the dotmatrix project

When I first met Shawn Patch, the lead guitarist of The Radials — a high-energy, twangy, “Hank Williams Jr. dueling with Johnny Cash in the back lot while Patterson Hood pours Jack Daniels lyrics over their heads” band out of Greensboro, NC — he was one-half of a two piece ensemble with vocalist & rhythm guitarist, Stephen Corbett.

Fast-forward six months to last Friday when The Radials opened up for Sorry About Dresden at the kickoff dotmatrix project event and the dynamic duo had grown to a full five player band. And while I was beyond taken by their full sound and stage presence, it was their lap steel guitarist, Tom Beardslee, who I couldn’t stop watching.

After the show, Tom and I chatted for a bit and he passed me his last album, Good Company. As I do with all artists I discover, I ran Tom down online later that night and low and behold — his story matched the uniqueness of his play:

Tom is not your average pop musician. He has made several trips to West Africa to study highlife, soukous, Afrobeat, and traditional music. He also worked in Ghana as a studio and live guitarist, playing with musicians like Okyerema Asante, Pat Thomas, Jewel Ackah, Sharon Katz, and members of Osibisa. He lived the life of a highlife bandsman with Amakye Dede’s Super High Kings, with whom he toured all of Ghana, as well as in Togo and Cote D’Ivoire.

In the US, Tom has worked with musicians from all over the world since his early teens. He has played styles as diverse as flamenco, punk, reggae, ska, rockabilly, blues, country, bluegrass, funk, and soul. His diverse musical wanderings have led him to work with such artists as Country Joe McDonald, Clarence Bucaro, Sekouba Bambino, Kaikpai Ukpendi, Big Dread, and Alassane Sarr.

Tom has recently earned a Master’s Degree in Ethnomusicology from Ohio State. He studied at OSU with Dr. Daniel Avorgbedor and Dr. Margarita Mazo, and at the University of Ghana with John Collins and J.H.K. Nketia. His studies have led to work with Afropop Worldwide, Guitar Player Magazine, Acoustic Guitar Magazine, and Fingerstyle Guitar.

Not a bad prelude to a listen, so I popped in Good Company, kicked up my feet and closed my eyes for a listen.

I’m not sure I can classify this album. It definitely has deep roots in wide range of blues, but it also has such an interesting contemporary feel without it being stereotypical. Good Company is mature, familiar and arranged, yet Beardslee’s layering has a real, substantive and simultaneously sweet edge to it.

It’s a sound that I haven’t quite heard before.

Beardslee’s storytelling is steeped in rich metaphors and interesting instrumental juxtapositions, yet it’s his lyrical delivery that cuts through the air and exposes his old soul. Whether he’s playful, crooning, narrating or belting, Beardslee brings it with an authentic flavor.

Toss in his picking and well, it’s found a home in my rotation.

Take a listen:

Stacks

I Would

There’s a dirty rumor floating around town that Tom is leaving Greensboro for the Midwest to head back to school. If true, it’ll be a loss for our music community.

(originally uploaded by Mikey aka DaSkinnyBlackMan)

(originally uploaded by Mikey aka DaSkinnyBlackMan)

(originally uploaded by Mikey aka DaSkinnyBlackMan)

Many more to come.

From the Ghostly International site:

Record label Ghostly International and modern cult classic programmers [Adult Swim] have paired up for a compilation of new music and art.

A genre-busting 19-song collection, stretching the entire Ghostly International galaxy, Ghostly Swim explores the Avant-Pop style that the Ann Arbor/New York City label has been been championing for the past 9 years. Ghostly Swim features artists like Matthew Dear, Dabrye, Tycho and Aeroc and features new signings like UK cult band The Chap and NYC producer Michna.

The free collection also includes favorite friends of the label like School Of Seven Bells, and Detroit’s Deastro, Milosh (Plug Research), FLYamSAM (Warp’s Flying Lotus and SAMIYAM), and Dark Party (Mush). Along with the new music, BoyCatBird (Ghostly’s mascots) make their animated debut in the awesome “City Suckers” video by Daniel Garcia/Superfi.

If you dig avant pop and industrial, instrumental funk you might want to check this out. Download the entire compilation here for free.

(via fiftyfootshadows)

(originally uploaded by ElPrimo181)

NYOIL on that “Nigga” Nas

[…] Nas you’re that nigga that pretends to have a grasp on the social quagmire that our people are stuck in and yet cannot for the life of you articulate or justify your position on this obvious plea for controversy. Does this brother realize that his attempts at diffusing the word “Nigger” by making it some all inclusive colloquialism to represent all races is as weak as the beat he spit it too?

Does he realize that when Robert Schwartz decides to stop being a nigger all he has to do is change his look; maybe trade in the bapes and backpack put on a suit and he’s right and exact.

When Robert Yung decides he’s no longer a nigga he can be whatever an person of Asian decent can be in the country stereo types not withstanding.

When Robert Rodriguez decides to stop being a nigger he can become a proud man of Latin descent.

