Gilby Clarke and Teddy ‘Zig Zag’ Andreadis Take their Music to Universal Bar and Grill

Gilby Clarke and Teddy ‘Zig Zag’ Andreadis Take their Music to Universal Bar and Grill
August 23, 2021
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Gilby Clarke plays new music – Photo © 2021 Harriet Kaplan


















By HARRIET KAPLAN

Singer, songwriter and guitarist Gilby Clarke performed a satisfying, emotionally stirring, and often rockingly intimate acoustic set at the Universal Bar and Grill Saturday night. Friend and musical partner Teddy “Zig Zag” Andreadis provided melodic accompaniment to Clarke on keyboards, harmonica, and backing vocals to the delight of the devoted fans on hand.

The two musical heavyweights drew a large and throughly pumped up crowd, clearly wowed by the wattage of the star power radiating from stage. Excitement and anticipation was in the air as the rocker duo took over the stage.

Gilby Clarke smiles to the crowd at Universal – Photo © 2021 Harriet Kaplan

Yet despite their fame, in person the artists were truly down-to-earth, humble and low-key. Clearly anyone watching the show could see the musicians had a lot of love and mutual respect for one another as well. They joked and smiled effortlessly with each other and with their fans. 

Gilby Clarke and Teddy ‘Zig Zag’ Andreadis at Universal – Photo © 2021 Harriet Kaplan

The wide-ranging and diverse set showcased new material from Clarke’s first solo album in nearly two decades, The Gospel Truth. This LP is chock full of fist-pumping rock songs with fat choruses and comprised of bluesy licks propelled by Gilby’s Keith Richard and Johnny Thunders-influenced vocal style. 

Gilby Clarke performs at Universal – © 2021 Harriet Kaplan

Clarke also performed numbers from previous releases. Strong covers too were played: Guns N’ Roses’ “Patience” and “Used to Love Her,” Alice Cooper’s “I’m Eighteen,” Bob Dylan’s “Knocking On Heaven’s Door,” The Rolling Stones’ “Dead Flowers,” and The Replacements’ “Bastards of Young.”

California rocker Clarke is a seasoned frontman and knows how to play to an audience having played for literally hundreds of thousands of people over the years. He has a great stage presence and looks the part of a rock star. He is effortlessly cool.

Gilby Clarke was his jovial self at Universal Bar and Grill – Photo © 2021 Harriet Kaplan

Both Clarke and “Zig Zag” Andreadis have stellar resumes. Their renowned credits being GNR alums and having worked with Alice Cooper. Clarke played rhythm guitar in GNR for three years. He replaced Izzy Stradlin and appeared on The Spaghetti Incident, Live Era 88-91 and Greatest Hits. He also played guitar for the MC5, Heart, Nancy Sinatra, Slash’s Snakepit, Kathy Valentine and formed his own group Rock Star Supernova with Metallica and Motley Crue. Candy was his first band when came to L.A. and he also formed Kills For Thrills. 

Gilby Clarke and Teddy Andreadis at Uni – Photo © 2021 Harriet Kaplan

In addition to being a great performer, Clarke has produced various albums for different bands including L.A. Guns. Andreadis also worked with Carole King and The Boxmasters. He is a multi-instrumentalist that plays harmonica, guitar, bass, Bouzouki and ukulele. All in all it was a treat to see these two greats and the fans enjoyed every moment of music from this duo.

Check out Gilby Clarke’s ‘The Gospel Truth’ on Spotify:

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By JOHN DALY San Diego alt-rock favorites Switchfoot have released their new album interrobang via Fantasy Records and the band takes on a new style with the 11-track release. The new record is produced by Tony […]

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Interview: Pete Cunningham Talks Sweet Satisfaction of ‘Recognition’ for Ishmael Ensemble

Interview: Pete Cunningham Talks Sweet Satisfaction of ‘Recognition’ for Ishmael Ensemble
August 23, 2021
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Ishmael Ensemble Interview by Ava Liversidge – Courtesy


















By AVA LIVERSIDGE

I was able to hop on a Zoom call with saxophonist and producer of Ishmael Ensemble, Pete Cunnigham, to talk about the group’s stunning new record, Visions of Light. Cunningham discussed the unique, pandemic-induced recording process for their latest and the benefits of letting tracks flourish and grow on their own timeline. We also spoke about Ishmael Ensemble’s elusiveness when it comes to genre categorizations and how the two extremes of music, ambient, spatial sound, and highly textural, heavier experimentation come together on Visions of Light for an undefinable, yet atmospheric body of work.

