Tedeschi Trucks Band’s run-closing show at The Beacon Theatre. By way of “The Wheel”, which housed an extended “Space” before hitting “The Wheel Reprise”, Joe Russo’s Almost Dead closed out their first set with an offering of “Lost Sailor” and “Saint Of Circumstance.”Jam > “Let It Grow” “The Wheel” [Video: Tommy T]Joe Russo’s Almost Dead’s second set was a particularly high-energy offering from the group already known for its energized and creative reimaginings of Grateful Dead tunes. The band kicked things off with the forever-crowdpleaser “Shakedown Street”, which saw tastes of “Feel Like A Stranger” and “Let It Grow” worked in before it transitioned into “Hard To Handle,” the first of three tunes that reemerged from year-long hiatuses of longer. An “Unbroken Chain” jam was used to transition from “Hard To Handle” to the upbeat “China Cat Sunflower,” before the band landed into “St. Stephen,” whose extended jam portion saw teases of “I Know You Rider,” “Cosmic Charlie,” and more. The Beatles’ “Hey Bulldog” came next, before Joe Russo’s Almost Dead ended the second set with “Viola Lee Blues.”“Shakedown StreetTo close out the night in full, Pete Shapiro, Brooklyn Bowl owner and legendary concert promoter, came out to thank the New York City Freaks responsible for bringing Joe Russo’s Almost Dead together back in 2013 during the Freak’s Ball and the fan group’s continued and rabid support of the band ever since. After this sweet shoutout, the band came back out, aptly finishing off the show and their six-night Fall Ball with “One More Saturday Night.” You can check out the setlist to Joe Russo’s Almost Dead’s performance below, courtesy of Pete Costello.[Photo: Andrew Blackstein]Setlist: Joe Russo’s Almost Dead | Brooklyn Bowl | New York, NY | 10/14/2017Set One: Jam @ -> Let It Grow # -> Row Jimmy $ > Jam % -> The Wheel ^ -> Space -> The Wheel Reprise -> Lost Sailor & -> Saint Of Circumstance *Set Two: Shakedown Street + -> Hard To Handle @@ -> Unbroken Chain Jam ## -> China Cat Sunflower -> Saint Stephen $$ -> Hey Bulldog %% -> Viola Lee BluesEncore: One More Saturday [email protected] – With “In A Silent Way” (Joe Zawinul & Miles Davis) Teases (MB)# – With a Slipknot! Tease (JR & TH)$ – With a “Jet” (Paul McCartney and Wings) Tease (MB)% – With a “Mountain Jam” (Donovan/Allman Brothers Band) Tease (Band)^ – With a “Riders On The Storm” (The Doors) Tease (MB)& – With a St. Stephen Tease (TH)* – With a Terrapin Station Tease (MB) & The Wheel Tease (Band)+ – With a Feel Like A Stranger Tease (Band) and a Let It Grow Tease (Band). [email protected]@ – With Unbroken Chain Teases (TH) and Let It Grow Teases (Band). Not played by since 2016.03.25 at Brooklyn Bowl. Brooklyn, NY, a gap of 56 shows## – Not played since 2015-09-06 at Great North Festival, Last Breath Farm, Norridgewock, ME, a gap of 82 shows. With a Here Comes Sunshine Tease (Band)$$ – With multiple teases including Cosmic Charlie & I Know You Rider, I think%% – Not played since 2016-07-02 at The Belly Up, Aspen, CO, a gap of 50 shows
Today, Neil Young celebrates his 75th birthday, and after a decorated, 50+ year-long career as a musician, singer-songwriter, producer, director, screenwriter, humanitarian, entrepreneur, he’s still going strong. Young even recently became a U.S. citizen earlier this year after multiple failed efforts, which he claimed were denied due to his love for cannabis.Watch Neil Young’s Improvised Canadian Songwriters Hall Of Fame Acceptance Speech, Eh?With such a vast body of work to pull from, there are countless ways we could honor the beloved Canadian-American rocker on his birthday. Here, we’re opting to revisit arguably the most famous release of his career, 1972’s HarvestIn 1971, Young was in a time of growth in his career. He had recently parted ways with Crosby, Stills, Nash & Young, and Crazy Horse had signed a new record deal of their own, so Young had plans to release a live acoustic album as his next project. In 1971, Young headed to Nashville to record one of his new acoustic tunes on The Johnny Cash Show in promotion of the new acoustic album. But that trip to Nashville ended up serendipitously altering Young’s course.Watch Neil perform “The Needle and the Damage Done” on the Johnny Cash Show during the fateful trip to Nashville in 1971.Neil Young – “The Needle and the Damage Done” – The Johnny Cash Show[Video: shitilike]After taping his new acoustic lament “The Needle and the Damage Done”, he went in for a recording session at the local Quadrafonic Sound Studios (now Quad Studios Nashville) to jam and cut a few new songs he had written. The band consisted of a group of session players that had been pulled together at the last minute. Young felt such an immediate connection to the band (whom he eventually dubbed The Stray Gators) that he brought in Linda Ronstadt and James Taylor, who had also been part of the Johnny Cash Show recording, to help realize the unexpected burst of inspiration and chemistry.Young was so inspired by these Nashville sessions that he decided to scrap the existing live acoustic album concept, instead of using the fruits of his fortuitous 1971 Nashville trip as the core of a reimagined new release. The only remnant of the acoustic live concept that remained on the revamped album was a now-famous rendition of “The Needle and the Damage Done” akin to the one performed on The Johnny Cash Show.The result, 1972’s Harvest, received initially harsh critical reception. A Rolling Stone review famously called the album a “disappointing retread of earlier, better Young releases,” noting that “the discomfortingly unmistakable resemblance of nearly every song on this album to an earlier Young composition – it’s as if he just added a steel guitar and new words to After The Gold Rush.” However, the album was a commercial smash, eventually taking the #1 spot on the Billboard charts and going Platinum four times over. Over the years, the critical opinion of Harvest has done a virtual 180. It is now considered one of his greatest releases, was named the #1 Canadian Album of All Time in Bob Mersereau‘s book, The Top 100 Canadian Albums, and even Rolling Stone ranked the supposedly “disappointing” Harvest the 78th “Greatest Album of All Time” in a 2003 list.In honor of Neil Young turning 75 years young today, revisit his ’72 classic, Harvest, although it’s worth noting that one doesn’t really ever need an excuse to spin this classic:Neil Young – HarvestHappy birthday, Neil! Here’s to many more years of rockin’!