However for Robert Jenkins, whose Grand parents were NIGGERS, blown over by fire hoses and beat within an inch of their lives, when the term meant what it will always mean despite his attempts to make it a term of endearment. Whom despite his affluence or allegiance has to be as scared as a runaway slave when pulled over for driving black or shopping black, or standing in a group of more than 3 in his own neighborhood while black or any of the number of things blacks can do innocently while being black and end up dead because the Cop who shot him 50 times like Shawn Bell or 42 like Amadou Diallo didn’t consider himself a nigger… We’re the only race that embraces our disgrace, and now you would have everyone else sing along with us in our shame.

My nigga Nas

You’ve been everything they ever told you to be. Nasty Nas, Nastrodomas, Nas Escobar. and now you’re their Nigga.

At what point are you going to be a MAN? […]

I’ll save my opinion until I vic the album, digest the lyrics and flow and write a review. Of course I’ll be coming from a different position with my opinion than NYOIL, but I think I’ll be able to speak to dispersing self-degradation as a concept.

In any case, can you say, “OUCH!?”

UPDATE: I had to include NYOIL’s What Up My Wgga? in the conversation:

(originally uploaded by maria flash)

Blogs will be Record Labels, and Bloggers will be the new Music Moguls - BlogJs anyone?

Within 2 years, the leading music blogs will become what used to be called ‘Record Labels’. The people running them will be those sharp, tuned-in, hyper-networked and resourceful BlogJs formerly known as bloggers. They will use their blogs as the primary attention channel (yes - attention really is the new distribution) and will dish up a complete, interactive and highly relevant multi-media experience that will include TV shows, chats, webcasts and games. Forget about ‘websites’ and browsers - the BlogJs will do it on all platforms and devices.

The future brings 1000s of micro-music-channels that will literally broadcast - or rather, ‘narrow-cast’ their longtailing creations — be it text, audio, images or videos — to their hungry subscribers using MediaRSS feeds and customized my-stuff-pages such as [fiction alert] imoogli, beatwibes amd muflakes that will ‘live’ on any connected device, e.g. your mobile, your TV, your computer, your interactive bathroom screen, your wrist watch, your wimax-ing car radio, or your new P2P global gaming network. Widgets will continue to become instant, ubiquitous mini-site modules that will allow anyone to re-distribute any kind of content, to any device and any platform, anywhere. Most marketing will be done through and with the users - and some of them will get paid for it, too.

[…]

n less than 2 years from now, ubiquitous and fully legal yet ‘feels like free’ music offerings will bring us music bloggers that will become bigger than the biggest radio DJs we’ve ever had. And just like a lot of successful radio personalities before them they will move on to become A&R people and label owners, too. The difference is, of course, that they will have powerful, direct, zero - friction distribution channels at their disposal, and a loyal global audience, built-in and ready to go. All they have to do is keep on earning and retaining the attention of their users.

[…]

It’s a bit choppy and reaching, but Gerd Leonhard’s full article is a must read.

Along the lines of the article, a major part of what I’m trying to do in this spot is build an attention economy around the dotmatrix project; not just to spread the word of what we’re doing, but to help evolve what we’re doing.

I’ve been jumping between pimping local music, exposing instances of music impacting culture and delving into thinking about the business of music — from where we were to how the industry is folding to where we might go. As guest bloggers begin to post here with similar but varied opinions, drivers, experiences, the dotmatrix project’s direction will undoubtedly be influenced.

[insight] The genesis of the dotmatrix brand name is this crazy idea that while we’re all individuals, when we come together over a similar interest and build community, a position becomes apparent. And with a position, comes opportunities to interact… to build… to exchange… to create. [/insight]

Another angle of our approach is participating in the live music scene with a recurring event in downtown Greensboro — we’re putting on our first show this Friday night at The Green Burro. Where that leads or how it folds into this site is still up in the air, which is exciting.

If anything, that notion is the future of music — having fun enjoying a personalized experience with artists that you directly support. From a “label” perspective, the money will come based on how open you are and how committed you are to the careers of artists you assist.

Or not. Fuck it. Either way, we revel in music.

(via KOAR)

Poster by Justin Reich.

Is the Obama shoulder brush in 2008 the pop equivalent of Clinton playing the sax on Arsenio Hall in ‘91?

Classic.

(via Nah Right)

All that’s left to see is Charles Gibson doing the Superman dance.

(via Ill Doctrine)

(originally uploaded by paulcollinsbeat)

We’re coming down the homestretch to the first show and yes, I’m feeling a bit antsy.

Nothing is wrong, I mean, so far we’re all on point — the media crew is collaborating with the bands, the bands are actually putting together set lists so we can make sure we film the right songs, Andy just bought a light fixture for the filmmakers at the show to use, Justin is knocking out posters to go out this weekend around town, Molly has been contacting the local media…

You know what it is? I just want everybody to have a great time. And as the show approaches each day, I guess I’m realizing that I have less and less impact on that happening.

I’m not performing. I’m not shooting. I might be helping with sound, but probably by simply staying out of the way.

I’m not used to this — this not doing thing.

Which is fine, because each and every one of the people who are making this gray matter burp a reality are ridiculously talented people, who have all done this before.

I need to get over myself and stay out of the way.

T-minus 8 days.