AL: ‘A State of Flow,’ Ishmael Ensemble’s debut LP, was received quite kindly in 2019, though this is a bit of a double-edged sword as any congrats add to the mounting pressure of the ever-ominous sophomore album. Did you have any worries about ‘Visions of Light’ as a follow-up record or making an equally, if not better, record from the last release? Did that pressure encourage any sort of evolution between the two records?

PC: Yeah, it’s strange. I think A State of Flow was a bit of a surprise to us, how well it was received. It was a very DIY record and in a way, it was kind of more of an experience or project at the time, that I didn’t really think too much of it for the future. And then, suddenly you have to do gigs and you have to present it on stage, and it’s a thing. So, obviously, there was a lot of pressure going into the new record, and it was also the first time we worked with an engineer in a recording studio– up until then, everything had been recorded at home and we kind of mixed all the tracks in a friend’s living room who was a sound engineer.

… And now, this was the first time it was kind of like, “Oh, that’s how you record a drum kit properly or how you record vocals.” So, that was a big step. And, in a way, I think working in that professional environment made everything exciting and fun, so I didn’t really dwell too much on the pressure side, to be honest. And, in a way, I think the association with the UK jazz sound and that being so big, I sort of felt tempted to take a step away from that. I think the easy option would have been to make the jazzier sounding record possible, and I feel I’ve gone the opposite way and maybe tapped into some other influences.

Ishmael Ensemble – Feature Courtesy

AL: You are the producer in the room of an Ishmael Ensemble recording session. I think one of the standouts in this record is how well each individual instrument seems to be incorporated in a very unified manner. What does the collaborative process look like for you and the ensemble?

PC: I’ve sort of been trying to work that out and I think it’s probably just my production technique is very much based on a collage, kind of tapestry, of sounds. In which, yes, there’s all of these musicians, but, generally, they send me loads of stuff, and then I kind of mess with it. For example, all of the guitar on the record, there are a few parts that are straight riffs that [Stephen] Mullins wrote, but he also just sends me endless guitar noises and ambient pieces of music in their own right that I, then, chop up and make new again.

… And I guess that’s the same thing I do with a lot of Rory’s [O’Gorman] drums. We’ll do a whole day drum-take and then I take that and turn that into loops as you hear on “Feather” or “Soma Centre,” that’s all live drums, but it’s sort of sampling ourselves. At least, that’s the way I see it and that’s a continuation of my experience as a producer, starting out with sampling boards. Now, I’m lucky enough to be surrounded by great musicians and am sort of sampling them. And, it’s kind of easy as that really, that naturally through the process my voice or sound gets applied to all those instruments and it’s nice to hear that someone listening without perhaps knowing that can see that.

AL: Speaking of your last record, it’s only been 3 years since Ishmael Ensemble’s debut LP, but a lot has happened. This record’s title, Visions of Light, sounds very hopeful, and the closer sort of ends on an airy, potentially hopeful, note. How has the turbulence of the last few years inspired or uninspired the record?

PC: I think it made for a better record if I’m totally honest. There was less pressure; I had more time. It was interesting to complete– I’m sure it will be a kind of “sign of the times” of that era. We had two weeks booked in a recording studio in March 2020, which was going to be the solid two weeks to make the album, and that turned into: “Oh, obviously that’s not going to happen. We’ll try to pick up a week in July, and then maybe another week in September, and then maybe finish up around November.” That, in a way, let the tracks kind of breathe and, I think, made the record a bit more diverse and interesting.

… As much as I love the idea of going into a room and smashing something out in a week, I don’t think that’s what Ishmael Ensemble is to me. It’s a lot of sitting on ideas and working out the best thing for a song, and that can take months. So, yeah, in all honesty, the album itself is far more accomplished and, perhaps, far more interesting and unique because of that. Also, just the confidence to carry off those ideas– if we’re listening to demos that are 6 months old and need a bit of finishing touches and I’m still happy with those songs six months later on, that’s great. I hate to think of going in a studio and doing a whole album in a week and hating it. You can’t go back then. So, I think it has completely benefitted on the creative side and just having the time– that never happens for a touring band.

