Damien Jurado plays Swedish American Hall in SF on October 21st

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"Working Titles"

You could mess up my life in a poem
Have me divorced by the time of the chorus
There's no need to change any sentence
When you always decide where I go next

Many nights you would hide from the audience
When they were not in tune with your progress
In the end you're a fool like the journalist
Who turns what you sing into business

You could use to be more like a hero
A darker shade of damage distortion
Wearing death like a cape or a costume
Cut your ties and leave town when you want to

Killing time 'til I pass through the chamber
Or the room you keep my replacement
so fed up, still you're starving on paper
You're no him, but he's you, only better

Leave me an exit to damage
I could use a ledge to jump off of
I wasn't lying when I said this was over
I have questions that lead to more questions

Running time that will cut off my fingers
You wrote about me on every new record
And I'll show up in a title of your song
I only hope somebody requests it

What's it like for you in Washington
I've only seen photos of Washington
I'll never know

Leave me Manhattan, I want the evergreens
Write me a song I can sing in my sleep
As sure as the rain that will fall where you stand
I want you and the skyline, these are my demands

What's it like for you in Washington
I've only seen photos of Washington
I'll never know, know

Hercules' own HBK Gang plays The Warfield

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(Photo via hbkiamsu.com)

By Mikhil Chemburkar

Last Saturday night in San Francisco, The Heartbreak (HBK) Gang took 2,250 apmed-up concert goers at The Warfield on a one-way ticket to Shmop City. Liveliness was tangible on the warm night by the Bay, beginning with the line outside the venue, all the way to the very end of the event. Show openers (and Bay Area natives) Dave Steezy, Skipper, and Show Banga had the crowd on their side and feeling their high energy performances.

The chemistry on display during and between acts was unsurprising to anyone who knows the origins of the HBK Gang. The hip-hop collective, created in 2008 is mostly comprised of friends who met while going to Pinole Valley High School. It seemed that they knew just when excitement would peak because just at the right time, a wild Kool John came out with guest performer Lil Yee, delighting the crowd. By the time Iamsu! came on with his surprise guest Nef the Pharoah, the standing crowd more resembled an amusement park ride than a concert.

The crowded venue was engulfed by convergent vibrations from massive subwoofers, slapping speakers, and a sea of fans moving to hits like Mobbin ,  I Love My Squad, and Only That Real, just to name a few. Thankfully, Su played a number of songs off of older mixtapes Kilt (2012), Suzy 6 Speed (2012) and  Million Dollar Afro (2013) along with showing off his newest album Kilt 3 (2016). I have been an Iamsu! fan for the past few years but to be perfectly honest I was disappointed by his newest album.

As someone who’s relatively familiar with his work, I can see how this concert would be disorienting for those unfamiliar with HBK’s music.  For this very reason, I think The Warfield makes for a stupendous venue for any type of show-goer seeing most types of perfrormances. While floor admission tickets provide a more intimate environment, the multi-balcony seating allows for attendees to kick back, relax, and perhaps enjoy a beverage from the full-service bar. All in all, the biggest show of the #Iamsummer Tour was an extremely good time, and The Warfield was an awesome place to see it. 

I fully endorse anyone to check out The Warfield, Iamsu! (and/or the rest of HBK Gang) if you are lucky enough to have a chance. Here are links to some of the gang’s Instagrams (davesteezy, k00lj0hn, showy4mayor, heartbreakskipper) (here is a link to upcoming Iamsu! shows throughout the Bay.) Enjoy!

Four things I learned during my first trip to Outside Lands

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The scene above Golden Gate Park at OSL2016. (photo by Ray Chavez)

By Harrison Laver | @Harrison_Laver

Friday, August 5th was my first time at Outside Lands and my first major festival experience.  Being one of the most hyped events in California, Outside Lands was something I had long wanted to check out. After some proper pre-gaming in the Lower Haight neighborhood of SF, our group headed over to the event, and it was there that I learned four important things about this iconic Northern California festival in the foggy/sunny/foggy grounds of Golden Gate Park.    


1. Lines are everywhere, but can often be bypassed

My initial impression was this: there are a lot of people here.  To be more precise, one metric shit-ton of people (70,000 attendees on Friday).  At first glance, the line to enter the south side of the park seemed to be a massive group that had gathered to witness a speaker or something.  But it was indeed the line to enter OSL.  According to a police officer that we spoke with on the other side, the festival had received several threats and the FBI advised a thorough search of each backpack and bag that entered the grounds, which created a huge backup.  Once we finally got inside, there was one thing on our minds: beer.  And there’s a line for that.  But we needed 21+ wristbands as well, and there’s a line for that too.  This is the first thing I learned about OSL; there are lines everywhere.  However, if you plan accordingly and are willing to do a little walking, there often are ways to skip the lines.  

Gaps in artist set times often create a lot of people moving from one stage to another.  If you can time it right, you can arrive at an area of the festival that has minimal people, and therefore minimal lines.  I found that the timing was best around 15-20 mins after an artist had finished their set, or right smack dab in the middle of the set while most people are close to the stage (excluding the main stage, which more or less had big lines for the entirety of the festival).  Also, there seemed to be food and drink areas of the park that were a bit tucked away and didn’t have the crowds that some of the more popular areas had, which made them much more approachable.

