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Folk Troubadour JAMES GORDON Finds Inspiration in Being Housebound for His 40th (!!!) Album, When I Stayed Home

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While Canadians were largely at loose ends self-isolating during the lengthy series of pandemic-related lockdowns, prolific folk singer/songwriter James Gordon hunkered down and got busy creating his 40th album, When I Stayed Home — available now.

That’s right; Four. Zero.

And the timely 13-track full-length release also features Gordon’s powerful musical response to the national residential school tragedies with the song, “We’ll Bring You Home.”

https://www.youtube.com/watch?v=5D4cAXqSjZg

The arrival of COVID-19 — and the fear, uncertainty, and disruption it brought with it — initially affected Gordon, like many of us, negatively. Since the Guelph, Ontario based artist has toured all over the globe relentlessly since his twenties, being stuck at home was depressing… At least, for a while.

Then, the creative muse stepped in and Gordon got busy with a capital B. From his tiny home studio, he finished a soon-to-be-released ‘musical novel’, The Ark of the Oven Mitt, set to be accompanied by a 36-song recording. He also created a virtual tour of his one-man show, James Gordon’s Emergency Climate Musical, as well as successfully navigated his side hustle as a Guelph city councillor, and, perhaps most significantly, wrote and recorded When I Stayed Home.

“I can’t seem to stop writing songs,” Gordon shares. “Mostly, they write themselves — I just hold up a net, and catch them as they flutter past.”

Some of those 1,500+ songs Gordon modestly claims to have merely ‘fluttered past’ have also landed on stage and in studio with the likes of Cowboy Junkies, James Keelaghan, Melanie Doane, Laura Smith, Miranda Mulholland, and various international choirs.

The songs Gordon wrote for When I Stayed Home cover an array of compelling and current topics — including climate change, the income gap, racism, empathy, social justice, our natural environment, and ‘love in a challenging time’.

The first single, “We’ll Bring You Home,” packs a punch that hits closest to the heart for all of Canada right now; in response to the horrific discoveries of hundreds of unmarked graves belonging to unknown Indigenous children at residential schools in Western Canada, Gordon wrote and recorded the late addition to the album just prior to final preparations for its release.

Over his enduring forty-year career, Gordon has released music both as a longtime, successful solo artist, and as a founding member of the groundbreaking Canadian folk group, Tamarack.

That said, When I Stayed Home marks the first time a James Gordon solo album has been created almost exclusively… Well, solo.

Unable to bring any of his stable of top Canadian talent into the studio, Gordon took on the formidable task of playing all the instruments himself on the album’s baker’s dozen of tracks — including acoustic and electric guitar, banjo, mandolin, piano, bass, accordion, harmonica, tin whistle, ukulele, and percussion. Just two brief exceptions were made to Gordon’s “all by myself” rule, with stellar cameos from vocalist Tannis Slimmon and clarinetist John David Williams.

After a year and a half of being off the road and pivoting to a live streaming show world, James Gordon is looking forward to leaving home again and lighting up stages with his warm, reflective and topical songs of When I Stayed Home, and more.

“These songs demanded to be written,” says Gordon. “I’m excited about sharing them with the opening-up world.”

When I Stayed Home and “We’ll Bring You Home” are available now.

Toronto Dancehall Artist Fokus Serves Up “Sweet Tooth” in New Single

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Set to savour the fruits of summer, Canadian hip hop/reggae/calypso artist Fokus is serving up his brand-new single, “Sweet Tooth” — available now.

“As a Dancehall, Reggae and R&B artist looking to make music that will encourage my listeners to dance, I purposely made the concept of ‘Sweet Tooth’ very simple,” Fokus explains. “Basically, I portray my thoughts and observations of that woman who stands out in the crowd when going to the club, a party/jam, or what West Indians call a ‘fete’.

“In my lyrics, I explain how the woman who stands out in my eyes is one who is very subtle,” he continues. “One who is not trying too hard with her hair and makeup, but one who embraces her natural beauty, and does not care about what others think about her. She is there to enjoy herself, not to be judged or disrespected.

“This is the type of female I tend to crave for, in all romantic and intimate ways… Hence, my ‘Sweet Tooth’.”

The banger is set to be a summer standard; it’s a ‘boombox by the pool’ bop ready for a margarita in-hand.