AL: Also, you must’ve been two completely different people from when you initially went into the recording studio and when you returned.

PC: Yeah, I mean, the tracks were worked on in bits, but it also meant that different people were completely recording from home. Mullins recorded all of his guitar parts at home. The engineer wasn’t in a rush to have like 6 people in the studio, so it was done kind of at each other’s leisure and with a bit of distance anyway.

Ishmael Ensemble – Ava Liversidge Interview – Courtesy image

AL: It must put more on the producer to have all of these bits coming at you.

PC: Yeah, there’s less of a reaction. You spend the day working on a track, and especially the way I mangle everyone’s parts together, the idea that the musicians can’t be there immediately to either say, “I like that or not,” is interesting. Luckily, that didn’t really happen. But, especially with the vocalists– that’s a really big thing. You have to be respectful of other people’s choices and how they want to come across and that came through on different songs.

… Like Holly [Wellington] was staying in Scotland for most of the summer and recorded a lot there, and we weren’t quite happy with what had been recorded remotely and luckily we got some time in the studio again and that felt a lot more natural to be together and, I think particularly with the vocals, you really need someone to be in the room with you to support or be cutthroat. Even as a producer, I felt it helpful to have the engineer, Ali Chant, there to say when something could be done better or visa-versa.

AL: You talk a lot about vast musical influences, particularly Bristolian influences, but such an interesting mix that you’re drawing on. How do you approach what may seem like a dissonant group of sonic inspirations? Also, how do you approach being sonically influenced in general— are you wary of the “I want to make something that sounds like this record” approach or not?

PC: I think in a way you sort of said it earlier– that the music is sort of ambient at times but it’s also sort of loud and extreme and heavy, and I see those two worlds as similar in a weird way. They’re sort of the extreme edges of music where it’s super loud, phonetic, weird jazz or metal and then, the other end, of very open, ambient, almost near-silent music at times. They’ve both heavily influenced me. And, in a way, the idea that the three of us– Jake [Spurgeon], who plays synth and bass live and Mullins who plays guitar– grew up together and went to secondary school together. I’ve been playing in bands with Jake since I was 8 and he was 12. So, there’s a long lineage of playing together.

… And all of our favorite bands growing up were rock bands — Nine Inch Nails, Radiohead, or, for me, Placebo, and I definitely hear that permeate through this record. Then, I’d say the ambient stuff is more of a recent discovery and using both those techniques and finding space somewhere in the middle. I don’t think there’s a lot of jazz influences. I’d say it’s the ambient and then more heavy side that has influenced this record particularly.

PC: And then there’s another group that I’ve fallen in love with and everything they’re associated with over in Dublin called Lankum who are kind of folk music, but that’s a way too simple definition in the same way that calling us jazz is– it doesn’t really mean everything to what their music is. They experiment a lot with ambient, textural tones and super heavy tones in their music. I was listening to that a lot while I was making the record as kind of a soundtrack to the pandemic.

Ishmael Ensemble – Visions of Light album

AL: I once read an interview of yours titled, “The Band Making Jazz Punk Again.” You are technically classified as jazz, which has a somewhat heady, inaccessible reputation. To those, like myself, who have always been slightly daunted by the genre, what makes something jazz music and what does that moniker mean to you? You’re a saxophonist, you play a quintessential jazz instrument, but Ishmael Ensemble certainly doesn’t sound like a classic jazz quartet.

PC: I’d say more the ideology of jazz than the direct influence of jazz. For me, it’s that freedom and that experimental element that excites me, and I hear that in a lot of the jazz that I love. I love Pharoah Sanders and John Coltrane and Alice Coltrane and Archie Shepp– the more avant-garde, spiritual-leaning stuff. So, I’d say the record is much more jazz in spirit than it is in sonics. I think, at some points, of course, it’s a jazz band– it’s an ensemble led by a saxophonist and that’s very much what it is; it’s quite traditional at some points. But, in other ways, calling the ensemble strictly jazz is almost offensive to those jazz players that really play, because we’re not trying to step on those shoes and claim that we’ve spent our 10,000 hours going over our scales because we certainly haven’t. It’s a weird one, but, as I said, it’s more the philosophy of jazz than the straight sound of it.

