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Wise Up Ghost (Elvis Costello and the Roots)

In albums, current listenings on September 26, 2013 at 8:48 pm

Elvis Costello and the Roots - Wise Up Ghost

Well damn, this is a sexy and exploratory hip-hop album from two music legends in their own rights.

I don’t actually know that much about Elvis Costello’s music, although I recently listen to This Year’s Model and enjoyed it. What I do know is that Elvis Costello is a sonically unique artist who has always ridden the edge of rock and pop music. His work seems to be just outside of any genre, but accessible and interesting to listen to. And then let’s talk about the Roots. Aside from being the coolest late night house band ever (for Mr. Jimmy Fallon), the Roots have their own epic success with hip hop tracks.

The collaboration between Costello and the Roots is sassy and funky. What keeps popping into my head is seemingly impossible visions of this album actually being non-stop creations of paint and canvas on a wall. It’s refined and unique. It’s intentional but exploratory. To me, it literally sounds like two artists coming together and collaborating on twelve pieces of art that make up one larger piece, but for some reason as I’ve listened to this album, what I really see happening behind all this music is painting. Perhaps it’s the depth and diversity of sounds in every track. There’s elements that are small and big – there’s moments of quiet sentiment and moments of sassy-funk. Some tracks start with a bold hip hop beat, and others start with short string movements.

What’s impressive is the ease with which Elvis Costello and the Roots combined their sounds. They are incredibly complimentary. Both artists have a sense of each other that allows for a smooth sound that is completely natural and completely enthralling to listen to.

Tracks to look out for on this album are “Refuse to Be Saved”, “Tripwire”, “(She Might Be A) Grenade” and “Viceroy’s Row”. Oh no, wait…sorry…the entire album is amazing.

You should absolutely listen to this album if you’re at all interested in exploring new sound collaborations. This will pique your interest and make you a happy music adventurer.

Paradise Valley (John Mayer)

In albums, current listenings on August 22, 2013 at 7:36 pm

john-mayer-paradise-valley

When Born and Raised was released, I was unsure about the authenticity of John Mayer’s new sound until I learned of the involvement of Nash and Crosby, which seemed to bring understanding to his new sound. With Paradise Valley, Mayer has once again matured as a musician into a new phase of his depth and individuality. The folksy, country sound infused in Paradise Valley is bursting with playful nostalgia that makes this album incredible to listen to. But its not a surprise – every album of Mayer’s has landmarked his giant steps in musical evolution.

“Wildfire” starts the album, and I love it – the initial guitar riff echoes the Summer breeze of a lighter sense of ease in Mayer’s attitute. Post throat-surgery, and after a few years of widespread public criticism, it seems that the album is like a 3 month vacation in his own Paradise Valley, that the album is titled after – “cause a little bit of Summer’s what the whole year’s all about”.

Complete with that Summer is a little bit of Mayer’s public love-life in the last few years. Even though it sounds innocent enough, “Paper Doll” pastes light-heartedness all over the track…until he says “you’re like 22 girls in one”. And then you realize that this might just be a little jab right back at Taylor Swift, in response to her song, “Dear John”.

But Mayer keeps the album light with a great blues, country tune to blow into – “Call Me the Breeze” has a classic blues chord progression with a lighter country sound that keeps the momentum moving forward. It’s like he layered a song from Continuum overtop of a song from Born and Raised. But I suppose that’s what this entire album sounds like.

I was shocked to hear Katy Perry on “Who You Love”, mostly because I didn’t think that Mayer would record with Perry at any time because of their obvious differences in musical style. Katy pulls her weight – in fact she gained some credibility in my eyes. It’s a beautiful duet and a classic John Mayer love song.

Frank Ocean switches up the sound and lyrics of “Wildfire” completely on a second rendition of the track that sounds like it could’ve been recorded around a bon fire – a beautiful, one and a half minute poem of admiration.

The next two tracks pull on strong country, Western-style elements before finishing with “On the Way Home”, a track that brings the album to the end of Summer in this Paradise Valley, which could be taken as a metaphor for Mayer’s time away from live performance and music. As he says in the final lines of the album, “Hide yourself out like you know that I did, / And if you might find that your running is done, / A little bit of Heaven never hurt no one”.

This is a fantastic and beautiful album from John Mayer, reminiscent of Neil Young, which he might’ve even reference with the title of the last track – also the title of a Neil Young tune.

