Theophilus London is at the center of Brooklyn’s urban-pop movement. Below, he answers some questions about what he’s been up to.

-       You are incredibly different: from your name, to your lyrics, to your look and your bouncing stage presence at your live performances. What kinds of things are influencing you right now and being turned into the distinct Theophilus London style that we know?

Cities I’ve traveled to this past year has been a big influence on my music and style. Lots of new/old music/movies to check out. Art is back and has never left.

-       How long have you been writing music? What first sparked your interest in writing and performing music?

My dad was a DJ in Trinidad and Tobago. Upon moving to NY he opened a successful outdoor night club in Brooklyn.  Seeing behind the scenes and always wanting to entertain a crowd has been a desire in me I can’t get rid off. Expressing art.

-       What genre do you currently identify your music as and has it always been that way? Do you plan on it staying that way or do you see it evolving into  something else?

My style is POP. Accessible and progressive. That’s how I view it. It changes time to time. I try not to limit myself.

-       As an artist, do you enjoy performing live shows more or are you more into being in the studio recording 24/7? Why?

I enjoy both atmospheres. To be honest I always joked to close friends about wishing to only be a performance artist. But energy and creating in the studio is definitely an amazing process as well. I love enjoying my music with friends, supporters and fans. Performing has become sort of an addiction.

-       What was it like being in COMPLEX magazine? Have you always considered yourself to be a fashion icon or did this identity sneak up on you? Do you have any future plans for the fashion world?

Complex was a thrill for me. Anoma Whittaker and her crew killed it. I was very comfortable with the clothes and it felt natural and real. To be honest I’m not into fashion. I’m just into comfort. I have a tailor who I collab with sometimes on different pieces and cuts. Other times I’m at thrift stores trying to buy rich folk hand me down clothes for $10. No future plans for the fashion world as of yet.

-       Is there any artist in particular you’re craving to collaborate with or write a hook for?

For my album I have called in Jack Penate, Solange Knowles, Dev Hynes, Miike Snow and Santigold

-       Finally, should we be expecting a fall tour? If so, which part of the world will you be heading?

Should be hitting the U.S. There are a lot of things in the works. Details should be out soon.

More Info:

Theophilus London | Website
Theophilus London | Myspace

Bonus:

THEOPHILUS LONDON “I WANT YOU” (OFFICIAL VIDEO) dir. VASHTIE from va$htie on Vimeo.

In April, when The Morning Benders played Winooski, VT, I sat down and talked with Chris Chu about tour, Big Echo, and the internet’s role in music. Above is some video of that exchange. Enjoy.

More Info:

The Morning Bender | Website

Bonus:

Yourstru.ly Presents: The Morning Benders “Stitches” from Yours Truly on Vimeo. The Morning Benders: Promises from Epilogue Magazine on Vimeo. The Morning Benders …. VT Birthday from Susie Floros on Vimeo.

Blitzen Trapper is a band that defies conventional logic by going from an experimental group of cosmically influenced folkstars back to a much simpler style. In a way, the band’s backwards progression—which isn’t a bad thing—might be Eric Earley’s subtle way of demonstrating a theme that was a big part of Furr. And that theme is the return from a modern and confounding world to a much simpler and naturalistic one.

Trapper’s June 16^th performance at Webster Hall in New York illustrated this, as they played a nice mix of songs off Destroyer of the Void , Furr, and Wild Mountain Nation in front of a star-lit sky. Well, it was a screen with tiny LED lights, but it was fitting given the band’s Frontiersy nature. The mixed setlist made it easy to distinguish the differences between the Destroyer songs and the older ones.

What stood out most was that the Destroyer songs utilized less instruments and sounds than their predecessors on Furr and Wild Mountain Nation, which might be simpler in one sense but more complex in another. After all, writing new music that is unique and true to the band’s already established style is not easy, but as I noted in the Destroyer review, Blitzen Trapper managed to make an album that is both old and new.

Going into the show I was expecting a Destroyer dominate set since it’s the album they’re touring on, but they played a balanced selection opening with “Black River Killer” and encoring with “Wild Mountain Nation.” In between, they played so many songs I lost track of what was played, but I know it was easily one of the tightest shows I’ve seen all year, and felt like I heard every song I came to hear with some pleasant surprises thrown in. The conviction that the band plays with, and that Eric Earley sings with, is what made the show so enjoyable.