2. Make a plan beforehand

One of the issues I faced was not knowing the lineup very well, so coordinating between stages and artists proved to be a challenge, and I ended up missing a few acts that I would have loved to see.  It was my first experience at a big festival so it was a little hard to wrap my head around the whole ordeal, and the fact that I was part of a large group made it a bit more difficult to organize.  So, I would suggest making a plan before you arrive at the festival in order to maximize the amount of artists you’d like to see.  Regardless, my group made it right up in front of the main stage to see Duran Duran and LCD Soundsystem, and both bands absolutely killed it.  I had no idea that Duran Duran had so many hits, and he was cranking them out in a distinctively classy and bold style.  And if you don’t already know, LCD Soundsystem live is pure euphoria.  

LCD Soundsystem returns to their old form in SF. (photo by Ray Chavez)

3. Golden Gate Park is a man made park

I had no idea.  Apparently the story is this (thanks Vince and Wikipedia): In the 1860’s, the public of San Francisco voiced a desire for a large public area, much like Central Park in New York which was in the process of being created at that time.  The area in which Golden Gate Park stands was a large plot of sand dunes known as the “Outside Lands.”  It almost became a racetrack under the lobbying of four millionaires, but thankfully the area was placed under the care of John McLaren, a world renowned horticulturist.   60,000 eucalyptus, pine, and cypress trees were planted to stabilize the dunes and create the park landscape.  In 1903 the Dutch style windmills were constructed to pump water throughout the park.  Golden Gate Park is effectively 20% larger than Central Park, which is further evidence that the West Coast is the best coast.  

4. It’s expensive, but worth the experience

It’s like a baseball game.  You purchase your tickets, but that’s only scraping the surface of the spending.  Once you’re there, you’re buying $11 Bud Lights and $8 nachos, and before you know it you’ve spent well beyond the ticket prices.  But all in all, you got drunk with friends, watched a great ball game, and had a blast.  

Outside lands is much of the same.  Except you may not spend more than your ticket price because those are pretty costly.  If you have the extra cash to spend, and are looking for an awesome weekend with an awesome festival experience, then OSL is definitely worth it.  I must have spent an upwards of $300 on food and drinks over the two days I was there, but I still walked away extremely satisfied.  Sitting on the warm grassy hillside of the Sutro Stage watching Foals deliver their dreamy indie rock, and seeing my friend DJ Grensta absolutely destroy the decks in the Heineken Dome on Sunday made it a weekend that I will never forget.  Don’t miss Outside Lands 2017!

Portugal. The Man outshines Cage the Elephant at the Bill Graham Civic

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Matt Shultz of Cage The Elephant (photo by Carly Robinson)

By Stephanie Sockel | @poams

Cage The Elephant has the CD you want, but save your concert money for the festivals.  No doubt, this Kentucky band rocks the radio and the headphones.  However, the performance at the Bill Graham Civic Center ended up falling a bit short.  The acrobatic show from the lead singer, Matthew Schutz, was not enough to carry the lack of depth of sound performed on Thursday night.  The show’s energy brought about a bit of 1997 Lollapalooza with all the crowd surfing and their pop punk influences, but the audible aspect of the concert was left flat.    

If the sound was the problem, it would have resonated true for the previous band, Portugal. The Man, who gave the audience a full progressive rock experience.  Portugal’s psychedelic sound was enough to pull you back a few decades and leave you wanting more without feeling a lack for the current state of music.  Portugal's sound was drenched in Pink Floyd undertones, yet the performance held on to current sounds beautifully.  It was easy to feel as if one was swimming in the sea of conceptual guitar riffs and dreamy keyboards without being stale or trite.  So sonic was the mood that closing the eyes transported you into a world of colors competing closely with the light show. 

Cage the Elephant belongs in your iTunes Playlist.  However, this was definitely a show for the early arrivers.  Bill Graham is a massive venue with a capacity of 5k+ and is no easy feat for sound.  If you go to a show, don’t bother with the seats, but rather wear comfy shoes and stand on the floor for the better experience. 

Do It: Playlist Cage the Elephant and Portugal. The Man. 

Wait for It: Cage The Elephant at a festival. Get the bang for your buck or try them in a smaller venue.

Don’t do It: Miss Portugal. The Man. when they come to town next. 

The boys of Portugal. The Man (photo by Shealin Ritter) 

Chance The Rapper rises to a new level with his mixtape: "Coloring Book"

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“I speak of wondrous unfamiliar lessons from childhood / Make you remember how to smile good / I’m pre-currency, post-language, anti-label / Pro-famous, I’m Broadway Joe Namath / Kanye’s best prodigy / He ain’t signed me but he proud of me / I got some ideas that you gotta see”
— Blessings (Reprise)

By Connor Buestad | Connor@Section925.com

The one and only time I’ve seen Chance The Rapper perform came as a complete surprise. It was at the halftime intermission of the Louder Than A Bomb (LTAB) poetry event in downtown Chicago, blocks away from where Chancelor “Chance” Bennett attended Jones College Prep. There was only time for three songs, but that was all I needed to become entrenched as a fan.   