With the beat produced by Yeong Chino, Fokus says he wanted to write a song that would get listener’s hyped for savouring the summer season. “I also wanted to instill positivity throughout this pandemic crisis,” Fokus reveals. “It had to be a song that listeners can vibe and dance to within their close circle, and get excited about for the season.

“There has not been much upbeat music released throughout the past year and a half,” he continues. “Just listen to what’s on the radio. I wanted to write something in terms of my experiences of just starting off my weekend, after that last shift of the week from a day job, heading to a dance party function, and seeing the type of woman I fancy being attracted to.”

Luke “Fokus” Uddenberg grew up in a musical household to a Jamaican mother and Trinidadian father who’s joint love of reggae, calypso, and pop were instilled early into the musician’s heart. Their blended musical influences left an indelible mark on Fokus’ creative desires and, within his first years of elementary school, he found himself finding outlets to hone his talent, and cultivating friendships with like-minded musicians who would go on to work jointly with him in his budding career.

Long-time musical partner and co-collaborator Emmanuel Addai (founder of NewClearSound Productions), has been a main-stay in Fokus’ musical tenure, having not only been introduced to the indie songwriter in high school, but also becoming an major influence in the beats, sounds, and vibe Fokus has become known for. Together, the pair joined musical forces with Dominic Giuliano (co-founder of SounDrive Records) for a stint while still teenagers. This friendship would reunite when Giuliano would link up Fokus and Emmanuel with gigs through his independent label during the pair’s 2016 drop “Homecoming King”, featuring Jermaine “JFreshaz” Chin.

Fokus’ keenly clever lyrics, and innate talent for spitting rhymes have gained him the attention and respect deserved for his well-crafted musical offerings. It was the 2016 release of “Whine For Me,” in collaboration with JFreshaz, that Fokus felt confident to lace his knowledge of Jamaican Patois and Caribbean influence into his writing and performing style. Raised with the dialect both at home and in his social circle, Fokus’ spin on his musical directive was met with praise and admiration from the Caribbean community. Fokus, Emmanuel, and JFreshaz were picked up by Carib101 on SiriusXM for an interview and airplay, and found themselves featured in TorontoCaribbean Newspaper summer of 2016.

Never one to shy away from a creative opportunity, Fokus would follow up the year with an EDM collaboration produced by Milan “Chromak” D’Agostini (founder of Music by Milano) after being introduced by Fokus’ cousin Brock Hewitt (Stories in Sound.) The “Voodoo” single featuring Fokus and Emily Marques dropped in 2017 alongside a subsequent music video.

After a brief stint at Toronto’s former EMI headquarters (now Universal Music), Fokus has collectively carried the experience and know-how to not only write, compose, publish, and market his music, but how to also package and deliver it to fans worldwide. Currently streaming on major platforms, the verified artist has spent the better part of the pandemic fleshing out the tracks for his solo project — including this latest release, “Sweet Tooth”.

Having spent two years injecting himself into the culture of Latin dance, mastering Salsa, Bachata, and Merengue music, Fokus has become determined more than ever to highlight and showcase the music of the West Indies and Latin America.

The imposed quarantine that surged the world in 2020 gave Fokus the opportunity to distribute his tracks, and bridge new collaborations for releases. “Homecoming King” can be heard on multiple streaming platforms, “Comerte a Besos” (an early mastered second single) was fully released by Emmanuel, and Fokus also worked alongside Leiro Dan Records of Jamaica to produce “Missed Call”; his third release of last year alone. Without skipping a beat, Fokus has two new tracks buzzing for fans — January’s release “Same Trust Back,” and the newly delivered “Sweet Tooth.”

With “Sweet Tooth” firmly locked on streaming sites for fans to absorb and enjoy, Fokus is working on his “tunnel vision” for 2021; enough released singles to comprise a total solo debut album. “I intend on reminding listeners in my music that, regardless of the global circumstances, there is still a life ahead of us we need to make the most of,” Fokus says.

That’s something worth craving with your “Sweet Tooth.”

“Sweet Tooth” is available now.

Maisie Peters Releases Debut Album ‘You Signed Up For This’ On Ed Sheeran’s Gingerbread Man Records

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Rising British pop singer-songwriter Maisie Peters has released her debut album ‘You Signed Up For This’ via Ed Sheeran’s Gingerbread Man Records.

With her knack for transforming everyday experiences in to vividly written diary-style songs, ‘You Signed Up For This’ is both Maisie’s coming of age story and a love letter to girlhood; penned with the wit, charm and quiet confidence that has seen her ascend from busking on the streets of Brighton, to racking up over half a billion global streams.

