The Music Department

Album and Concert Reviews, Concert Calendars and More from WUTK's Music Department

My Journey to LEAF Festival

by jmckee10

While walking from the shuttle bus at gate three to Eden Hall, I am struck by a diverse and joyful crowd that breathes life into the Lake Eden Arts Festival. Young adults laugh and share stories around their campsite, tucked away in a festive network of tents, easy-ups, tapestries and hammocks. Busy children buzz among parents and grandparents and babble about the thrilling possibilities of fun that await them. Pre-teens gleefully lick ice cream cones, momentarily forgetting the pressures of growing up, and lose themselves in uncomplicated elation.

Twice a year – in May and October – nature’s beauty blends with the wonder of human creativity, spontaneity and love to create an unforgettable and transformative celebration. The LEAF festival is organized by a non-profit of the same name. Through festivals, community events and arts educational programs, LEAF builds community, connects cultures and enriches lives. There are many opportunities to become involved with LEAF, and those are definitely opportunities worth pursuing.

LEAF occurs in a pristine setting perfect for a festive weekend retreat. 600 acres of open fields, winding hiking and running trails, mountain streams and the beautiful Lake Eden nestle between the mountains of Black Mountain, North Carolina. The emerald peaks form a crown that surrounds the grounds, creating a cozy atmosphere of natural grandeur, clarity and security. In addition to the indigenous beauty, the LEAF festival grounds provide rustic cabins and barns, a lakeside dock, opportunities for canoeing and paddle boarding and a zooming zip line that soars over the lake!

While meandering from Eden Hall to The Barn, I pass a gypsy band producing jovial tunes out of an eclectic van to the delight of a spontaneous, energetic crowd. A man teaches his son chess on an oversized, black and white chessboard by the lake. Dancers on stilts perform a springtime routine of bees pollinating flowers. A woman relaxes on a bench with a breathtaking vantage point of Lake Eden and the surrounding mountains. Children shriek joyfully while playing tag among the campsites. A didgeridoo tutorial appears to be underway. Musicians, dancers, performers and visual artists mingle with families, lovers, friends and generations of music and arts lovers. Smiles, laughter and good vibes saturate the entire festival.

A variety of local food vendors offer organic, gluten free and vegan options as well as traditional crowd-pleasers like savory, smoky BBQ and hand-tossed pizza. Pisgah Brewing Co., Highland Brewing Co. and New Belgium serve local and national brews, including Pisgah Brewing’s LEAF Amber Ale, crafted especially for the festival.

It is easy to be captivated by the plethora of interactive arts, vendors, workshops and impromptu performances. However, the heart of LEAF reveals itself in the interactions between musicians and a captivated audience.

Martha Redbone inspires a crowded Eden Hall to dance to her folksy, thumping Appalachian beats, sing with her earthy, heart-felt holler and sway to tunes evoking nostalgic visions of rural Southern values.

R. Carlos Nakai captivates The Barn audience with haunting Native American flute music that sounds at once desolate and serene. He – like the other performers invited to LEAF – is a fierce advocate of music and arts education for the youth. Through his performance and educational efforts, Nakai instills the responsibility to pass on our talents and actively collaborate with and learn from open-minded artists of all walks of life.

Charles Bradley exemplifies the fact that an entertainer can emerge from any walk of life. The spirited, raucous and passionate 66-year-old performer dazzles both the crowd and members of his backing band, The Extraordinaires, as he leads us through a lyrical journey of love, heartache, confusion and determination. As captivated as I am with Mr. Bradley, I cannot help but be drawn to the gazes of immense pride, respect and awe that The Extraordinaires bestow upon the spirited Screaming Eagle of Soul.

The three aforementioned acts represent devotion to the craft of creating innovative music, inspiring creativity in all walks of life and encouraging a generation of youth through music and arts education. However, the performers at LEAF encompass a diverse range of global musicians who hail from as close as the Appalachian region to as far away as Africa and Australia. Every performer believes in the importance of sharing his or her craft with admiring fans and devoted youth musicians.

Walking back to the shuttle bus that returns a reflective and satisfied group to the parking lot, a strange but appropriate metaphor pops in my head. Like the shiny, reflective disco ball hanging above the stage in The Barn, creativity is a wondrous thing that redirects inspiration and beauty in multiple directions. To be creative is not to hoard one’s talents. Creativity comes with an obligation to inspire, to empower younger generations through education and to reflect brilliance in all directions. The message I gained from my experience at LEAF is this: the more artists share their gifts, the more those exploring their creativity can shine and the brighter this world inevitably becomes.