Regardless, you should absolutely check this album out. You’ll enjoy it.

The Civil Wars (The Civil Wars)

In albums, current listenings on August 2, 2013 at 11:55 pm

thecivilwars

After their debut album, Barton Hollow, the Civil Wars have released another record with beautifully sung stories and their characteristic southern, country-folk. On their second full length album, titled The Civil Wars, this singer-songwriter duo of Joy Williams and John Paul White have a darker sound, with the tone set by “The One That Got Away”. I noticed a completely different undertone on this album and I wasn’t sure why until I started reading more about what The Civil Wars have been up to lately. Much to my dismay (and I’m sure everyone else’s, including Williams’ and White’s, to a certain degree), they’ve had some problems and might be on a hiatus as a band. Based on the interviews I’ve seen with Williams and what I know about their music so far, I think it’s fair to say that this album is a reflection of their turmoil as a duo, perhaps elaborated into stories, but with elements of truth, nonetheless. And that’s what makes this album captivating, yet hard to listen to.

The cover image of black smoke on a white sky, full of intricate swirls and curved lines, evokes that same feelings of unease. Yet the clarity of the image creates introspectiveness amongst the turmoil. Just like the cover image suggests, there is some serious fire beneath the magic of The Civil Wars. As a duo, they’re living out their name.

“I wanna leave you, I wanna lose us, I wanna give up, but I won’t”. That’s some intense stuff. And these are the lyrics that we are familiar with because of their clarity of writing from Barton Hollow, but given the context within which the album is being released, these lines of poetry grab your attention and leave you anticipating what’s going to be said next.

To me, the album is lacking the same start-to-finish momentum that was found on Barton Hollow, but then again, I should stop comparing. This is a unique album, created in a unique place, from unique emotional situations. And I think what needs to be applauded is the commitment, bravery, determination, and honesty that it would have taken Williams and White to complete this album through whatever their own struggles have been, personally and as a duo. After all, their music has always been deeply emotional, in every regard. With that expression will come turmoil, and as Williams says, it will be possible to mend some of their issues, “if they both choose to do that”.

I love the sound of The Civil Wars. Their music is distinct and authentic. Their talents are complimentary, and their writing is able to transport you into twelve different stories in a single record. This album is another example of how special they are, and whatever they choose for their musical future, I wish them all the best as they muddle through what must be a challenging situation.

Yeezus (Kanye West)

In albums, current listenings on August 1, 2013 at 10:57 pm

Kanye-Yeezus

Once again, Kanye impresses and releases a supremely-produced album that positions himself far-out from any other artists – and I mean that both in terms of the music and his ego.

Here’s my thing, before I even start writing about this album. I love Kanye’s music. I detest Kanye. And I’m sorry, I can’t help but feel like I need to say that everytime I comment on his music. I don’t know the guy, I have no clue what he’s actually like, but he has a serious ego complex. The worst part is that his talents justify ego….but I don’t really think that it’s actually ever justified. Pardon the contradiction.

Yeezus is completely distinguished from My Beautiful Dark Twisted Fantasy. While MBDTF was meticulously produced and super intentional with its electronics, it had a smoother feeling to the overall sound. Yeezus doesn’t even try to hide the undertones of angst, anger, and this unbelievable momentum of POWER. While both albums have these undertones, Yeezus takes you out of your current mindset by immediately impregnating you with acid synths and razor blade electronics that set the tone of the album. What amazes me about albums like this, and in particular with Kanye’s albums, is that they could so easily sound like chaos…but every track on Yeezus is like Kanye’s own twisted symphony – a mixed manifestation of what I see as the contrast between his driven artistry and his power-focused personal intentions. (Again, what do I know, really, about his personal life?)

“On Sight” starts with a track that brings you into Kanye’s world and is perfectly trimmed to 2 minutes and 37 seconds, exactly at the point you are hoping for a break from the sharp electronics. And it’s almost like you get a split second to breath, before moving onto “Black Skinhead”.

West always acknowledges his struggles with perceptions of him, and basically tells everyone to fuck off. As he says in “Black Skinhead”, “I’m aware I’m a wolf / soon as the moon hit / I’m aware I’m a King”.   He’s a ferocious hip hop King and you don’t want to cross him (look out, Taylor Swift)…

I feel like it wouldn’t be a Kanye West album without a track like “I Am a God”. Kanye is the King of samples, and this is the first track on the album that I notice it in. After the intro, he boldly recites “I Am a God”. And when he “talks to Jesus”, the big man says right back “What’s up Yeezus?”. God-complex – unabashedly so. How does he get away with this stuff?