The largest youth slam poetry event in the world, LTAB attracts individuals and teams of poets from all corners of Chicago. High schoolers walk onstage at a sold-out theater every March and discuss the deepest, darkest, and most powerful emotions that their city and country can produce in a teenager. The diverse crowd hangs on every thought provoking verse. Standing ovations for the poets are the norm rather than the exception.

Surprisingly, Chance doesn’t have any LTAB hardware to his name, but he still found his way on the main stage as a 21-year-old adult. Equipped with his signature smile, the beaming ball of energy delighted the youthful poetry fans at the Arie Crown Theater when he revealed himself as the night’s special guest. Chicagoans reacted swiftly, flooding the aisles with their phones ready to record, jockeying for the best position to see their youthful city hero drop some poetic lines of his own. Not surprisingly, the high school contestants didn't seem to mind him stealing the show.

True to form, Chance mixed energy, positivity, and fun/catchy lyrics to give the crowd something meaningful to latch onto. With various areas of Chicago beleaguered by guns, drugs, and overall strife, Chance seemed to know full well that his city needed his positive vibes, and he was there to deliver.

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(photo by Dave Kotinsky)

Chance The Rapper released his third mixtape on Friday, May 13, titled Coloring Book. The working title of the 14 song mixtape was Chance 3 (hence the album cover), but in the 11th hour, his fans were presented with a coloring book instead, and a lovely one at that.

Highly regarded by the hip-hop community and beyond, Coloring Book is already being talked about as a classic. Drake, Kanye West and Kendrick Lamar have all gotten their just do as of late, and rightfully so, but with Coloring Book, Chance seems to have a place at the table as well when you speak about modern hip-hop artists. Industry titans Kanye West, Lil Wayne, Justin Bieber, Future, and Jay Electronica all cut out time to rap with Chance on this mixtape, not to mention the Chicago’s Children Choir, featured on the lead-off track “All We Got."

Pretty impressive stuff, when you consider Chance is still just a 23-year-old who doesn’t have a record deal and who lets his music play for free on the internet. His distinctive voice can be found on various other records across the industry as well, including Kanye’s February Life of Pablo album. His ability to seamlessly collaborate with so many other artists has, and will continue to pay off handsomely for him and his fans.

Coloring Book comes on the heels of Chance’s first two mixtapes, his debut, 10 Day, was released back in 2012 while Acid Rap came a year later in 2013. The inspiration for 10 Day grew out of a 10-day suspension that “Little Chano” received for marijuana possession during his senior year at Jones College Prep (a selective enrollment Chicago Public School located downtown). As legend has it, Chance’s time off from school proved productive as it gave him time to create 10 Day, effectively putting his musical career in motion. Songs like “Nostalgia” and “Brain Cells” have a melancholy way of drawing you in and keeping you there; all the while interested in what the 19-year-old has to say about the world surrounding him.

Acid Rap, released in 2013, was the mixtape that made people really take notice of Chance, featuring song after song of raw talent and energy that makes it hard not to keep listening. "Paranoia," “Pusha Man,” “Acid Rain,” “Smoke Again,” and “Everybody’s Something” were just some of the songs that made a huge impression. Despite it being free, it still rose to no. 63 on Billboard’s Top R&B/Hip-Hop Albums chart after being sold by unauthorized retailers.

Coloring Book, at least after a weekend of listening, looks to be Chance’s most complete effort to date. The mixtape starts off with “All We Got,” a thrilling intro that gets one locked in to listen to an hour of Chance dropping bars. “And we back, and we back, and we back,” proclaims Chance. “This ain’t no intro, this the entree,” he assures us. Chance raps about his girlfriend (the mother of his first and only child) as well as other topics. He also let’s Chicago’s finest, Kanye West do his thing, not to mention the Chicago Children’s Choir. Overall, it’s a great way to draw one into a mixtape.

On the second track, “No Problem,” Chance welcomes Lil Wayne and 2 Chainz into the fold, and neither disappoint. It’s the type of song that makes you want to blast it as loud as possible on the freeway with the windows down, without a care in the world. The song makes reference to the record labels that Chance has kept at a distance. “Countin’ Benji’s while we meetin’, make ‘em shake my other hand,” he shouts. As expected, Lil Wayne’s appearance is a head-turner. “Half a milli’ in the safe, another in the pillowcase, codeine got me movin’ slower than a caterpillar race,” sings Wayne.

“Summer Friends” is the third song, and has a sound that reminds me of a Bon Iver ballad. Chance describes his life growing up on 79th street on the South Side of Chicago. He paints the picture of a more innocent time in the city, with less guns and stronger family ties. “79th street was America then / Ice cream truck and the beauty supply / Blockbuster movies and Harold’s again / We still catching lightning bugs when the plague hit the backyard.”  

Coloring Book's seventh song, titled “Mix Tape” has the most catchy beat on the compilation. “Am I the only nigga still care about mixtapes?” asks Chance alongside Atlanta’s Young Thug. The defiant lyrics, once again challenging the setup of today's music industry, will keep your head bobbing throughout.