For more information about everything LEAF: http://www.theleaf.org/

Words by: Alexandra Pitzer and Joseph McKee

Photographs by: Joseph McKee

IMG_9790

IMG_9964

Charles Bradley

IMG_9746

IMG_9795

IMG_9803

IMG_9809

IMG_9813

IMG_9816

IMG_9839

IMG_9858

IMG_9862

So many activities!

IMG_9879

IMG_9902

IMG_9922

Martha Redbone

My Journey to Suwannee Springfest

by jmckee10

IMG_0062

Written by: Joseph McKee

          It’s already been more than a month since Suwannee Springfest took place and oh how I wish it were happening again next week.  For those of you not aware of this wonderful event, please get ready to be schooled on what you need to be doing next March.  Suwannee Springfest is an annual music festival that happens every spring in Live Oak, FL at Spirit of the Suwannee Music Park.  This is not your typical Florida beach trip by any means.  In fact, the nearest ocean water is more than sixty miles away.  Live Oak is located in the northern-middle part of Florida.  The music park itself is an enchanted kingdom full of all the  beauty and Spanish moss one could ever hope to see.  Another great thing that stands out about the Springfest is that it is the most family-friendly festival I have been to.  There are always little kids running around having a blast and there is even a “Kid’s Tent” that will help watch them for a bit if needed.  However, the fact that there are a lot of kids does not take away from any of the “adult” fun as some may be tempted to believe.  Most festivals are full of friendly like-minded individuals, but Springfest seems to have more than most I’ve attended.  I also never saw anything sketchy going on around the festival and campgrounds.

IMG_0592         

          I made my way from Knoxville, TN to this year’s 18th annual Suwannee Springfest (March 20-23), making it my second one and my fourth time being to SOSMP in all.  In tow was my good friend, Michael, who had never been to Suwannee, never heard of the festival, and was skeptical about the music that would be played at Springfest.  When I first mentioned the idea of going to Springfest he said, “I’m not sure I like bluegrass enough to see it that many days in a row.”  Although bluegrass is a major part of the festival, it would be incorrect to say that all of the music there fell into that category.  Labeling music is a task that many, including myself, try to avoid.  However, the overall spirit of Suwannee Springfest contains elements of Americana, newgrass, “jamgrass”, traditional bluegrass, and many things in between.  You have your more traditional bluegrass like Del McCoury Band to the jammier side of things like Greensky Bluegrass to funkier elements such as Donna the Buffalo.   Not being any sort of true journalist or writer, I found it a tad difficult to maintain “notes” in order to help me review the festival.  I found myself getting lost in the music too often, but below is my best attempt at enlightening you.  Here’s what all went down.

IMG_0860

Amphitheater

          We arrived at the park on Wednesday night.  Even though we were unable to see all of its glory since it was already dark, we walked around the grounds to give Michael a slight preview of the place.  There was not any music taking place this night so we both went to sleep early to prepare for the weekend ahead.  Thursday morning came and we were ready for the fun to begin.  Prior to seeing any music, Michael and I played a round of disc golf at the beautiful course that is located in the park.  We also chilled near the historic Suwannee River and admired its appeal.  The river is considered a blackwater river which essentially means it resembles tea or coffee.  Many people can be seen paddling around the river in kayaks and such.  Unfortunately, we did not not get the opportunity to do so this time.

Down by the Suwannee River

Suwannee River

Suwannee River

          The Rumpke Mountain Boys from Ohio  were the band that started off the weekend right for me by playing a pretty energetic set.  They describe their style of music as “Trashgrass,” a mixture of bluegrass and jamgrass. 

IMG_0079

Town Mountain

IMG_0104

Town Mountain

      Next up were the super talented Town Mountain from Asheville, NC.  Although I had already seen them, this set at Springfest really sold me on them.  There was a pleasantly mellow feel throughout the park as the crowd hadn’t quite built up yet. 

IMG_0294

Wildman Steve of Bibb City Ramblers

         Bibb City Ramblers (which includes Suwannee mainstay Wildman Steve on washboard) were a nice treat that I randomly wandered upon.  The Duhks followed by Love Canon both brought a party vibe that would close out the night.  Love Canon especially got the party going into the night with the majority (if not all) of their set consisting of cover songs from the 80’s including raucous renditions of “Take on Me” and Toto’s “Africa.”