Now look, the entire album continues with intensity, but there is such precision in the production that you can’t help but be completely wrapped up in what you’re listening to. Kanye has an incredible ability to create music that transports you to his (beautiful dark twisted) world. He is a master at creating sounds that are unassuming, unexpected, yet perfectly positioned to make you listen carefully and literally feel the emotion in your body. His music comes alive from the speakers of your computer, your record player, your headphones….whatever…and it transports you to the world of Yeezus. But to send you off, Kanye adds a little soul to the end of the album. Its almost like a way to ease you back into real life.

Check out Yeezus, you won’t be disappointed. And I want to hear your thoughts! How does this compare to Kanye’s previous albums?

In A Tidal Wave Of Mystery (Capital Cities)

In albums, current listenings on June 7, 2013 at 12:46 am

Capital Cities - In A Tidal Wave Of Mystery

Two years after I posted “Safe and Sound“, the electro-dance-pop-joy single by Capital Cities, they’ve hit the number one charts for Modern Pop and are selling out shows on their North American tour, including stops at Bonnaroo and Toronto’s Edgefest 2013.

And now their debut album, In A Tidal Wave Of Mystery, is out and I’m listening to it now. And clearly, I love it. These two dudes have managed to recreate the easy-breezy rock your socks off, Summer-synth sounds on every track of this album. Kick ass, right? From the main track we all know and love (aka “Safe and Sound”), the album starts with a bang. Everytime I hear this track I feel like I am going home, because of some great memories associated with it over the last two years. And then we run right into the light and airy “Patience Gets Us Nowhere Fast”, which is slightly faster but has less of an intensity. Its got shorter syncopations in the synths and an echoing, ringing high end chime or synth that makes this track feel like there’s a little more sunshine in the top end…mixed with the breeze you might feel if you were driving in a classic red convertible with the top down, along the West Coast (I picture a tall and imposing rock face on one side of the road, and a sharp drop off to ocean on the other).

What’s really cool about the album is that there is a sense of familiarity to it, partially due to the fact that they managed to keep their electro-dance-pop sound, as I mentioned before. Part of that is also because I know a few of the tracks, like “Kangaroo Court“.

The album has got enough dance to it that you won’t mind busting a move, but you can also rock out to this Summer album in the background while you’re bbq’ing some mixed veg and enjoying a Mill Street brew. In other words, its kind of like the perfect Summer album.

If you haven’t been following Capital Cities since I originally posted “Safe and Sound”, then shame on you! Just joking, but now is the time to get on board. This album might just be my favourite Summer album for 2013…at least that’s how it’s shaping up right now!

So check it out, support these two on iTunes and check out their shows if you can! I’m going to see if I can get to Edgefest. You can catch Capital Cities on Conan tonight for their debut TV performance, and in the meantime, enjoy their tunes and this live video.

The 20/20 Experience (Justin Timberlake)

In albums, current listenings on March 25, 2013 at 12:59 pm

Justin Timberlake - 20-20

I’ve decided to write this blog entry live as I listen to The 20/20 Experience and move through track by track. It’s unedited, stream of consciousness as we go…

First track: “Pusher Love Girl”. The album starts off strong with a fantastic clarity to the tracks with a well-produced, well-balanced sound that is warm and precise. Immediately this track starts with a nice groove that has an urban and soulful beat, and distinguishes The 20/20 Experience as a new sound for JT. Very cool. Although admittedly, by the seven-minute marker of the first track, I’m ready for it to be finished. 

“Suit and Tie” is bang on. This track, when it was released, came out of nowhere with some serious momentum behind it. To me, this is the kind of track that advances music to a new sound and sets a new standard for quality of production. It’s distinct, it’s unique, and it has bold style that only Justin Timberlake and Jay-Z could pull of with this kind of success. Its got a creamy smooth sound that oozes out of your speakers with a masterful warmth that makes you want to turn down the lights, grab a drink, and just groove.