Load remaining images J.E.D.I. (Jazz Electronic Dance Improvisation) | 4/29/18 | Photos: Ronald Valle On Sunday, April 29th, J.E.D.I. (Jazz Electronic Dance Improvisation) burned the house down in New Orleans at Maison for a special show during Jazz Fest, making for one serious jam session. The band is spearheaded by world-class drummer Aaron Johnston (David Byrne, Brazilian Girls), and features a different cast of rotating musicians for each performance. Sunday’s iteration included a core band of bassist Marc Brownstein (The Disco Biscuits), keyboardist Borahm Lee (Break Science / Pretty Lights Live Band), and saxophonist Ryan Zoidis, and featured special guest collaborations with trumpeter Benny Bloom (of Lettuce / The Shady Horns), guitarist Eddie Roberts (The New Mastersounds / Matador! Soul Sounds), vocalist Shira Elias (Turkuaz) fellow Byrne band members and percussion section—Davi Viera, Mauro Refosco, and Gustavo Di Dalva—as well as bassist Nate Edgar of The Nth Power and guitarist Jeffrey Lockhart.The late-night show quickly became a who’s who of rotating musicians throughout the night, bringing artists from across the musical spectrum to simply vibe off each other and create sweet music. Lee, Zoidis, and Edgar joined the maiden voyage of J.E.D.I. with Johnston back in late 2017, which went off into a galaxy far, far away. As a result of its environment and ever-growing energy, last night officially went into the furthest reaches of the musical universe.You can check out the photo gallery from last night’s show below, courtesy of photographer Ronald Valle.Live for Live Music is currently in New Orleans this year for Jazz Fest, putting on a series of late night and daze between shows at clubs across town. You can check out our late night guide for a comprehensive list of what New Orleans has to offer during Jazz Fest, and you can take a look at our own late night calendar below.
Setlist: Breaking Biscuits | Purple Hatter’s Ball | Live Oak, FL | 6.2.18The Horror (RJD2), Can’t Leave The Night (BadBadNotGood), Inside You (Eddy Henderson)> Robot Rock (Daft Punk), 1999* (Prince), Phantom Pt. II (Justice)*W/ Roosevelt Collier Breaking Biscuits brought their two great tastes–the Disco Biscuits‘ Marc Brownstein and Aron Magner together with Break Science‘s keyboardist Borahm Lee and drummer Adam Deitch (also from Lettuce)–for a deep cut set of electronica, jazz, funk and hip-hop covers at the 2018 edition of the Purple Hatter’s Ball. While the futuristic supergroup has only had the chance to collaborate a handful of times, they never fail to astound and cause the crowd to get down and dirty. Their set at the Purple Hatter’s Ball even included a sit-in with sacred steel master Roosevelt Collier who kicked their cover of Prince‘s “1999” to religious heights!All of this funky music was being made for the best of causes. The Purple Hatter’s Ball was founded to keep the memory of a fallen friend to the Florida music scene, Rachel Morningstar Hoffman, alive and well. Though the story of her death is a true tragedy, the way the community has rallied behind the efforts to ensure her fate never befalls another is one of the more moving stories in the festival world. You can donate to The Rachel Morningstar Foundation HERE and then check out the two extended clips of Breaking Biscuits jamming tunes from BADBADNOTGOOD, Eddy Henderson and Daft Punk below. Enjoy!Breaking Biscuits – “Inside You>Robot Rock” – 6/2/18 Breaking Biscuits – “Can’t Leave The Night” – 6/2/18
Wes Anderson has become an iconic director of our time. Known for his distinct symmetrical shot frames (please do yourself a favor and check out Accidentally Wes Anderson if you haven’t already), pastel hues, meticulous details, and whimsical storylines, the critically acclaimed director surged into popularity after hits like The Royal Tenenbaums, Moonrise Kingdom, The Grand Budapest Hotel, and most recently, the stop-motion masterpiece Isle Of Dogs.Normally, Anderson takes his sweet time creating films, infrequently releasing movies in a close timeframe. However, as a followup to 2018’s Isle Of Dogs, a French newspaper, Charente Libre, reports that Anderson is currently creating a musical set in post-World War II France. While details about the new project are sparse, the movie is set to film in late 2018 or late 2019. Given Anderson’s past body of work, it’s likely that his go-to muse, Bill Murray, will make an appearance—a hunch that’s even more so likely given that Murray himself has been flexing his musical muscles as of late, touring as a contemporary classical musician with a string quartet.Regardless, if we know anything about Wes Anderson, this new film is going to be whimsical as fuck, and we’re here for it.[H/T Consequence Of Sound]