In his latest release,Will Wundah creates an exquisite vibe with his passionate sounds of electronic infections which immediately connect. From the first glimpses of his work, it was clear that the Charlotte native was onto something. With an grap on sound design , the young producer combines simple and emotive melodies, laden with resounding bass drops and intricate drum patterns.With a love of drums rooting from childhood, his work reflects the obsession. Once introduced to digital production, Will Wundah took his techniques to stranger dimensions he's been pushing the boundaries ever since.
New EP available onitunes and Google Play now.
Yung Ralph’s I Am Juugman project has been getting plenty of rotation since its release and today we get a new visual in support. Ralph takes the opening track “Loyalty” and brings it to life coming including a sermon from Good Game Auntie. See it after the jump and make sure to go pick up the project if you’ve been sleeping.
He wasn't well and still he recorded a new album and made music videos. I feel like he knew it was all coming to an end, and he wanted to release one last album before he says goodbye. I have so much respect for this man and I'm actually in tears while writing this. R.I.P. Mr. Bowie. - Pandora Lux
The video of the incident shows, the cast of the daytime TV show “The Talk” had been on stage to accept an award for Favorite Daytime Hosting Team when a random man named Zacari Nicasio, barged into their midst. Check out video below via Complex News
After Nicasio was identified, THR was able to speak with him and find out his motivation for running on stage. "I had to shout out who I look up to: Kanye West and Kevin Gates," Nicasio says. "I came here to do this tonight. I could honestly care less about what was going to happen." He also said that he crashed Kris Jenner's 60th birthday party so that he could make a name for himself. Got to respect the effort.
Also check out Zac Zetas' latest video "ZetaGang Castle" below. We expect to see more from Zac.
Kate grew up with an instrument in her arms and a head full of inventive lyrics. Her lifelong training makes for smart, warm pop that’s as musically nuanced as it is addictive. If you put a mid-career Jenny Lewis album in a room with Regina Spektor’s coloring, Joanna Newsom’s lyric poetry, and a dose of Tina Fey’s sharp wit—then added a couple decades of rigorous musical education—Kate Davis might come strolling out. Vivid, nostalgic melodies materialize out of Kate’s musical arrangements, her songbird voice complimented by a rich rock ‘n’ roll bass-line. Alternating between achingly soulful and flippantly funny, Kate’s songwriting combines ranging sonic textures with an anecdotal knack. Her lyrics are novel and rhapsodic, cutting through the clichés and trivia of pop parlance to deliver something honest and truly perceptive. She’s performed at such illustrious venues as The Kennedy Center, The Bowery Ballroom, Lincoln Center, and Carnegie Hall—as well as pretty much every noteworthy club in NYC. Recently, Kate has shared the stage with such diverse artists as Alison Krauss, Josh Groban, Ben Folds, Sara Bareilles, and Renee Fleming. Her accolades include a Robert Allen Award from the ASCAP Foundation, and her arts advocacy work includes a presentation at TEDx Portland and participation in the 2010 National Arts Policy Roundtable. Kate became a New York transplant in 2009, when she enrolled at Manhattan School of Music. Since, she's had the opportunity to collaborate with many of NYC's finest musicians and artists.
Elena Ayodele Pinderhughes is a 20-year-old vocalist and flutist. Elena’s interest in music started at an early age. She began singing and playing the flute at age 7. By age 9 she was performing and recording with local bands and recorded her first CD, “Catch 22.” At 11, she was featured in an HBO special on young musicians entitled The Music in Me.” Versatile in many styles, Elena has won numerous awards for “best soloist” at festivals and from Downbeat magazine. A 2013 YoungArts Gold Award recipient and U.S Presidential Scholar in the Arts, she was a member of the Grammy Band and Choir, San Francisco Youth Symphony Orchestra, and Young Musicians Program.
Elena has performed in numerous venues, including: Carnegie Hall, the White House, the Kennedy Center, SF Jazz Center, Yoshi’s Jazz Club, Davies Symphony Hall, The Jazz Standard, Dizzy’s Club Coca-Cola, The Jazz Gallery, Caramoor Music Festival, Moab Music Festival, Monterey Jazz Festival, Marciac Festival and Montreux Jazz Festival. She has performed in festivals and clubs throughout Europe, Japan, and South America. Elena has performed with Herbie Hancock, Hubert Laws, Kenny Barron, Esperanza Spalding, Ambrose Akinmusire, Vijay Iyer, Christian Scott, Carlos Santana, Orlando “Maraca” Valle, Stefon Harris, Joshua Redman, Josh Groban, and others.
Most recently, Elena recorded on Ambrose Akinmusire’s latest Blue Note album, “The Imagined Savior is Far Easier to Paint,” Wayne Wallace’s Grammy nominated album “Latin Jazz, Jazz Latin,” and performed in the premier of Vijay Iyer’s work, “Open City.” Cited as “the most exciting jazz flautist to have emerged in years” by The Guardian, Elena is currently performing with a range of musicians, as well as with her own group, and playing and touring internationally with Christian Scott aTunde Adjuah and Stefon Harris.
In the summer of 2015, Elena signed with SRP Music group, the company responsible for discovering and signing Rihanna, among others. She is currently recording her debut album, which will be released in the spring of 2016.
"K.K.P.D." was the emotional peak of the septet's performance, though it wasn't a new tune. That's notable, because Scott stopped by the Tiny Desk on the very day his new album came out. It was played by something of a new band, though: Flutist Elena Pinderhughes, saxophonist Braxton Cook and guitarist Dominic Minix are new, younger additions to the group. It had new textures, too: Drummer Corey Fonville (another new member) used a djembe as a bass drum, and also brought a MIDI pad so he could emulate the sound of a drum machine. The effect was something like an evocation of African roots, juxtaposed with a trap beat.
The first two numbers were, in fact, from Scott's new album Stretch Music. That's his name for the particular type of jazz fusion he's up to: something more seamless than a simple collision of genre signifiers; something whose DNA is already hybridized and freely admits sonic elements which potentially "stretch" jazz's purported boundaries. (You may note that he showed up in a Joy Division sleeveless T-shirt and gold chain.) It's sleek and clearly modern, awash in guitar riffs, but also bold and emotionally naked. Scott is particularly good at getting you to feel the energy he sends pulsing through his horn, and he never shies away from going all-in on a solo. The least we could offer was to let him explain himself in doing so.