As the energy of “Suit and Tie” fades to an abrupt end, I feel like the old-school days of boy band crooning jumps in for a few seconds. But it fooled me. Waiting a little longer reveals a characteristically Timbaland drum track on “Don’t Hold The Wall” that is reminiscent of the track he produced for Jay-Z’s The Blueprint 3, “Off That”. This has a different intensity than any of the tracks so far and has a tribal sound – picture an tiger in the jungle, on the prowl. And to add to the diversity of sound, I recognize a sample from “Steel Drum”, on Cirque du Soleil’s soundtrack recording of Quidam. But here’s what I’m noticing so far…all of the tracks on this album are longer than expected. I’m coming up to seven minutes with “Don’t Hold The Wall”. Somehow this track didn’t feel that long, but we’ll see how the rest shape up.

“Strawberry Bubblegum” has an updated sense of nostalgia in the name and the sound, with the warm crackle of an LP overlayed with what turns out to be another very warm track with atmospheric sounds that are grounded with a clean drum beat. For a happy medium, the track is filled out with a soft string riff. I like that sound of this track, and it actually reminds me of some of Michael Jackson’s ballads although I can’t quite place which tracks. That’s just what popped into my head.

I’m not hearing immediate hits right now, aside from “Suit and Tie”, which is interesting. But I don’t think this album needs to make hits. The talent of Justin Timberlake comes across beautifully on this totally unique album. The sounds are unlike I’m hearing on any records in the mainstream right now. Its perfectly produced and seems to keep unveiling layer upon layer as the tracks progress. “Strawberry Bubblegum” has just made a transition into something a little more subdued with more rhythmic vocals that move the track forward instead of relying on the oh-so-prominent drum track earlier in the song. This is smooth…and I don’t want to keep saying that, but honestly, right now, that’s what I’m thinking! (And also, that was an eight minute track.)

So from “Strawberry Bubblegum” we move into “Tunnel Vision” which evokes an image of a party in slow-motion, with a crowd of people and one person walking through the room making his way between conversations in a tuxedo, and making eye contact with an elegantly dressed woman across the room. That’s the kind of tunnel vision I hear in this song, so if you ask me, this track perfectly matches the lyrics and the orchestration into one harmonious and clear story-telling.

And then the album slows down into “Spaceship Coupe” which is the strangest track so far, if you take it literally, as JT describes the “backseat view” from his spaceship coupe and his “space lover cocoon”. Okay. Sure. This track doesn’t sit as well with me. But that’s okay. One out of the lot so far isn’t that bad, right?

From space, we move to Tennessee and a staged live-venue intro to JT, which leads into a super-sexy guitar riff and playful horn line. Awesome. “That Girl” is a great example of the kind of music that only JT can pull off with the confident sound that he does. But can you believe it? This track is only 5 minutes long!

Now, on “Let the Groove Get In”, there is a new feeling fueled by a djembe in the drum line, and more of a latin-influenced sound. Actually the vocals on this track remind me a little bit of “Senorita”, from JT’s first studio album, Justified. But “Let the Groove Get In” definitely inspires a little movement in your hips and makes you want to get on your feet. And around the four minute mark in the song, the vocals drop out in what seems like its shaping up to be a dance break. But as the vocals begin to add back in the track reinvents itself into a new sound with influences of its original self.

Uh oh. “Mirrors” starts with a cheesy movie-moment kind of sound, but luckily it transforms back into the usual JT sound, in fact, it sounds incredibly similar to “Cry Me A River” until the chorus, which (by the way) unfortunately isn’t that great. Honestly, this track I skipped to the end of so that I could move on and experience “Blue Ocean Floor”.

The final track on this album starts with what sounds like a scuba-diving regulator underwater and adds a conclusive feeling to the album, dropping the energy to something more subdued. But it almost leaves this hanging feeling, similar to the feeling of scuba diving and floating through the water. There’s a calmness, and stillness to the end of the album that contrasts the rest of the tracks.

The 20/20 Experience is an aural adventure through new sounds that are absolutely iconic in the current music scene. Although I don’t think many of them will make it to the radio, the album lives up to its name – it is an experience that is unlike any other album out there right now, and I think its well-worth the listen. I’m interested to find out what you think…

Born and Raised (John Mayer)

In albums, current listenings on June 26, 2012 at 9:00 am


I’ve always been a huge John Mayer fan, since his first release. I’ve seen him several times in concert and always loved his show. When I listened to this album, I wasn’t too into it right away. In fact, shortly after hearing this album for the first time, I told one of my friends that it sounds like John Mayer is trying to be Neil Young, and that the sound of this album seemed forced to me. My friend wisely pointed out that this could actually be a more honest album. Maybe John actually plays more like this on his own, and we now have the opportunity to see this side of him? Of course, we were just speculating about the difference in sound.