Buy this art print by Tyler Powers here

“Mix Tape” gives way to the single of Chance’s third release. “Angels” comes at you with an incredibly catchy, fast-moving beat, with lyrics that keep you engaged throughout. Chance speaks about the city that he’s from and what it means to him. “I got a city doing front flips / When every father, mayor, rapper jump ship / I guess that’s why they call it where I stay / Clean up the streets, so my daughter can have somewhere to play,” he demands.

It is interesting to hear Chance mention the Mayor’s office here. Mayor Rahm Emanuel (Obama’s former right hand man) has recently fired Chicago’s police chief over the Laquan McDonald tragedy. Moreover, Chance’s father, Ken Bennett, currently serves as Mayor Emanuel’s chief of staff.

“Smoke Break,” the mixtape’s 12th song, features perhaps the hottest rapper on the market, Future. The sound on this track is immaculate and was produced by UC Berkeley grad Garren Langford while he was simultaneously finishing his senior year as a Golden Bear.

The 14th and final song is "Blessings (reprise)." "Blessings" is also the fifth track, but the reprise is something else. The song is beautiful on many levels, from the sound, to the rhythm, to the lyrics. Chance paints the following picture in the opening verse, “I speak of promised lands / Soil as soft as momma’s hands / Running water, standing still / Endless fields of daffodils and chamomile.” Chance continues on, recounting his rise to stardom and his passion for his craft. “I used to dance to Michael, I used to dance in high school / I used to pass out music, I still pass out music / The people’s champ must be everything the people can’t be.” Finally, Chance finishes his best work yet with the following questions, “Are you ready for your blessings? Are you ready for your miracle?”

In a mixtape lasting less than an hour, Chance The Rapper has put out a piece of art that will be appreciated for quite sometime, both by his home city of Chicago and hip-hop fans from coast to coast. Chance has arrived as a major player in the rap game and with his youthful energy and obvious talent, it looks like he’s here to stay. On Sunday, August 7th, San Francisco will host him in Golden Gate Park. The Bay Area will be hanging on his every word.

Follow the Section925 Spotify Playlist to hear the bands coming to the Bay Area this summer

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All of these great musicians are coming to play live in the Bay Area this summer. Listen to them below and click here for a direct link to follow this playlist. 

 

Donovan Frankenreiter - Friday, June 17th @ The Independent SF

Gregory Porter - Saturday, June 18th @ Fox Theater Oakland

Joe Pug - Saturday, July 9th @ The Independent SF

Widespread Panic - Thursday & Friday, July 14th & 15th @ Fox Theater Oakland

Wye Oak - Friday, July 15th @ Great American Music Hall SF

We Became Owls - Friday, July 15th @ Viracocha SF

Modest Mouse - Thursday, July 28th @ Greek Theater Berkeley

The National - Friday, July 29th @ Greek Theater Berkeley

Dej Loaf - Sunday, July 31st @ The Catalyst Santa Cruz

Atlas Genius - Thursday, August 4th @ The Catalyst Santa Cruz

J. Cole - Friday, August 5th @ Outside Lands Festival

LCD Soundsystem - Friday, August 5th @ Outside Lands Festival

Sufjan Stevens - Friday, August 5th @ Outside Lands Festival

Beach House - Friday, August 5th @ Outside Lands Festival

We Became Owls - Saturday, August 6th @ UC Berkeley

Radiohead - Saturday, August 6th @ Outside Lands Festival

Rogue Wave - Saturday, August 6th @ Outside Lands Festival

Phantogram - Saturday, August 6th @ Outside Lands Festival

Chance The Rapper - Sunday, August 7th @ Outside Lands Festival

Ryan Adams - Sunday, August 7th @ Outside Lands Festival

Wavves - Monday, August 8th @ The Catalyst Santa Cruz  

Alabama Shakes - Friday & Saturday, August 12th & 13th @ Greek Theater Bekeley

Ben Harper - Wednesday, August 17th @ Greek Theater Berkeley

Tame Impala - Friday & Saturday, September 2nd & 3rd @ Greek Theater Berkeley

Wilco - September 6th, 7th, 9th, 10th, 11th @ The Fillmore SF

Ray LaMontagne - Friday, September 9th @ Greek Theater Berkeley

Andre Nickatina - Saturday, September 10th @ The Catalyst Santa Cruz

Drake + Future (Summer Sixteen Tour) - Tuesday & Wednesday, September 13th & 14th @ Oracle Arena Oakland

Local Natives - Saturday, September 17th @ Fox Theater Oakland

El Ten Eleven - Thursday, September 29th @ The Independent SF

The Head and the Heart - Saturday, October 8th @ Greek Theater Berkeley

Kaytranada tours his debut album, "99.9%"

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Montreal's Kaytranada plays some cuts from his debut album 99.9% at his May 27th tour stop at MEZZANINE in SF. Toronto artist River Tiber was Kaytranada's opener. 