IMG_0821

Steep Canyon Rangers

IMG_0663

David Gans

IMG_1204

Jason Isbell and The 400 Unit

           Friday afternoon highlights included a ripping Steep Canyon Rangers set and the superb songwriting talent of Jason Isbell and The 400 Unit.  All before this though was David Gans.  David Gans is a Grateful Dead expert and is host of  the nationally syndicated radio show, “The Grateful Dead Hour.” Not only that, but he had his own musical talent playing both originals and covers.  The highlight of the performance for me was his stellar rendition of “Dark Star.”  Then it was time for an act that I had heard numerous great things about, but had never witnessed them for myself.  It was time for The Punch Brothers to take the Amphitheater Stage in front of the biggest crowd at that point in the weekend.  Although all five members of the band are incredible, the most well-known is Chris Thile.  He is regarded as one of the premier mandolin players in the world having won numerous Grammy Awards including one for an album with Yo-Yo Ma, Stuart Duncan, and Edgar Meyer (Goat Rodeo Sessions, you should check it out).  Having said all this, I was clearly excited to see just what all the talk was about.  I can assure you that I was not let down.  The whole band seamlessly transitioned from one song to the next.  The Punch Brothers are one of the most musically tight bands that I have ever seen.  Their playing and sound show off their ability to play classically influenced bluegrass-like songs with ease.  The band had beautiful harmonies and this was best displayed during their encore of “The Auld Triangle.”  To sum it up, the music they produced was enchantingly inviting to the ears.  Greensky Bluegrass then closed out the night with an incredible set also on the Amphitheater Stage.  Although I  saw many super talented bands throughout the weekend, Greensky Bluegrass was my favorite.  I can’t say enough about how much I now like the band.  They will be doing some high-energy traditional pickin’ one moment and get into some crazy, spacey jam the next.

Chris Thile (The Punch Brothers)

Chris Thile (The Punch Brothers)

IMG_0864

Hammock chillin’

          A sunny Saturday morning arrived and with it came all of the people.  The festival was now as crowded as it would be all weekend (about 6,000 people is my very rough estimate).  My afternoon started out with a mellow and fun set by Jeff Mosier.  I then made my way back to our campsite where Michael was gently strumming the acoustic guitar that he brought.  I fetched the bongos that I brought and we began to jam a little bit.  It was pretty good considering it was merely an acoustic guitar and bongos jam.  However, some nearby neighbors heard what we were doing and came over to join the fun.  Pretty soon we had a guitar, fiddle, mandolin, and bongos jam going.  That right there is another example of why Springfest is so awesome.  It seems as though you could throw a rock in any direction and hit some type of instrument (not that you’d actually want to).  There are always jams going on around the campgrounds and many times some of the festival musicians can be seen joining the fun.

Surprise Henhouse Prowlers late-night set

Surprise Henhouse Prowlers late-night set

Sam Bush

Sam Bush

Del McCoury Band

Del McCoury Band

Del McCoury Band

Del McCoury Band

          The rest of the day’s highlights included Sam Bush Band,  Steep Canyon Rangers, Del McCoury Band, Greensky Bluegrass (joined by  Sam Bush), The Avett Brothers, Donna the Buffalo, and the McCoury Jam that finished out the night.  I already knew that I liked most of these bands.  The one I was not sold on beforehand was The Avett Brothers.  I honestly just did not know anything about their music.  I just kind of thought they were going to be a mainstream band that would pack the place out for no good reason (a tad harsh).  Much to my surprise I found this line of thinking to be very incorrect.  They did bring out the largest crowd of the festival, but I instantly realized why.  The band had charisma, talent, and an insane amount of energy.  I didn’t know any of the songs, but had a great time knowing that everyone around me was completely digging it made evidence through their many sing-a-longs.  The level of instrumentation and musicianship was very high.  I liked them enough that I recently made a point to catch some of their set at New Orleans Jazz Festival a couple weeks ago. 