Revered for her songwriting, Maisie has spent the past three years honing her craft in sessions across London, LA and Nashville, creating songs for ‘You Signed Up For This’ alongside the likes of Ed Sheeran, Steve Mac, Fred again.., Johnny McDaid, Miranda Cooper, and producers Joe Rubel (Tom Grennan, Benjamin Francis Leftwich), Afterhrs (Niall Horan, GRACEY), Rob Milton (Easy Life, Holly Humberstone) and Brad Ellis (Jorja Smith, Little Mix).

Arriving on the heels of standout UK festival sets at Latitude, Standon Calling and Boardmasters, ‘You Signed Up For This’ is highlighted by ‘John Hughes Movie’, current single ‘Psycho’ and fan favorites ‘Brooklyn’ and ‘Volcano’.

Maisie is currently on the road in the UK for the ‘You Signed Up For These Record Store Shows’. She’ll be appearing at sold-out events throughout next week at Rough Trade East, London (Tuesday), Caves, Edinburgh (Wednesday), and Brudenell, Leeds (Thursday).

‘YOU SIGNED UP FOR THIS’ TRACKLIST

You Signed Up For This
I’m Trying (Not Friends)
John Hughes Movie
Outdoor Pool
Love Him I Don’t
Psycho
Boy
Hollow
Villain
Brooklyn
Elvis Song
Talking To Strangers
Volcano
Tough Act

Joni Mitchell’s 1969 Carnegie Hall Debut To Be Released For First Time

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On February 1, 1969, almost a year after Joni Mitchell released her debut album Song to a Seagull, the 25-year-old singer-songwriter was standing on stage at Carnegie Hall in New York City playing the first major concert of her young career for a sold-out crowd that included Bob Dylan. Graham Nash, who was Mitchell’s partner at the time, was there too, along with her parents visiting from Canada. Her performance that night earned glowing reviews, including this one from Billboard’s Fred Kirby:

“Joni Mitchell charmed a packed Carnegie Hall audience on Saturday…Miss Mitchell doesn’t merely sing a song, the fine folk artist effectively interprets her material. And what a lineup of material! Beginning with ‘Chelsea Morning” and ending with a medley of ‘The Circle Game’ and the new ‘Little Green,’ the outstanding material flowed.”

Fatefully, her label Reprise Records recorded the entire concert with plans to release it. More than 50 years later, the show will finally make its long-awaited debut on November 12 as part of JONI MITCHELL ARCHIVES VOL. 2: THE REPRISE YEARS (1968-1971). On the same day, the performance will be released separately as a 3-LP set on 180-gram vinyl, with an exclusive 180-gram, white vinyl version, limited to 3,000 copies, available at www.JoniMitchell.com. The vinyl showcases the full audio across five LP sides with the sixth side featuring an etching of the American eagle that donned Mitchell’s skirt at the Carnegie Hall show. As a preview, Mitchell’s performance of “Chelsea Morning” from the show is available today digitally.

The 7”x7” art print that comes exclusively with all orders made on the official Joni Mitchell store has a connection to the Carnegie Hall show. It’s a reproduction of the drawing Mitchell made on the letter she sent to Joel Bernstein, her personal photographer, inviting him to the concert.

He came and took pictures that day, including one taken shortly before the show that captures Mitchell at the piano warming up while Nash and her parents look on.

Mitchell recalls the backstage scene in her conversation with Cameron Crowe from the liner notes in ARCHIVES VOL. 2: “I flew my parents [Bill and Myrtle] in for the show. We walked over to Carnegie Hall from the Plaza Hotel. Graham was wearing a floor-length maxi coat, black velvet, but with a pink-and-white chiffon tie-dye scarf. And I was wearing a green-and-white plaid coat. I’ve still got it. It looked like something from a Dickens play. My mother was embarrassed to be seen with us!”

Graham Nash picks up the story in the liner notes that come exclusively with the 3-LP vinyl set: “Joni had bought a long vintage skirt that was made for a parade. On the front, in colorful sequins, was a large American eagle, and on the back was . . . a large artichoke. At some point earlier in the evening Myrtle said, ‘Oh, Joan. Is that what you’re going to wear at Carnegie Hall? They look like rags.’”