Tyler Blint-Welsh | @tbdubez

The transition from Soundcloud DJ into burgeoning mainstream artist isn’t an easy one. But don’t tell that to Kaytranada. Three-and-a-half years after his remix to Janet Jackson’s early 90’s hit “If” turned Kay into an underground darling his debut project, 99.9%, is his declaration that he’s way more than a serial remixer. The fifteen track album features notably versatile and experimental artists like Syd, GoldLink, AlunaGeorge and Anderson.Paak and puts on display Kaytranada’s mastery behind the boards. With its synth heavy production, 99.9% is an upbeat, genre-defying journey that skillfully blends elements from his Afro-Caribbean upbringing and electronic music background while also showcasing the hip-hop production chops that have landed him tracks with artists like Mobb Deep, Mick Jenkins and Talib Kweli.

Though the album isn’t necessarily “about” anything other than sonic experimentation, Kaytranada's use of texture and tempos influence your mood on a track by track basis in a way that most LPs fail to. The unpredictable progressions on each of his cuts hold your attention and drag you along with it, whether the mood is somber, dreamy or has you wanting to hit the club and dance your heart out.

99.9% has an electronic undertone, but that doesn’t stop Kaytranada from utilizing instrumentation. With multiple standout drummers on the album, including fellow Canadians Karriem Riggins and Alexander Sowinski of Toronto jazz group BADBADNOTGOOD, Kay mostly uses percussion instruments to help add energy and life to what would otherwise be dreamy tracks that border along psychedelic.

The project begins with “Track Uno,” a pulsating intro that serves as your welcome into the sonic world of Kaytranada. Beginning with a simple synth loop, the track subtly weaves in other sounds like bass, snares and maracas to create a groovy rhythm reminiscent of a mid 2000’s Pharrell beat. Though “Track Uno” is one of the more simple beats on the album, it helps set the tone for the rest of the listening experience as one full of unpredictability.

In interviews, Kaytranada has expressed his preference for intimate, house party scenes as opposed to sold out stadium rocking sets and much of 99.9% reflects that preference. None of the tracks overpower you with their sonic elements and instead allow you to get taken over by the music as if Kaytranada is voodoo master and his beatpad are his pins.

On “Together”, a track featuring AlunaGeorge and DMV wordsmith GoldLink, Kaytranada shows his penchant for getting the most out of his vocal features. Over his synth heavy production, GoldLink expertly spits an anchor verse between hooks from AlunaGeorge. What becomes apparent in listening to 99.9% is how little Kaytranada cares about lyricism on his tracks. To him, words are nothing more than a musical element that can be blended amongst the dozens of other sounds he wants to put in his tracks.

“Drive Me Crazy”, a single featuring Vic Mensa released well over a year ago, is the track that comes as close to mainstream hip-hop as Kaytranada is willing to fly. Over a reverberating bass that helps the track sound like a cross between “Down On My Luck” and his other Kaytranada assisted track “Wimme Nah”, Vic Mensa raps about his frustrations with fame in the rap game and the struggles he’s had with finding meaningful relationships in a world full of superficialities.

Though most of Kaytranada’s tracks are assisted (he has just four solo cuts), the standout track by far is “Glowed Up”, a braggadocious ballad from Oxnard, CA artist Anderson. Paak about his ascent through the music game. Starting off with a ominous theremin sound that feels like it’s transporting you into a UFO, Kaytranada quickly introduces glistening synths and a bass that perfectly supplement Paak’s gruff yet melodious voice. It’s the second half of the track though that reminds you how versatile Kay is as a producer and how adaptable Anderson.Paak is as a vocalist. Over a lively set of snare drums and chimes, Paak croons over the near two minute outro in a soft, reassuring voice that make you forget the boasting he was doing just prior. “Glowed Up” is the peak of 99.9%; combining two artists who perfectly complement each other and who you can tell would rather do nothing more than give us a glimpse of the world they live in.

Overall, 99.9% is one of the more complete debut albums from a producer in recent memory. Each track has a distinct feel, and it’s apparent that nothing about Kay’s work is generic. From his unpredictable beat switches, to the way he creates complex yet cohesive rhythms using seemingly contrasting sonic elements, Kaytranada explores aspects of music most artists are either unwilling or unable to. Though his sound is nowhere near complete, if the title of the album is any indicator, it’s pretty damn close.

Richmond Rapper Hugo Monster Impresses at SF's Brick & Mortar Music Hall

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(Photo by hugomonstah)

By Skaz One | @skaz1official

The self-styled rap tyrant of Richmond, CA, Hugo Monster is one of the best up and coming rappers in the Bay Area. I got the opportunity to see Hugo perform live at The Brick & Mortar Music Hall in San Francisco last month.  He brought an unparalleled energy to the stage, the likes of which I had not seen in years.  At least not at a show at a smaller venue.  It’s easy to get hyped in front of 50,000 screaming fans at forty bucks a pop, but there’s nothing like spitting some dope lyrics in a more intimate setting.

But there’s more to this rising star than meets the eye. Hugo Monster was born in an impoverished area of Central America and immigrated to the United States as a child. Citing Tupac Shakur as a childhood influence, Hugo began writing raps in the late 90’s. Early in his career he was known as "MC Huey," but was forced to put his rap game on hold in order to concentrate on school and work.  Unlike many rappers one sees in the mainstream media nowadays, Hugo was concerned with his future; whether that future involved hip hop or not. Fortunately, that future would involve rapping, in a big way.