Paul Hoffman (Greensky Bluegrass)

Paul Hoffman (Greensky Bluegrass)

Anders Beck (Greensky Bluegrass) and Sam Bush

Anders Beck (Greensky Bluegrass) and Sam Bush

The Avett Brothers

The Avett Brothers

Joe Kwon (The Avett Brothers)

Joe Kwon (The Avett Brothers)

IMG_2086

Donna the Buffalo

McCoury Jam

McCoury Jam

          As the early Sunday morning light glistened through the trees and into my tent, I was overcome with indescribable feelings.  If you’ve ever been to a music festival, then you know what I am referring to.  It’s the mixture of exhaustion, excitement for the day ahead, slight sadness that it is the last day, and others along these lines.  Once we packed up all the gear, I headed to the Amphitheater to check out Jim Lauderdale who always brings the smiles and good tunes.  He did bring the only rain of the weekend with him, but it did not last long and it was refreshing in my opinion.  To my pleasant surprise, he was joined by North Mississippi Allstars guitarist Luther Dickinson.  The two played numerous tracks from Jim Lauderdale’s new solo album entitled Black Roses which was actually produced by Mr. Dickinson. 

IMG_2302_1

Luther Dickinson and Jim Lauderdale

IMG_2357_1

Anders Osborne (Southern Soul Assembly)

          Speaking of Luther Dickinson, one of his newer projects Southern Soul Assembly would take to the amphitheater next.  The band is made up of Luther, Anders Osborne, JJ Grey, and Marc Broussard.    This set would end up being my last one of the festival because I had to get back to Knoxville in order to make it to class the next day.   It seemed like like much of the festival crowd had already left, but it sure was some beautiful music for those that stayed.  Very laid-back and soulful music filled the air which seemed all too appropriate given my state of tiredness.  I got back to the car not looking forward to the car ride home as I knew I had a long seven hours ahead and the fact that I would miss Donna the Buffalo’s festival closing set (as per tradition).  I took one last look around before leaving the festival grounds and waved goodbye (I actually did do this).  It was a beautiful time in a beautiful place in beautiful weather.  A few minutes into the drive back Michael looked over and said, “I now know that I like bluegrass.”  Do yourself a favor and join me at next year’s Suwannee Springfest! 

Lots of great food options

Lots of great food options

Everyone makes an effort to keep the park very clean.

Everyone makes an effort to keep the park very clean.

IMG_2239

All photographs by Joseph McKee

Information about the festival can be found at: http://www.suwanneespringfest.com/ 

 

RIP DJ Rashad: Footwork Playlist

by wutkmusic

WillCoe here again, the Chicago footwork genre is one of the fastest growing movements in electronic music in recent years, much due to genre pioneer DJ Rashad, whom we lost to a blood clot last week at the young age of 34. In honor of his legacy, and the amazing, unique music he created and inspired others to create, I have compiled a playlist of the best footwork and juke music I could find. If you’ve never listened to footwork before, I highly recommend Rashad’s album Double Cup, his lauded 2013 debut released on Hyperdub.

Image

 

Rotten – A Book Review

by admin

“I am an anti-Christ!” screams John Lydon, “I am an anarchist!” Those words begin “Anarchy in the UK” by the Sex Pistols, which Lydon fronted. The Sex Pistols were a English punk band, formed in the mid 1970s. Lydon described the band as “gaudiness incarnate. Musical vaudeville. Evil burlesque.” Their formation and existence as a band pioneered the punk movement in the United Kingdom. The band can be cited as one of the most influential bands on the planet. Journalists and writers, since the Sex Pistols’ birth and death, have written about the band, but Lydon calls most of it “sensationalism or journalistic psychobabble.” The rest of it “has been mere spite.”

Rotten: No Irish, No Blacks, No Dogs is an autobiographical account of the Sex Pistols, as told by Lydon and an array of other contributors. The book details Lydon’s childhood to his involvement with Malcom McLaren – their future manager – and through Sid Vicious’ death to the band’s break-up. The book’s title comes from a truth, Lydon says, “people invent new prejudices, and these days the prejudices we face are substantially different” (Lydon 310).

The book’s various contributors consist of Lydon’s childhood friends, bandmates, Billy Idol, Steve Severin (of Siouxsie and the Banshees), Lydon’s father, and label executives. Each provide information on the times, Lydon, the Sex Pistols, or how they were involved.

No Irish, No Blacks, No Dogs is set up in twenty-three chapters, called “segments.” The first segment begins with Lydon diving right into the story, talking about his last words on stage – “Ever get the feeling you’ve been cheated?” This is a good introduction, he doesn’t bore us with a chronological recount or an overly endearing anecdote. He jumps right in, leaving the reader to ask how did they get into this situation? The following segment begins Lydon’s account of his childhood.

Each segment is structured so that, generally, Lydon is the primary one speaking. When the cast of contributors chime in, they are given their own paragraph, with their name preceding it. In the first segment, Lydon discusses his childhood of being born to two Irish parents, who moved to England. His experiences were reinforced by Billy Idol, who explained his similar situation during childhood. Then it resumes Lydon’s voice.