Mitchell finishes the story: “My father came forward and said, ‘Oh, Myrt, she looks like a queen in those rags.’ I loved him for that. Thank God for Papa. He gave me back myself.”

That night, Mitchell thrilled the audience as she played most of the songs from Songs to a Seagull (“I Had A King”); several from the album she was about the record, Clouds (“That Song About The Midway”); plus a few destined for 1970’s Ladies of the Canyon (“Blue Boy”), and 1971’s Blue (“Little Green”).

She opened the show with “Chelsea Morning,” a song about her apartment on West 16th Street in Manhattan’s Chelsea District. In the lyrics, Mitchell mentions waking up to rainbows on the wall and incense owls by night. Both were inspired by real things in her apartment. The light show was from a mobile she built using wire and colored slag glass that she found near the club she was playing at in Philadelphia. And the incense owl found a new home with Bernstein, who has it to this day.

In the vinyl set’s liner notes, Nash vividly recalls the start of the show: “Joni began with ‘Chelsea Morning.’ She had the crowd immediately on her side when she began the song, but for some reason stopped and had to start it again. Right after that, some people from the crowd gave Joni a large, handmade Valentine sign. What followed was a concert of music that stirred my heart and made me realize what an enormous talent Joni is… Simply a show, given by someone who lived life and love to the fullest, pouring out her heart and soul, alone, before your eyes. A queen in rags indeed.”

The tracks on ARCHIVES VOL. 2 have been sequenced chronologically to follow Mitchell in real time through one of the most creative periods of her career. The collection uncovers several unreleased Mitchell originals, including “Jesus” recorded in 1969 at her friend Jane Lurie’s New York apartment in Chelsea, which also served as the setting for the song “Chelsea Morning.”

Other highlights include five Blue outtakes that were released digitally last month as Blue 50 (Demos & Outtakes) including early demos of “A Case Of You” and California,” a version of “River” that adds French horns, an alternate version of “Urge For Going,” and the unreleased song “Hunter.” Also included is Mitchell’s performance at Le Hibou Coffee House in Ottawa on March 19, 1968 that was recorded by Jimi Hendrix and a concert at the Paris Theatre in London on October 29, 1970, that was broadcast on the BBC, in which singer-songwriter James Taylor joins Mitchell for the second half of the show.

Like its predecessor, ARCHIVES VOL. 2 includes a booklet illustrated with many unseen photos from Mitchell’s personal collection, as well as new liner notes reflecting conversations about the time period between Crowe and Mitchell.

ARCHIVES VOL. 2 serves as a companion to the recently released boxed set The Reprise Albums (1968-1971), which is available now in 4-CD, 4-LP, and digital versions. It includes newly remastered versions of Song To A Seagull (1968), Clouds (1969), Blue (1971) and Ladies Of The Canyon (1970).

Live at Carnegie Hall, New York City, NY (February 1, 1969) Tracklist:

First Set
Side One
1. Chelsea Morning
2. A Valentine for Joni
3. Cactus Tree
4. Night in the City
5. I Had a King
Side Two
1. Blue Boy
2. My American Skirt
3. The Fiddle and the Drum
4. Spoony’s Wonderful Adventure
5. That Song About the Midway
6. Both Sides Now
Second Set
Side Three
1. Marcie
2. Nathan La Franeer
3. Intro to The Gallery
4. The Gallery
5. Hunter
6. Morning Morgantown
Side Four
1. Intro to Get Together
2. Get Together
3. Intro to The Circle Game/Little Green
4. The Circle Game/Little Green
Encore
Side Four
1. Michael From Mountains
2. Intro to Urge for Going
3. Urge for Going

Sonic Reducers: Spencer Elden Is Suing Nirvana Over The Nevermind Album Cover

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Sonic Reducers: One topic. Two music nerds.

We debate the merits of Nevermind cover baby Spencer Elden’s child-porn lawsuit against Nirvana.

Bizarre Mashup Of The Week: John Mayer x Slayer

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Andy Rehfeldt goes deep into the record collection, and mashes John Mayer on vocals, backed by Slayer.

USA For Africa’s Isolated Vocals For “We Are The World”

Ray Charles, Billy Joel, Diana Ross, Cyndi Lauper, Bruce Springsteen, Tina Turner and many, many more do their thing in USA For Africa’s We Are The World.