Similar to the zeal early Frontiersmen had when charting new territory, the show left me enthusiastic and up for continuing the night. Unfortunately, I ended up at the most narcissistic eatery in New York: Cha Cha’s on Mulberry St. Never go there. But let’s not dwell on the bad as Blitzen Trapper pumped a whole lot of good out of the Webster Hall PA system.

Midway through the show, Eric Earley took the stage alone to play one of the many strong narrative songs off of Destroyer, “The Man Who Would Speak True,” which is a harmonica and guitar driven ditty that sounds like the cousin of Furr’s, “Black River Killer.” He even unveiled a new, new song, “Takin’ It Easy Too Long,” which talked about the pitfalls of being apathetic to one’s own slackerdom.

The fact that Earley was playing a new song 8 days after putting out a new album is proof that if there’s one thing Blitzen Trapper is doing, it isn’t slacking. On tour in the states until the end of August, BT heads overseas in November, and I’m sure they’ll pick up some gigs in between. If you happen to be in or near a city where they’re playing, get a ticket and go.

Destroyer of the Void has established them as a musical anomaly in the sense that the songs off of the album are truly modern classic rock, and we all know how popular classic rock is. However, the older stuff has this futuristic folk sound to it, which means they have pretty much traveled back in time with their music. I wouldn’t be surprised if the next album is made with horse hair stringed guitars, ivory keyed pianos, cow skin drums, and some gourds for good measure. Either way, after 5 albums Blitzen Trapper can do no wrong, no matter what direction they decide to time travel with their music.

More Info:

Blitzen Trapper | Website

Bonus:

Well, yesterday was Brooklyn’s famous Atlantic Antic street festival, the absolute best of all the New York street festivals because it’s massive, it’s the last gasp of organized outdoor fun before the cold weather kicks in, there’s live music, the food is amazing, there are plenty of adult beverages to enjoy, and it’s in Brooklyn! And, for me, it’s right outside my apartment door.

I didn’t get out there till about 3:30 because I was nursing a pretty hefty hangover from a late Saturday night, but quickly grabbed myself a bloody mary and a yummy Vietnamese sandwich and was on the up and up. I met up with a couple friends and ran into some others, but mainly spent the next couple of hours first with Red David and then just with my hazy hangover-headed self.

It was really nice to see all the Obama frenzy at the Antic this year. Everywhere I looked were people of different races, colors, religions, sexes, sexual preferences, musical tastes, and ice cream flavor preferences banding together in support of positivity, hope, and America’s future. You could get your picture taken with a life-size cutout of Barack, you could order an organic Obama burger, and even order Biden gelato. It reminded me of New Yorkers inate ability to see through bullshit, and it’s easy for us to see that there is only one presidential campaign right now which is running on truth and honesty…and it ain’t McCain/Palin. Continue Reading

According to the The NY Times, Jared Hoffman, owner of the Knitting Factory, will be moving the music venue cornerstone of Manhattan to Williamsburg, Brooklyn and will also be opening two other Knitting Factory venues in Boise, Idaho and Spokane, Washington.

For local New Yorkers, this move from Leonard St. is a downsize from the current three room, multi-level performance space. The Knitting factory will be replacing the Luna Lounge on 361 Metropolitan Ave in Williamsburg, Brooklyn; a space that only has a capacity of 300 or less. Mr. Hoffman says capacity of the new Knitting Factory location will be “reduced in order to lessen the pressure to draw larger audiences, bringing the venue closer to it’s roots as a club that could take risks.

(via The NY Times)

Brooklyn musician Rench, has released “Gangstagrass” a 22 track bluegrass/hip-hop mash up album. Rench is a singer, songwriter, and producer with roots in honky-tonk, hip-hop, and trip-hop music. With the help of very talented friends he records and releases music because he enjoys it. He likes sad songs and pedal steel guitar. He likes drum samples and scratches. He likes playing live sets at Hanks Saloon in Brooklyn.

Download the album for FREE here: http://www.gangstagrass.com

I don’t think I need to say much about Santogold other than RCRD LBL has a new track “Your Voice” up for download.
Santogold – Your Voice