Archive for October, 2010

The Extraordinaires | TheRFW Sessions

Wednesday, October 20th, 2010

The Extraordinaires live in theRFW studio, session and interview.​label/​extraordinaires

Production and Editing : Raymond Grubb

Audio Production: James Linck

Camera 1: Raymond Grubb

Still Camera : Matt Hutton


Wednesday, October 20th, 2010


Toronto-based trio BEDOUIN SOUNDCLASH is set to release their fourth studio album LIGHT THE HORIZON on October 26 in the United States. Recorded via the band’s own label Pirates Blend Records, the new album will be distributed in the U.S. through Nat Geo Music initially as a digital-only release with a physical release in early 2011.

The Juno Award-winning band–founding members Jay Malinowski (vocals, guitar) and Eon Sinclair (bass) along with new addition Sekou Lumumba (drums)–are determined to prevail after a period of reflection and restructuring. Since BEDOUIN SOUNDCLASH’s last album, 2007’s Street Gospels, drummer Pat Pengelly left the group prompting them to take a break during which Malinowski released a solo album and the band formed Pirates Blend Records. Returning now with LIGHT THE HORIZON, BEDOUIN SOUNDCLASH is back and in a fresh new way.

“It was necessary and I think it was great because it allowed us to reconnect with ourselves a little bit,” says Sinclair. “Since then it’s been amazing. Honestly, never better. Everyone’s feeling a lot more comfortable and healthy and positive and energized.”

LIGHT THE HORIZON–currently out in their native Canada–has received early critical acclaim (see quotes below). The band recorded the album in Philadelphia with famed DJ/producer King Britt, a member of the groundbreaking alt ‘90s hip-hop act Digable Planets who has worked with Macy Gray and Santigold and remixed tracks by everyone from Miles Davis to Everything But the Girl. The producer and City of Brotherly Love inspired the band to dig into their soul/R&B roots to evolve their sound and create something a little more urban. King Britt brought the guys to his regular Monday night Back 2 Basics residency at the club Silk City, where area musicians such as Jill Scott, Erykah Badu and members of The Roots still show up, sit in, and make music magic, which encouraged BEDOUIN SOUNDCLASH to record the new album live off the floor–something new and liberating for them.

Of the recording process, King Britt has said, “Working with Bedouin Soundclash has been a breath of fresh air in our crazy music business. They are a killer band, who actually play their instruments, know their history and respect the architects!”

On tracks such as “A Chance of Rain” and “Mountain Top”, longtime fans will hear the expected syncopated island beat but this time supplemented by that seductively lazy delivery and some gorgeously brash, brassy horns for added soul. There’s the anthemic, yet melodically grounded “Elongo” and the monumental “Brutal Hearts,” a devastatingly gorgeous duet between Malinowski and 20-year-old soul chanteuse Beatrice Martin (aka Coeur de pirate) with string arrangements by the legendary friend to Philadelphia soul Larry Gold (see full track listing below).

BEDOUIN SOUNDCLASH will also bring their innovative fusion of reggae, rock, punk and soul back to the United States this fall for a headlining run with Moneybrother supporting. It kicks off November 3 in New York City at Le Poisson Rouge, after which the band will make stops in cities such as Washington, DC, Cambridge, MA and Philadelphia, PA before hitting the Midwest for shows in Detroit, Chicago and Minneapolis. They’ll round out their month-long outing on the West Coast in Seattle, Portland, San Francisco, and San Diego before ending at The Troubadour in West Hollywood on December 9 (see full tour dates below). The band previously toured the States during the summer of 2009 when they were hand-picked to support No Doubt on the Midwest leg of their reunion tour.

Critical Soundbites for LIGHT THE HORIZON:

“…their strongest album to date…Light The Horizon is the sound of a reinvigorated band finding a new creative grip…Bedouin Soundclash began their careers as a reggae rock band, so it shouldn’t be any surprise they’ve chosen to mix more styles than before into their music. Light The Horizon brilliantly showcases a newfound musical maturity.”

–Kate Harper, CHARTATTACK.COM, September 28, 2010

“’Mountain Top,’ the first single, is a great song, a ska-inflected tune with an irresistible hook, a message of persistence and a singalong chorus worthy of early Police: ‘Call it what you want, call it old punk rock.’ Of the other tracks, ‘May You Be the Road’ saunters alongside lush strings, while ‘Fools Tattoo’ gets the bright polish of horns, and ‘Brutal Hearts’ features a steamy duet between Malinowski and French-Canadian songstress Coeur de Pirate. Recorded in Philadelphia by King Britt, who specializes in remixes, there’s a new soulfulness apparent in the band’s reggae hybrid. The songs pulsate with a resilient energy, low-key and unhurried, topped by the reedy soul of Malinowski’s unadorned vocals.”

–Lynn Saxberg, THE VANCOUVER SUN, September 28, 2010

“Still owing an influence to The Police and The Clash, the group’s new record is nevertheless both deeper and richer than their earlier work, and features not only more harmonizing and brass instruments, but also an experimental use of arrangements and beats.”

–Ben Kaplan, NATIONAL POST, September 27, 2010

“…there are ample instances of growth and departure, notably in hauntingly spare moments such as ‘No One Moves, No One Gets Hurt’ and ‘Brutal Hearts,’ a duet between Malinowski and Coeur de Pirate’s Beatrice Martin.”