AL: In that vein, tell me about “Wax Werk.” It’s a bit rambunctious next to the other tracks on the record, and I absolutely love it. How did the track come to be?; it sounds like the product of much tinkering.

PC: I use a lot of resampling, so a lot for this record was built with parts from our last record or I’ll record live sets and get the sound engineer to record our performances and sample bits of that. In a way, “Wax Werk” is a real mashing together of trying to capture that sound of us playing live, which, I think, after touring A State of Flow, we realized that we’re a much heavier band than that debut record suggested. In a way, that tension and energy found in “Wax Werk” is something I wanted to get across to portray the band in a more natural light.

… And, it’s sort of black-and-white simple in that it’s a mixture of electronic music and live, jazz-mad-soloing and boiled down that’s what Ishmael Ensemble is. You can listen to Rory’s part on there, the drummer, and that is who Rory is– he plays very loud and very fast and very hard and I’ve never felt we’ve captured that on record before, so I wanted to just demonstrate what we’re capable of and try to get the energy of a whole live set in three minutes which felt like a big achievement, and it was quite a conscious idea to try and do that.

AL: I’ll end with the upcoming live dates which are hopefully still scheduled as planned. The last time Ishmael Ensemble went on tour, you received praise for reworking the studio tracks into completely new creations when played live. Does this come naturally for the band and/or will you begin the tour with more of what’s on the record and then, as the tour progresses, expand on the tracks?

PC: I think the latter really. In a way, because this record has a lot more involvement from the musicians I play with, we’re naturally staying closer to the album and I think there are a lot more “songy-songs” that are less open to interpretation. We’ve only done three gigs, but already we’re thinking about tinkering with a few songs, and that’s the real fun of it. I kind of keep my producer- head on while organizing the live sound and feel that’s a big part of it. Like, okay this element doesn’t sound great in the live setting; it’s perfect for the record but maybe we need to switch that up or something. As the list of collaborators gets bigger, it becomes quite a production so there’s a lot of organization behind that, and naturally, that makes for bigger songs– sometimes the much softer songs become much bigger and louder to compensate. It’s so much fun to be adding whole new sections and catching people by surprise– that’s the joy of it. I don’t want to go out as a karaoke band, playing like-for-like.

AL: And, of course, are you excited to be back in front of an audience?

PC: Definitely. I’d sort of forgotten about it and the importance of it, and the idea of meeting people in the flesh. The number of times I’ve had the joy of seeing a band on a friend’s suggestion– it’s that meeting people on the road that I’ve missed, people that may not even know our music and just happened to be passing. Everything has been very orchestrated and premeditated during the pandemic; everything has been very deliberate. Whereas, I’m looking forward to things being a bit more chaotic. And, you know, stuff going wrong is helpful as well.

… As we were saying about the songs developing live, you don’t really know that until you are ten gigs in and can tell it wasn’t a hunch, like, you figure out when something’s not right and you can play around with it. I guess with the more radio play we’ve had and the buzz, I feel that this time around, people are beginning to recognize songs of ours. I’d say this is the first time that’s happened– people acknowledging the title of a song before we play it. That feels really special.

Ishmael Ensemble has embarked on a European tour and are beginning to hit their stride as a performing band. Thank you to Pete Cunningham for speaking with California Rocker.

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Dr. Boogie an LA-Based Band that Gives The Fans What They Want: A Solid Dose of Rock ‘N’ Roll

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California Rocker Interview


‘Trailer Park Boys’ Live: Cheeseburger Randy and Mr. Lahey Bring Comedy Show to Whisky A Go-Go

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California Rocker Wins Best Photo Essay, Best Action Photo at Prestigious LA Press Club Awards Gala

December 5, 2016
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Awards, California Rocker, Musicians, Photographs, Photos © 2015 Donna Balancia
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Master Nate and the Reprobates Rouse and Rock with ‘Wake Up’

Master Nate and the Reprobates Rouse and Rock with ‘Wake Up’
July 14, 2021
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Master Nate and the Reprobates – Courtesy


















By JOHN DALY
California Rocker

Just when we were starting to wonder why it’s so quiet out there, Canadian outfit Master Nate and the Reprobates have released the rousing new single, “Wake Up,” off the band’s upcoming debut record The Dawn.