SUE FOLEY Releases “Dallas Man” From Upcoming PINKY’S BLUES Album

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Stony Plain Records announces an October 22 release date for Pinky’s Blues, the new album from award-winning blues guitarist/singer Sue Foley. Featuring several Sue Foley originals, as well as songs from some of her favorite blues and roots artists, Pinky’s Blues was recorded at Fire Station Studios in San Marcos, Texas. Joining Sue Foley (guitar, vocals) for the recording sessions were Jon Penner (bass), Chris “Whipper” Layton (drums) and Mike Flanigin (Hammond B3 organ), who also produced the album.

Foley also shot videos for three songs from the new album that were directed by Tim Hardiman, who directed the latest Black Keys video.

Pinky’s Blues is the follow up to Sue Foley’s breakout album The Ice Queen, released in 2018. Foley’s new album is a raw, electric guitar driven romp through the backroads of Texas blues, with Foley’s signature pink paisley Fender Telecaster, “Pinky,” at the wheel. She won “Best Traditional Female (Koko Taylor Award)” at the 2020 Blues Music Awards in Memphis, was nominated for a Juno Award (Canadian Grammy), and she took home the award for “Best Guitar Player” at the Toronto Maple Blues Awards. For the last few years Foley and her band have kept a rigorous touring schedule across the USA, Canada and Europe. Some highlights were appearances at The Beacon Theater (NYC), guesting with Jimmie Vaughan (opening for Eric Clapton) at Royal Albert Hall in London, Montreal Jazz Fest, Ottawa Blues Fest (w/ Buddy Guy), Moulin Blues (Holland), NPR’s Mountainstage (with Bela Fleck), Doheny Blues Fest, and the Jungle Show in Austin, Texas.

Foley and producer Mike Flanigin decided to make the album in the middle of the COVID lockdown in 2020. “Mike, drummer Chris Layton and I had just finished making Mike’s album, West Texas Blues, and we needed another challenge to keep us busy,” Foley says. “And because we’d been hanging out together we were comfortable in each other’s presence, and this would be a very low-key closed session. I brought in Jon Penner to play bass, who was my first bass player and had been on all my early records. So just the four of us along with engineer Chris Bell went into the studio and recorded the entire album in three days. What you’re hearing is live, off the floor, in the moment the music was played totally spontaneously and, mainly, improvised. And, we wanted to make something representative of the Texas blues that we had been schooled on in Austin. So, we picked great songs and I wrote a few of my own to round things out. Everything on it is a labor of love.”

Some of the album’s many highlights include her takes on classics such as Lavelle White’s “Stop These Teardrops,” Frankie Lee Sims’ “Boogie Real Low” and Lillie Mae Donley’s “Think It Over,” alongside newer songs like Angela Strehli’s “Two Bit Texas Town” and Foley’s own “Dallas Man.”

Foley consider her guitar a living extension of who she is and it helps guide her through the rambunctiously-deep renditions of everything she performs. It was while playing Pinky and doing a series of live-streaming events with Mike Flanigin that much of Pinky’s Blues came together. “”During the COVID lockdown, Mike Flanigin and I had started a live-stream show called ‘Texas Blues Party’,” she says, “and all we were doing was live-streaming from Mike’s house, just the two of us along with a drum machine and playing and talking about the history of Texas blues. It was a fun concept and it ended up being the foundation for both Mike’s album and mine. We called Angela Strehli one day and ended up learning some of her songs. I think she’s one of the most soulful blues singers there ever was. And besides being such a great singer Angela is also a wonderful songwriter, so I was thrilled to be able to include two of her incredible songs on this album.”

The disc’s first single, “Dallas Man,” also bears special significance to Foley. “I realized when I wrote ‘Dallas Man’ it was just about all these great guitar players from Dallas and right around there,” Foley says. “I’ve always been infatuated with Blind Lemon Jefferson and had been reading about him and working up some of his songs. Between Blind Lemon Jefferson and Frankie Lee Sims, and then working on some Freddie King and always watching Jimmie Vaughan came the idea of ‘Dallas Man.’ Stevie Ray Vaughan, Jimmie Vaughan, Freddie King, T-Bone Walker, Blind Lemon Jefferson, Frankie Lee Sims, Anson Funderburgh, Zuzu Bollin, Doyle Bramhall II, Denny Freeman and Derek O’Brien all came from that area. That’s almost a whole album right there!”