First, he changed his name from MC Huey to Hugo Monster, due to his dominant stature and large presence. Next, he released his debut album, entitled Unleashed, in 2006. All the while, Hugo was performing as one half of the underground hip hop duo, Check One.  Along with the other half of Check One, Breakadawn Juan, he recorded Off The Top, the duo’s only album to date. He also released two more solo albums himself.  Hugo released a 5 song EP, entitled Hugo The Ugly, in March of 2013 and another full length solo album in 2015, entitled Monrocks.

Monrocks, as an album, is full of the same high energy as I saw when Hugo was performing on stage.  As an artist in the San Francisco Bay Area myself, I know that there are a lot of tough crowds out there, especially at underground hip hop shows.  But Hugo Monster had the crowd bouncing with the beat and partying like it was 1999.  With tracks like "Salvadorian Delorean" and "League of My Own," Hugo Monster displays a style like no other in the Bay.  Now partnered with producer Charlie Giant, Hugo continues to write pages and rock stages and his star is on the rise, so be on the lookout.

Some of the latest from Hugo Monster includes a new single by Check One named “Make It Happen” as well as a brand new music video.  The video is now on youtube and features StevieBoi and J Morgan for their single entitled One Double O. Enjoy some of Hugo's catchy beats, smooth flows and funky videos below.

A huge part of Hugo Monster’s success falls down to his music being easily accessible on Soundcloud. If you’re looking to follow in his steps and achieve this level of repute yourself, you’re going to have to get yourself noticed on Soundcloud too! Start by uploading your tracks and then get free soundcloud plays. This is a simple way to promote yourself and generate some hype around your music!

First Listen: East Of My Youth's new song "Mother"

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Thelma Marín Jónsdóttir and Herdís Stefánsdóttir played SXSW this spring. Their debut EP is due out at the end of this summer. (photo via EastOfMyYouth)

By Connor Buestad | connor@section925.com

This pair of Icelandic musicians have only been together for under a year, but have already found themselves on some impressive festival stages around he globe, including South By Southwest in Austin. Surely, their recent studio performance at KEXP in Seattle made quite an impression on us at Section925.  

As we approach the summer months, the upstart electro-pop duo is gearing up to release their first EP sometime around August. Today, the band shared a new track off the upcoming album. The song is titled "Mother." 

As of now, there aren't any Bay Area dates on the books for EOMY, but rest assured their will be and we'll be quick to let you know. Enjoy. 

Follow the band's SoundCloud page here.

Follow @EastOf_MyYouth on twitter here.  And Instagram here. 

 

And here's another great track by East of my Youth:

Ben Harper Plays at Pandora in Oakland

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“Call It What It Is”

They shot him in the back
Now it's a crime to be black
So don't act surprised
When it gets vandalized

Call it what it is
Call it what it is
Call it
what it is
Murder

There's good cops
Bad cops
White cops
Black cops

Call it what it is
Call it what it is
Call it
what it is
Murder

Trevon Martin
Ezel Ford
Michael Brown
And so many many more

But call it what it is
Call it what it is
Call it
what it is
Murder

Government, ain't easy
policing, ain't easy
hard times, ain't easy
Oppression, ain't easy
racism, ain't easy
fear, ain't easy
suffering, ain't easy

But call it what it is
Call it what it is
Call it
what it is
Murder

Gun control
Mind control
Self-control
We've dug ourselves a hole

But call it what it is
Call it what it is
Call it
what it is
Murder

Call it what it is
Call it what it is
Call it
what it is
Murder

Call it what it is
Call it what it is
Call it
what it is

The Lyrics From Drake's "Views"

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Drake and Steph following last December's Dubs-Raptors game in Toronto (photo by Dave Sanford)

Purchase the album here

"Views":

[Intro: The Winans]
Question is will I ever leave you?
The answer is no, no, no, no, no, no
Question is will I ever leave you?
The answer is no, no, no, no, no, no

[Verse 1]
Yeah, you feel the pressure, man, I know the pressure
And my wifey is a spice like I'm David Beckham
A lot of pent up aggression coming out of my section
OVO on me while y'all niggas was playing dress-up
And I know who gon' take the fall with me
They right here on call with me, they all with me
You could throw curve balls but I got the glove fitted
They been saying it's love, but it isn't love, is it?
Toast to the days when they wasn't out to get me
I worked at Jaydees Connections whenever Jason let me
Ceesay’s, I was buying fitteds everyday
Kiddie's Caribana trying not to catch a stray
I dropped out right before I graduate
Six credits left, my mama had her saddest day
"It's only up from here, I promise, you just gotta wait"
And she took my word for it, that's all I had to say
Lately I just feel so out of character
The paranoia can start to turn into arrogance
Thoughts too deep to go work 'em out with a therapist
I get a blank page when I try to draw a comparison
I'm getting straight to the point with it
Need y'all to know that I never needed none of y'all niggas
Fuck being all buddy buddy with the opposition
It's like a front of the plane, nigga, it's all business
But I haven't flown with y'all boys in a minute