“Wake Up” is a driving, punk rock rager off MNR’s debut record, The Dawn, which is the first in an eight-record “Diem” series. The Diem eight-record series is an artistic mural when put together, following concepts that reflect the darkest and brightest emotions.

With each record, a new guest collaboration takes place. The Dawn features Roger Lima of Less Than Jake, joining in on the track “Long Life in a Small Town.”

Wake Up is an energetic tune that blends a great unique riff with cool vocals and excellent beat. Master Nate and The Reprobates prove you can blend different styles with a cohesive result, in this case as if Rancid teamed with Midnight Oil.

The Dawn was recorded at The Tragically Hip-owned Bathouse Recording Studio in Bath, Ontario, Canada, with engineer Nyles Spencer.

The Dawn is set to release Friday, July 23rd on the band’s Bare Bones Records.

Stream ‘Wake Up’ here:

Master Nate and Reprobates ‘Wake Up’


















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With ‘Trouble Maker,’ Rancid Tells Us Where They’re Going With Hot Album: To The Top of the Charts

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Eminem, Alborosie and Jason Derulo Collaborations Top New Releases

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May 28, 2021
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Eminem teams with Jack Harlow and Cordae on KILLER RMX


















By JOHN DALY

Now that people around the world are getting together again, it should be no surprise that cool collaborations dominate hot releases. This week’s drops come from Eminem, Alborosie, Jason Derulo and LA’s own Blxt and Bino, who keep the beats lively.

Eminem Feat. Jack Harlow & Cordae on Killer Remix

Eminem has teamed with Jack Harlow and Cordae on a hot remix of “Killer.” Eminem teased the release on social media and within a few hours the post had more than half a million hits.

The first version of “Killer” was on Eminem’s December 2020 album Music To Be Murdered By: Side B.

“You know we had to do a remix, right? K I L L E R RMX w/ @jackharlow & @cordae Midnight ET,” Eminem posted on the socials.

Check out ‘Killer’ the remix here:

 

‘Ginal’ by Alborosie Feat. Collie Buddz

“Ginal (featuring Collie Buddz)” is the kick-off single to the new Alborosie album, For The Culture.

“Ginal” is Jamaican slang for a trickster. The song is illustrated with humorous lyrics about people who “talk too much.”

The collaboration was born out of a mutual respect between the artist-producers. Alborosie shared that he had recently voiced a track that Collie Buddz produced on the CaliRoots Riddm. Buddz after listening to “Ginal” he “could feel it.”

On the Alborosie album For The Culture, there are 14 new songs written, produced, and performed by Alborosie. Guest performers on the project are Buddz, Jo Mersa Marley (“Ready”), Quino of Big Mountain (“Where Do You Go”) and Wailing Souls (“Life To Live”).

Check out ‘Ginal’ here:

Tesher x Jason Derulo Team on ‘Jalebi Baby’

Jason Derulo adds a dash of Hip Hop flavor to the Tesher hit “Jalebi Baby” on the duo’s new collaboration. The song has been a major hit for Tesher and the new Derulo remix gives new life to the popular track.

“My goal has always been to bring cultures together and create music that anyone can enjoy, regardless of language or background” said Tesher. “Seeing ‘Jalebi Baby’ find listeners all over the world has been amazing.”

“Jalebi Baby,” which riffs on the classic South Asian dessert jalebi, was originally released in 2020.

Check it out ‘Jalebi Baby’ here:

 

Blxt and Bino Rideaux Drop ‘Movie’

LA hip-hop artists Blxst and Bino Rideaux join forces on the release of their new single, “Movie.” Out now via Red Bull Records, “Movie” is the first single off the South Central artists’ release of Sixtape 2, the sequel to their 2019 collaborative mixtape.

“Me and Bino are like Shaq and Kobe, it’s only right we doubled back for part two to tear the summer up,” said Blxst of the release. “LA is looking good right now; we have to keep the torch lit.”

“When Sixtape dropped it felt like everything tha city needed that summer…from bad b*****s to street n****s to old folks and kids,” says Bino Rideaux. “Me and Blxst on a tracc together guaranteed to bring that vibe out you.”

Check out ‘Movie’ here:


















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