The third segment is written by a “longtime childhood friend”, John Gray. During this segment, Lydon’s input would be like Idol’s in the previous segment. It reads like a journalistic Q&A, almost. As a heavily edited example:

John Gray: […] I remember going to a match with [Lydon] in Nottingham Forest, standing in the terraces for an hour and a half, freezing cold, bored out of my mind.

Rambo: I used to go to football in the seventies with Jimmy Lydon, John’s brother.

John Lydon: Professional team sports was a local thing.

Other segments would be told by Lydon’s father, Nora, Steve Severin, Paul Cook and more. Discerning who is talking at each point was sometimes irritating, but generally it is Lydon.

Lydon’s use of a cast of other contributors is an extremely good idea for an autobiographical piece. It isn’t one-sided. It isn’t just him telling his story. He has the others in place that help corroborate his story and increase the credibility of his story. From a journalistic perspective, having additional sources to provide alternative viewpoints throughout the story is incredibly effective. Especially in segment 20, label executives shared their experience with the Sex Pistols and the conflicts that followed.

Photos throughout the story present a behind-the-scenes side of the Sex Pistols and John Lydon. In a prologue sort of statement, Lydon says that most of the photos in the book are “more of a personal nature” and “very few of these have been seen.” The photos provide a human-side alternative to music press’ flashy and staged photography.

To sum up the review, Lydon’s use of rare photos, a cast of contributors and segmented story creates a balanced representation of his life and the Sex Pistols’ life. Lydon says, “Everyone in this book was actually there, and this book is as much their point of view as it is mine. This means the contradictions and insults have not been edited.” Rotten: No Irish, No Blacks, No Dogs is not just an autobiographical piece, but also an excellently constructed piece of journalism.

 

Directions to See a Ghost: A Review of the Black Angels

by admin

Originally written for my Journalism as Literature class, this is a review of the discography of the Black Angels – a psychedelic rock band based out of Austin, Texas. It could be expanded on and improved, and probably one day will be once I have a more extensive knowledge on psychedelic rock history.

 

Born in the mid 1960’s, psychedelic rock in the US emerged as a re-creation of drug-fueled experiences. Pioneers of the genre, like 13th Floor Elevators and the Misunderstood, put the LSD twist on psychedelic rock, openly endorsing the drug in their songs. They were also influenced by the UK’s Yardbirds’ techniques, like the rave-up of drums increasing tempo to a crescendo. Other bands like Pearls Before Swine (New York City), the Amboy Dukes (Detroit), Frank Zappa and Captain Beefheart (Los Angeles) helped lead psychedelic rock in the US. The coming years led to a climax at the 1969 Woodstock festival, boasting acts including Jimi Hendrix, Jefferson Airplane and Grateful Dead.

Fast forward thirty-five years, past the decline of psychedelic rock, past the rise of metal, post punk, shoegaze, and dream pop. Austin, Texas, is about to birth the grandchild of the 13th Floor Elevators. Taking their name from a Velvet Underground song, The Black Angels have returned psychedelic rock from the backburner into the forefront of independent music.

The Angels are Stephanie Bailey, Christian Bland, Jake Garcia, Kyle Hunt, and Alex Maas. Each member plays different instruments, switching out as their music sees fit, from bass to drums to keyboards to sitar. The members have interesting histories, as Bland is the son of a Texas preacher. Bailey and Maas believe a “little girl in a red linen dress” haunts the band’s home, according to their label’s website.

The Black Angels fit into the same psychedelic rock scene as Acid Mothers Temple or the Brian Jonestown Massacre, two figurehead bands in contemporary psychedelic rock. Formed in 2004, the band’s music features heavily reverbed guitars, droning organs and powerful drums. They’ve released four studio albums: Passover, Directions to See a Ghost, Phosphene Dream, and Indigo Meadow.

I was first introduced to the Black Angels by my French friend Victor. We were at our apartment complex sharing drinks and talking about music. He introduced me to the Austin Psych Fest – a festival put on by the Reverberation Appreciation Society, of which the Black Angels is a part.

He told me his “favourite band is the Black Angels” in his Parisian accent. I had never heard of them and took note to listen to them soon. As we enjoyed many bands in common, I knew this would be one worth checking out.