Here’s what I do know: this album could arguably be John’s most honest album to date. He had a few rough years of scandalous comments (such as the infamous comments about sex with Jessica Simpson), and it seemed that he might have lost his way a little bit. He was being incredibly open but it was a little much. On Born and Raised, John is open, too, but this time its more honest and its more heart-felt. It feels like he is actually expressing himself in a softer tone with more perspective and understanding about the past few years of his life.

Born and Raised marks a shift in style for Mayer, although I suppose every album of he has released shows a different style of his musical talents. Still, his latest release is more stripped down and exposed. With the exception of “Something Like Olivia” and “Love Is a Verb”, there aren’t many tracks on this album with his usual guitar solos. Its much more subdued, focusing on some easy drums and beautiful country-inspired keys and harmonica. Once I realized that this album was actually something with a lot more substance than I originally thought, I also learned that Graham Nash and David Crosby provide vocal support for John on the album’s title track, “Born and Raised”. Prior to learning this, I no longer felt like John was trying to be Neil Young. And for some reason, when I heard Nash and Crosby on the album, it actually made the album even more authentic for me. What a great throw-back to those guys! Its like John is telling everyone how much Crosby, Stills, Nash and Young influenced him and this record, and gives them some really well-deserved recognition. I love it.

So yes. I am a huge fan of this album. Its grown on me and now I love the diversity of tracks, from “Queen of California”, which sets the tone of the album with some country-inspired guitar riffs at the start of the album, to the anthem-like track, “The Age of Worry”, to “Something Like Olivia”, a track that feels to me like John is singing a duet with his guitar. Born and Raised shows us humility and maturity that will no doubt drive Mayer’s musical journey and evolution of his craft.

Pick up this album and listen to it a few times with some good headphones or some good speakers with a nice, full sound. I really think you’ll love this album.

Here (Edward Sharpe and the Magnetic Zeroes)

In albums, current listenings on June 8, 2012 at 12:58 pm

After the critical success and musical authenticity of the self-titled first album by Edward Sharpe and the Magnetic Zeroes, I was anxiously waiting to hear how their sound would differ on their follow up album. Their first album had such a simple folk sound that was accessible to so many people and as a result, made people want to sing out in rejoice to anthems like “Home”, which is definitely the most well-known track on that album. One of the things I love about this band is that they have about 10 people playing instruments and singing, yet they’ve perfectly orchestrated themselves in a way that maintains a free-spirited, simple folk sound that connects you to a greater feeling of rural roots.

The second studio album from Edward Sharpe and the Magnetic Zeroes, named Here, exudes energy and love as you listen. They have successfully maintained their free-spirited sound that makes you feel like everything is a celebration, but even more, they have gotten better. Their sound is crystallized and refined, which is probably a result of their success on the first album. They also sound more confident on this album. Perhaps that has something to do with the fact that most people love their refreshing sound?

Start to finish, this album is phenomenal. Their album art beautiful captures the kaleidoscope of energy that streams from your speakers as you listen to this album. The first three tracks of the album have the most energy, but every track is a full, unique journey through several emotions and feelings. I love the way every track builds and develops and unravels itself as it progresses, usually before  it reels itself in at the end for a nice finish. “Man on Fire” is a great example of this, with a nice quiet start that builds into a great celebration and an easy ending.

One more thing I want to touch on. The sounds on this album are so unique. There is a diversity of instruments and vocal stylings that you will continue to explore in various depths as you listen to this album more. There are layers on this album that feel like they are just waiting to be discovered.

I am so happy that such talented musicians and artists have created something so beautiful again. I feel so fortunate that music is still being made like it is on this album. On Here, Edward Sharpe and the Magnetic Zeroes have really established themselves as a beautiful force in the music industry and the world. It is so cool, and I am so pleased to see that they are doing what they are. It’s just plain awesome.

Please enjoy this album with your windows open and be ready to feel good.