[Verse 2]
Look, they'd rather run up on me than towards them goals
My niggas still hit the club when it's 20 below
Who you think running this show?
You saw it in me at 20 years old
The lingo start to sound like we talking in code
I got a pure soul, I don't do the hate
You don't worry 'bout fitting in when you custom made
Me and Niko used to plot on how to make a change
Now me and Kobe doing shots the night before the game
Still drop 40 with liquor in my system
Numbers going unlisted just to create some distance
I might see you on and off but I'll never switch ya
Niggas quick to double cross like both of us Christian
Lamborghini got me feeling like I'm Christian Bale
And I never bare my morals for the ticket sales
Tipping scales, bars heavy like triple XL
I never tag no one in, I'd rather get you myself
Running through the 6, thumbing through the contracts
I'm possessed, you can see it under the contacts
They think I had the silver spoon but they'll get it soon
I still got something left to prove since you left me room
Paint a plan for the family debt, we in the minus
And like it's going in a trunk, I put it all behind us
Where you tryna go? I got it, I'll take us wherever
I'm a staple in the game, all my papers together
And my life is on display like Truman
They wanna pre the movements, gotta start to make 'em sooner
My exes made some of my favorite music
I dated women from my favorite movies
Karma's such a thing of beauty
I'd share more of my story but you wouldn't believe it
It's far fetched like I threw that shit a hundred meters
I keep it 100 like I'm running a fever
I might take a breather but I won't ever leave you
If I was you, I wouldn't like me either

NPR Music "Front Row" - Beirut Full Concert

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(Via NPR Music on YouTube)

How does a band return from a recording hiatus that could have permanently displaced it from the audience's eye? If you are Zach Condon and Beirut, you just go about your business and pick up where you left off three years earlier. The group's First Listen Live show at Brooklyn's intimate Bell House on a rainy September night, a concert debuting many of the songs from the brand new No No No, its first album since 2011, showed that Beirut works through its obstacles. Maybe it helps when the initial idea behind a band is ahead of the curve to begin with, no?

When Condon's Beirut first came to prominence in 2006, it emerged from Santa Fe with a fully conceived, pan-global folk sound unlike any indie sensibilities popular on the day. Zach's trumpet and flugelhorn playing was informed by local Mexican mariachi horns, his engagement with the Roma brass bands of the Balkans, and modal jazz changes via a percolating bossa nova; he favored timeless instruments (ukuleles, accordions) and images, to the rush of the modern; and the songs his quavering tenor delivered, also traveled the old continents. Live, the group grew into a formidable sextet, heavy on keyboards, horns and harmony, a world onto themselves.

At the Bell House, Beirut ran down its entire career before a sold-out audience, and the songs from No No No, the band's fourth studio, fit snuggly alongside the older material, even as it heralded directions new and familiar. "Perth," for instance, featured a touch of the Memphis soul energy, with Ben Lanz's trombone adding a brassy bump; "Fener," a song about a neighborhood in Istanbul, is built around the motorik beat interplay between Aaron Arntz's keyboards and Nick Petree's drums, before dropping down into a great g-funk slink, guided by Condon's Moog. So seemingly apart from Beirut's musical environment, yet, here they were, a natural part of it, making the audience sway endlessly. The hiatus, it seems, simply made full hearts grow fonder.

Set List:

No No No - 1:31
Scenic World - 4:54
Elephant Gun - 7:27
As Needed - 12:08
Perth - 15:46
Santa Fe - 20:03
Postcards From Italy - 25:17
August Holland - 29:42
The Rip Tide - 33:49
The Shrew - 38:10
Fener - 42:23
Serbian Cocek - 46:08
At Once - 49:44
After The Curtain - 52:44
So Allowed - 56:27
Pacheco - 1:01:10
Gulag Orkestar - 1:04:16
In The Mausoleum - 1:07:41
Flying Club Cup - 1:11:20

Noise Pop's Growth Raises Industry Questions

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Makonnen Sheran of ILOVEMAKONNEN (photo via FB)

By Galen Barbour

The 2016 Noise Pop Festival was a huge success. With an overall attendance exceeding 21,000 people and 90% of shows sold out, this year marks the largest turnout in the festival’s 24-year history. Over the years, Noise Pop has provided a platform for aspiring acts of the Bay Area, while also serving as an incubator for future musical stars such as The White Stripes, Modest Mouse, Death Cab for Cutie, The Flaming Lips, The Shins, Fleet Foxes and Bright Eyes. This year was no different.

However, promoters of the event are not crediting the classic reasons for the festival's good turn out such as branding, talent or the weather. Rather, the event planning app “Do Stuff” along with Lyft are taking home the credit by organizing peoples interests and then helping them get there. It brings up an interesting paradox between independent artists and their inherent reliance on the internet and technology.

Welcome to an age where the physical turnout of an event depends upon the virtual organization of a pair of apps, and fame is measured in number of likes on social media rather than record sales. It begs the question, what does it mean to be an independent artist in this day in age, and how do you stay that way, if it's even possible?

Although I had limited access to the events themselves given the tight occupancy, I did take the opportunity to check out ILOVEMAKONNEN, at Ten15 and The Wild Ones at Brick and Mortar. Both shows were packed and highly anticipated by their respective fans, and the two artists were as far apart in style and spirit as you could fit under one event roster.