And they are. Starting with Passover, the Black Angels come out with strongly. It features strong fuzzed out guitars as the driving force behind some songs. Songs like “The First Vietnamese War” creates a warlike atmosphere with the simulated sound of rotating helicopter blades atop a loud intro. The album art features the words “The Black Angels” and “over” with the borders ‘echoing’ across the rest of the canvas – bringing to mind trails of an acid trip.

The next album, Directions to See a Ghost, has similarly trippy album art, featuring what looks like circles of barcodes with the band and album name in the lines. This is the album that got me hooked on them. Tracks like “Deer-Ree-Shee” bring in a sitar, like some early psychedelic acts. “Snake in the Grass” is a sixteen minute epic, transforming the entire way with drones, reverbed vocals and intense drumming.

Their next album – Phosphene Dream – was released by Blue Horizon, the label which kickstarted the career of bands such as Fleetwood Mac. A phosphene is the visual you get when you press on your eyes when they’re closed. Imagine that as a hazy experience and that’s what Phospene Dream sounds like. It has the psychedelic feel of the 60’s with tunes like “Entrance Song,” which features the lyrics “Rollin’ fast down I-35/Supersonic overdrive.” The closing track “Yellow Elevator #2” contains the similar lyrics of a psychedelic journey: “Nothing’s the same after that elevator.”

Indigo Meadow, the Black Angels’ most recent release, features bluesy guitar riffs like in the song “Indigo Meadow” and sounds reminiscent of Black Sabbath in “Evil Things.” This album features their signature anti-war sentiments in the form of lyrics of “War on Holiday”, describing post traumatic stress disorder: “I found one of us/Wounded yet fine/It’s sad how I found/We’re sleepwalking around.” My favorite track, “Black Isn’t Black,” starts with a bass line straight from the blues. Maas begins singing with “Babe, before I met you/Blackness everywhere.” The guitar echoes throughout until the track takes a left turn and the drums hit full force and the bass evolves into a fuzzed out line.

As mentioned before, the Black Angels are a part of the Reverberation Appreciation Society. It is a record label for Austin Psych Fest. Maas has said psychedelic music is about “an unbiased, respectful community of people sharing one interest.“ The RAS acts a record label, releasing albums from artists like Golden Animals, Holy Wave, The UFO Club (a Black Angels side project), and Cosmonauts – all within psychedelic rock.

In Asheville, North Carolina, I had the chance to see the Black Angels at a small venue called The Grey Eagle. They were performing with Golden Animals and Hounds of Baskerville, a band featuring Roky Erickson of 13th Floor Elevators fame. Golden Animals, a trio out of Brooklyn, started the show, playing short but bluesy songs. Hounds of Baskerville followed, playing their original songs with Roky Erickson at the forefront. They closed their set with 13th Floor Elevators’ hit “You’re Gonna Miss Me,” at which point waves of energy went through the crowd. Erickson has aged, but he and his band performed the song with as much energy as he did in the 60’s.

The Black Angels closed the show. None of the other bands had a major lighting set-up, but the Angels did. Psychedelic images, shapes, and colors were projected onto a large screen behind the band. At some points, the projection would record movements in the crowd and display them on the sheet. In keeping with psychedelic fashion, the band closed with a cover of Pink Floyd’s “Lucifer Sam,” ending with a noisy drone before departing the stage.

Through everything they release and do, the Black Angels keep 60’s psychedelic rock alive, but with their own twists. The Angels feature anti-war, drug-fueled, and psychedelic lyrics like past bands did. By putting on the Austin Psych Fest, they continue to promote and encourage development of psychedelic rock as a genre. And by touring and playing with the pioneers, like Erickson, they are in touch with the past, which enables them to progress. It’s as if the Black Angels picked up right where the 60’s and 70’s left off.

Tech it Out! Vol. 1

by wutkmusic

“In the beginning there was Jack, & Jack had a groove…”
1509e34005183da5ea4eb29150f341e5

Greetings ya dingus, WillCoe here to help you stay up to date with the newest in Tech & Deep House for your health. All this stuff has come out in the last two months or so and it’s all as funky fresh as humanly possible. Let the beat consume you and let’s Tech it Out!

Jake from the Midnight Voyage wanted to sleep all day so he made this…

by jakewhitewutk

It seems like I am way more tired this time of the year than any other time. So this morning when I woke up I decided to make this to accompany me as I fell back asleep. Listen to this while cleaning your house on a sunny day, or maybe listen to it as you lay in the grass for hours on end. I don’t know why I am trying to sell you this playlist, the music should sell itself, so listen to it and enjoy!