–Leah Collins, CANADA.COM, September 30, 2010

LIGHT THE HORIZON track Listing:

1) Mountain Top

2) Fools Tattoo

3) May You Be the Road

4) Brutal Hearts

5) Elongo

6) No One Moves, No One Gets Hurt

7) The Quick & The Dead

8) Rolling Stone

9) A Chance of Rain

10) Follow the Sun





w/ Moneybrother supporting



New York, NY

Le Poisson Rouge



Washington, DC

Rock and Roll Hotel



Buffalo, NY

The Town Ballroom



Providence, RI

Jerky’s Music Hall



Cambridge, MA

Middle East Downstairs

* Mon


Philadelphia, PA

Silk City

* Sat


Detroit, MI


* Sun


Chicago, IL


* Tue


Minneapolis, MN

Varsity Theater



Bellingham, WA

The Wild Buffalo



Seattle, WA

El Corazon



Portland, OR

Hawthorne Theatre



San Francisco, CA




Solana Beach, CA

Belly Up Tavern



West Hollywood, CA

The Troubadour

* indicates Moneybrother will not be performing

About Bedouin Soundclash:

Formed a decade ago and named after Israeli fusion artist/producer Badawi’s 1996 release, Bedouin Soundclash debuted in 2001 with the album Root Fire. Their acclaimed sophomore release Sounding a Mosaic (2004) featuring the hit single, “When the Night Feels My Song” and produced by legendary punk-reggae bass player Darryl Jenifer of Bad Brains, earned Bedouin Soundclash their first Juno Award for Canada’s Best New Artist. Follow up album, 2007’s Street Gospels also produced by Jenifer, earned a “Pop Album of the Year” nomination and “Video of the Year” nomination for the single “Walls Fall Down” at the 2008 Junos as well as three Much Music Video Award nominations for their video for “Until We Burn in the Sun” in 2009. In addition to No Doubt, the band has also shared the stage with Ben Harper, Coldplay, Nine Inch Nails, Damian Marley, The Roots, Gogol Bordello, and Thievery Corporation among others.


Wednesday, October 20th, 2010


Contributing Writer & Photographer : Andrew “Dirty Santa” Wyatt []

My face felt as if was pelted by hundreds of darts. Sand choked my throat and lungs. The wind blew 60 miles per hour around me, and I couldn’t see people and objects just feet in front of me. My outstretched arms were no longer visible.

The wind blew so hard I began to wonder if I even existed. This was my introduction to the environs of the Black Rock Desert of northern Nevada this year for the annual Burning Man Festival. For one week in late August every year there, the barren northern edge of Nevada becomes Black Rock City, playing host to the crucible of festivals in America: Burning Man. It’s a sprawling city ornamented with towering, ornate art structures and populated by 50,000 people in elaborate costumes.

Like Jonah’s whale of the Old Testament, it can swallow you whole, only to spit you out disoriented and physically and emotionally drained. The festival, with a teeming population that makes it the fourth-largest city in the state, pushes its participants to plunge head first into a valley that, at one ancient time, was covered in deep seawater. It’s an experience that can be crude, spiritual, silly and self reflective.


The Black Rock Desert, surrounding mountains and nearby Pyramid Lake are normally home to a handful of small but hearty communities and a major Paiute Indian Reservation that stand up to the desolate winters and withering summers. The average daytime temperature in late August is about 104 degrees Fahrenheit. For good reason, the people there pride themselves on living their lives and raising their families under such natural extremes. But many still view the area as desolate and devoid of human existence. To many, the desert is a place where remnants of long-lost mining operations, gold diggers and the petroglyphs of once thriving native tribes mark the boundaries of where human contact ends. Much like receding floodwaters, the northern Nevada desert seems only to reveal the watermarks of previous civilizations. But for those who attend the festival, the mountainside watermarks reveal a rising tide of creativity, idealism and hope.



So what is Burning Man? Even after nine years of making the pilgrimage to one of the most unforgiving landscapes in this country, I find this to be one of the most stubbornly unanswerable questions in my life — right up there with past lives and time travel. Explaining Burning Man is like trying to explain how light can behave as both matter and waves. It’s a paradox.

The festival began in 1986 on Baker Beach in San Francisco, when a handful of people led by Larry Harvey burned a stick-figured effigy. Some speculate that he intended to memorialize a lost love or dead relative. Today, Burning Man has grown to be a haven that attendees call “radical fre

e expression,” filled with sculptures, art galleries, restaurants and weddings both legal and non-binding. This year’s festival showcased a towering 40-foot metal sculpture of a woman dancing, entitled “Bliss Dance.” The festival draws a wildly diverse population, including engineers, gypsies, computer programmers, hip-hop artists and airline pilots. There are hotel owners, bankers, hippies, lawyers, actors and actresses. And for no two people is the meaning of the experience the same.

As one “burner” paradoxically put it to me last year: “Following the Man means following yourself.”


As the gale-force sandstorm ripped away from the desert floor my first day at Burning Man, bands of dust-covered people were revealed, clinging to tent poles and metal beams of dance-club domes and bars. Under suddenly clearing tatters of cloud and a double rainbow, I suddenly realized the electric feeling crackling in my bones was the feeling of the earth, still in its place spinning on its axis, but my body, my mind and my heart were stripped clean. That night, Black Rock City, lit like the Las Vegas Strip, perched in its familiar place on the edge of the galaxy, blazing in its calm rotation through the whirl of stars; it was my soul that was sent spinning to the edge of its limits. As Henry David Thoreau once put it, I finally realized, “Our truest life is when we are in our dreams awake.”

Burning Man, on the dust-choked desert, is my dream with eyes still open.

Blackwater Music Festival 2010 | Photos

Wednesday, October 20th, 2010

Blackwater Music Festival 2010 – Live Oak, FL

Contributing Photographer : Fran Ruchalski


Wednesday, October 20th, 2010

Atmosphere | Congress Theater , Chicago, IL

Contributing Photographer : Joey Hill

Special thanks to Kingtello Presents!