Leaving Canada as a young player, Foley knew she had to go where the music thrived. All her years in Austin, and including those when she left to learn new approaches to life, have all come together on Pinky’s Blues. “The fact that I have ended up back in Austin just seems right,” Foley says. My home is Canada and I definitely identify as a Canadian. But I had a yearning for this music and I can’t even put my finger on why or how. It got in my soul when I was a teenager. I guess I was open and I got imprinted by the sound and the force of blues music. I saw my first blues show at 15 and I swear I’ve never been the same. I was lucky because I was able to play with so many legends before they passed away. That direct transmission, as we know, is what it’s all about. I have the kind of experience and education that you can’t even get anymore. In a way it’s a big responsibility to carry the message of these giants. But even more important, it’s about finding your own voice within this framework. In blues, that takes time. The beauty of blues, and something I’ve always loved about it, is that you get better as you get older. I’ve always been a fan of older musicians. There’s something about the message, the life experience, the whole package. If you can keep a good perspective on life, a sense of humor, and a love for what you’re doing, you have much more to give. This is when it all really happens.”

The “cabin fever” atmosphere created by the pandemic, also afforded her an opportunity to really map out her next moves. “I’ve had a lot of time to think about what the next chapter is,” Foley admits. “After being home for so long, all I really want to do is turn up and play my guitar for as many folks as I can. I can’t wait to get out on the road.”

Infectious AI Driven EDM Rock Group ROGUE PROXY Releases Classic Rock-Inspired “She Turned Around”

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In keeping their promise to deliver a new flavour of rock, Canadian band Rogue Proxy continues to be an infectious conduit for music with this, their latest single, “She Turned Around” — available now.

“She Turned Around” is a song about “about simple things done just right.” Turns out, however, combining classic rock elements with a sophisticated, ever-changing AI engine turned out to be… Not so simple?

“She Turned Around was inspired by literally having a girl turn around to say goodbye,” the band shares, noting that one of the co-fronts’ two-year-old daughter had done so as the pair of friends-turned-band leads were wrapping up a video call working through new ideas.

From there, Rogue Proxy merged the lyrical style of “She Turned Around” with a visual adaptation of Banksy’s “Girl With Balloon” — leading to the artistic rendering of the visualizer for the group’s newest release.

“She Turned Around” features vintage driven keys, rich full bass tone, a classic upfront drum sound, and, of course, dueling guitars. For this illegitimate love child between the Red Hot Chili Peppers and Daft Punk, these concepts are pretty familiar to Rogue Proxy, however, and have become part of their signature sound.

And what a sound they are developing; “She Turned Around” is a grooving rock ballad blending the iconic styles of the Red Hot Chili Peppers, The Black Crowes, and Lenny Kravitz. It has been described as “a lyrical tapestry [to] try [and] paint a portrait and let the listener see what they see.”

Where their previous release, “Solitary Confinement,” once had a working title of “Busy Beat,” the band’s growing roster of releases follow previous 2020 breakthrough offerings of “Pump The Hype,” “Old Show,” “To The Nines,” and “Dirty Pool” — the latter of which hit #1 on the Cool Top 20 blog and Spotify chart, and the former being named among the Top 10 Indie Singles of 2020 by Other Side Reviews.

As for “She Turned Around,” lyrics like ‘the left bud in her ear, the right in mine, walking alone, side by side, in 4/4 time’ radiate, striking a sweet nostalgia chord from bygone eras of earlier rock, while also being a unique and clever lyrical adaptation.

Edgar Allan Poets had this to say about the track: “At first listen, it reminded me of the Red Hot Chili Peppers mixed with the Beatles, a unique style that I honestly had never heard… In my opinion, these guys have created something unique. The chord progression is never banal and obvious and entertains the listener from the first to the last second.”

Whether you decide to listen to the song itself, or follow along with the music video, one thing is for sure: Rogue Proxy is onto something here with their unique style and clever chord composition.

And one thing remains certain: Rogue Proxy is stellar at seeping its infectious “programming” into the listener’s ears — so make sure to check out this new AI driven duo.

“Rogue Proxy lives in your speakers. Rogue Proxy lives in your T.V. Rogue Proxy is anywhere and everywhere it wants to be!”

“She Turned Around” is available now.

Sonic Reducers: Charlie Watts of The Rolling Stones Passes Away At Age 80

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Sonic Reducers. One topic. Two music nerds. Five minutes.

Join us as we mourn the death of Charlie Watts, share our thoughts on his life and career, and ponder whether this could mark the end of The Rolling Stones.