Locked Down (Dr. John)

In albums, current listenings on May 23, 2012 at 1:43 pm

I have been reading about this album for a while now, so when I heard it was released I was really excited to pick it up on iTunes. Dr. John’s album Gris-Gris is one of the first albums I listened to on the RS150. I can clearly remember listening to it for the first time, hearing the swampy voodoo sounds that are masterfully intertwined with the melody of every track, and I remember how surprised and interested I was…and to be honest, a little turned off. But once I listened to that album a few more times, my view changed and I gained a new appreciation for Dr. John’s vision.

Locked Down is a beautiful (can I call it that?) re-activation of Dr. John’s creative, bad-ass, New Orleans grunge. What really got me excited for this album in the first place was hearing that Dan Auerbach from The Black Keys was producing the album and leading the band. In fact, Auerbach searched out Dr. John ‘The Nite Tripper’, aka Mac Rebennack, to get his funky-ass groove back in action. And it is a huge success.

The tracks on this album are phenomenal. I am not saying this lightly. I think this is one of my favourite albums to be released in a long time. Its got the voodoo essence of Gris-Gris with even more attitude and in-your-face musical stylings. The first two tracks of the album, “Locked Down” and “Revolution” set the tone for the album with layers and layers of sounds that make me feel like we are walking into a contemporary ceremony of the underworld (and who knows what’s going to happen). But the layers are perfectly mastered, with slightly-off-key choral vocals and some really heavy guitar and keys. To me, this is a historical album.

There’s some serious attitude behind the lyrics and music on this album that make it that much better, too. In the digital booklet of Locked Down, there is a short piece of writing that explains the story of this album, which is one of “tricknology”, is really about the coming together of two brothers, Mac Rebennack and Dr. John, who really is the musical persona created by Rebennack “during a parole exile in 1960s Los Angeles”. I’m not kidding when I say Dr. John is a bad-ass.

And as he says at the end of the writing:

“This is Mac and the good Doctor. Together, they are the last of the great tricknologists and stronger than they could ever be apart.

This is the sound of tricknology, children. Coming up behind you, fading no more.

And tricknology is HEAVY.”

I mean, come on! Who writes things like this anymore? Its phenomenal. The inspiration behind Dr. John is out of this world. This album has so many sounds and stories behind every track. You can keep listening over and over and hear a totally new sound. Even the album insert knows this, too! It perfectly captures all of these aspects as “an invitation to do a dirty grind in a backroom bar at 3 AM and a call to go to church the next day; it’s a fierce burst of salvation and an apocalyptic warning; it’s a seductive come-on and an initiation; it’s  candle-burning jams rubbing shoulders with ecstatic odes to the great mystery.” Seriously. And its so spot on its crazy.

Every track starts with an entrancing new riff, from the simple and strong guitar on “Ice Age” which gets complimented with some tribal drum sounds, to the heavy-key intro on “Getaway”.

If you are looking for a phenomenal album that is different than your standard rock album, check out Locked Down, pour yourself a drink, turn on the music, and let it take you on a wild ride.

Native Son EP (Harlan)

In albums, current listenings, tracks to listen to on April 30, 2012 at 2:02 pm

Harlan is an artist musician with a fresh style that combines genres including some bluesy-rock guitar riff and some electronic beats with a good funky groove.

He is currently finishing up his debut LP, but his six-track EP, Native Son, already has some really great tracks and is an easy listen. He’s got a cool sound. I love that there is an electronic influence on some funk-rock tracks. It provides this kind of updated sound that’s got a bit more of a refined, packaged sound (and I mean that in a good way).

Tracks like “Private Party” and “Dancing On The Bed” make me want to bust a move. Actually, the chorus of “Private Party” reminds me a bit of Prince, which is definitely due to some of the synths in the background and that driving guitar fill that starts a few bars into the song.

I also love “I Never”, which has fantastically simple keyboards and a chorus based on chords that just seem to sit really nicely in the air. There’s a playful determination to the song that I love. Harlan’s voice is smooth, honest, and expressive which is a nice compliment to some of the tracks that have more electronic or synth-based beats.

Harlan is actually playing the 100th show at the LA-NY party, School Night, on Monday, April 30th (which might be tonight, depending on where are you are in the world right now). He also has a residency every Monday night in May at LA Echo – awesome!

You can listen to a stream of the Native Son EP on Harlan’s website and watch his great debut video below. And of course, if you like his tunes, check out his EP on iTunes or stop by LA Echo one Monday in May.

Happy Monday, music fans.

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