On one hand you have The Wild Ones. A five-piece band out of Portland, Oregon who’s electro-indie sound comes at you with clean grooves and abstract ambient synth-scapes. They're the type of group that talks to individuals of the crowd during performance and hangs out after the set to hustle t-shirts and chat about anything from their favorite beer to their newest album.

On the other hand you have ILOVEMAKONNEN, an artist who’s fame is broadly sourced to a Miley Cyrus shout out on Instagram, which helped send a quarter million likes his way and gave him exposure to bigger artists like Drake, who eventually co-signed him. Joining up ILOVEMAKONNEN with the OVO sound so beloved by Top-40 clubs across the nation that now seems to be a staple in the profile he’s taken as an artist. 

What made ILOVEMAKONNEN's show memorable wasn’t the way his clothes matched the odd choice in iconic branding that filled the video wall behind him (a matrix of scabby doll heads watching the crowd in a way that was obnoxious rather than eerie.) Or his pitch-imperfect auto tuning, or the dubbed singing. Nor was it the DJ he kept in the shadows, the 20 minute set, or the six minute selfie session. It was all of it combined that made made an impression on me, and not in the best way. Stranger still, it was all put on by Noise Pop.

To be critical, the crowd and sound seemed to be out of sync with the sea of black beanies and analog feel that Noise Pop draws to SF. It was the cheap lyrics, the lack of performance and the fact that nobody seemed to care which concerned me. Is this the beginning of the end for a legendary indie festival that’s kept its non-corporate vibe for 23 years in a city that’s been continuously incorporating itself?

Well, to be fair, with over 150 artists present at this year’s festival it stands to reason that there would be something for everyone. And, after all, ILOVEMAKONNEN is in the spring of his fame and could still be considered up and coming. Furthermore, if one looks past the garish production and generic sound to the actual body of work the man has put out, a different picture emerges. Fifteen mix tapes and two albums in five years. That’s a solid body of work no matter what your tastes are.

So that brings us to the question, what exactly is it that defines an artist as selling out? What part do labels play when all an artist work can be shared with the world from the comfort of their home studio thanks to the Internet, with little to no overhead? Well, take Makonnen as an example.

There’s no doubt that he, as an artist, had a definite musical identity (see 3d mixtape below). As well given the amount of work he had put out early his career (2011-2014), its easy to see that he had a strong creative work ethic.  But all that aside, Makonnen’s publicity didn’t grow in a steady incline but rather erupted after getting liked by Mily Cyrus (which received over 200,000 likes).  However, even more obvious is the fact that it wasn’t until Drake debuted on “Club Going Up on a Tuesday” that Makonnen rose to moderate fame. Two years after signing to Drake’s OVO label, Makonnen is seeing world tours, increased album sales and, yes, lots of love on Facebook and Instagram. 

So it stands to reason that although Makonnen (and every other artist) has his content up for review on the internet, it’s not until the endorsement of a public figure (especially with Drake’s Midas-Touch) do they get considerable exposure.

Co-signing talent into the limelight isn’t anything new in hip-hop culture. Lil Wayne, Eminem, 50 Cent and The Game (to name a few obvious cases) all owe their exposure to pre-established producers/entertainers. Is there a cost for this sort of endorsement?

Its obvious to see that Dr. Dre came up hard when Eminem was dropping his name all over platinum selling albums. Now, it’s important to note that when the Slim Shady LP came out in ‘99, it was five years before Mark Zucherberg invented Facebook as a student at Harvard. As well, iTunes, Amazon Music, SoundCloud, Mixcloud and practically every other digital music platform, that we as consumers nurse off of, didn’t exist.  Those first three albums of Em’s went (3x) platinum because people were actually buying physical copies of CD’s in physical stores.

Fast forward to today, with the revenue from album and track sales non-existent. How does an artist bring home the bacon? And further more how does it effect labels?

Just take a look at Billboards Money-Makers List of 2014 to get an idea:

One Direction, Sales=4.1 M, Tour 40.7 M

Katy Perry: Sales 3.2 M, Tour=24.9M

Drake: Sales 1.7 M, Tour 7.7M

Considering these numbers, how do labels benefit from an industry that makes most its profits in the touring market? 

In the case of ILOVEMAKONNEN, and many artists like him, OVO pretty much made his success through exposure and promotion. And if you hear any of Makonnen’s tracks you will begin to notice that they all sound like Drake tracks. Effectively allowing Drake to sell Drake sounds with Makonnen acts.

Wild Ones during their tireless tour (photo via FB)

But what if you don’t sound like other artists, and refuse to alter your sound to accommodate notoriety. Well you end up like The Wild Ones. Which is to say you end up with a lot of work and no world tours. Being more specific, writing and composing all your own tracks, designing your own graphics, promoting your own pages and work that fills them, organizing your own tours and then managing those tours. And of course, working those tours to death.

Last year, The Wild Ones played a tireless 95 shows. And all with no guarantee of a world tour, no Insta-posts by Miley Cyrus and, of course, no Auto-tuning. But the up side is you get music that sounds like this.

However, with people relying more and more on their smartphones and apps to organize their day to day schedules it still remains to be seen how artists will manage to remain un-reliant on the devices of their consumer base love so much.