list

Blood Orange made this mix to celebrate his FADER cover and compile influences from his new album, Cupid Deluxe.

Read FADER's Blood Orange cover story: http://www.thefader.com/2013/11/19/blood-orange-hitting-the-right-notes/

Blood Orange's FADER Front Cover Mixtape

se·quel
noun \ˈsē-kwəl also -ˌkwel\

: a book, movie, etc., that continues a story begun in another book, movie, etc.

: something that happens after and usually as a result of a previous event

: WHEN PEOPLE WANT WHAT THEY WANT AND WHAT THEY WANT IS MORE FIRE

CVS BANGERS VOLUME 3

Come C'mon - SATIN BELLS

Pochoclo - LAS TRILLIZAS DE ORO

La bruja - LA LLAVE

In/ out (Lo-fi)

This song was written for my mom, May, as a gift from my sister & me for Mother's Day (2015)!

Mama, We just wanna thank you for being beautiful
Mama, thanks to your looks & dad’s, we’re hot like mad! :p

You carried us for 9 months each, 
looked like a melon with no seeds, 
& finally you set us free.. & out we came so healthy!

You raised us right, you taught us how
Got us to where we are right now
& all it took was a slap or 2, we must admit it did us good!

Mayoush, we just wanna thank you for being so cool
Mayoush, for not kicking Django (our dog!) out cos you’re not cruel!

You sacrificed, & paid the price, 
all for us cos you’re very nice
& so are we, cos of you…That’s why we wrote this song for you….

God bless all mothers everywhere!!! 

Song for May (on Mother's Day!)

Forgiving Frankenstein

These are 2 old cds I found that Joey released in Olympia around 2004.  The Self-Titled album was his first album, independently released, and Preview/Review was a re-visit to the self-titled album with some additional songs and edits.  It was released by Crunk's Not Dead in Olympia, WA in 2005

Self Titled

New Manifesto

miso

Did You (acoustic demo)

joey casio- the frame


This page is dedicated to the immediate bedroom recordings of DUBAIS. 


DUBAIS was formed in a bathroom in Antwerp as homage to all past representations, meditations, or predictions of future utopias, states of being, and technologies. The city of Dubai stood as a metaphor or representation of what the new modern Middle East could be; a place of great economic wealth, abundance, culture, and futuristic architecture on land or in sea (palm island.) Now, 45 years after the discovery of its rich oil fields, Dubai still stands, but is demystified of its past expectations.  It is these moments of expectation that shape our understanding of time and development. How do these moments morph as time passes? What once was a mystery is now a memory, even if the mystery was never solved.
My original intent for this project was based in a series of rules and regulations, reflective of my conceptual concerns. First of all, no instruments could be used. Only drones,blips, beeps, generated by my cell phone or consumer grade programs like Garageband, and samples taken from either Space disco of the late 70s or break-beats from the early 80s. Now it has expanded and changed. My interest is still in not exclusively using instrumentation to write/arrange songs. I also use video clips to generate the arrangements and tempo. I use memories, Billy Strayhorn, psychoanalysis and cultural heart ache to determine lyrical content. Although DUBAIS exists as a band, it really exists more as a vehicle in which I can explore multidimensional compositional strategies through a displaced cultural lens.
I often think of the state of music now. I think of what my expectations of music, especially punk music, were. When I was young, I saw it as a way for me to feel comfortable in my own skin. I projected punk into some utopian realm where I can say, be, look, do, whatever I am/want. I was always aware of my differences and tried to conceal them. Tried to pretend that my frizzy hair would eventually turn blonde and straight.  Tried to pretend that eventually my skin would lighten and I would get taller. Tried to pretend that someday people wouldn’t notice or comment on my differences. That I would B L E N D into my white-washed rural youth. When I discovered that I wouldn’t and didn’t want to B L E N D I turned to music, to this subculture of punk to give me permission to be different, to not compromise or submit to some sort of homogenized ideals or expectations. It all felt very revolutionary at the time…. but that time is gone.

Now, years later, where am I? I’ve been in countless bands, (well, actually about 30) toured various places, made records, music videos, etc. and at the end of the day I’ve come to realize what is at the heart of what I love about music. I love the community, I love the activity of playing and composing, I love combining music with politics, I love teaching kids to do it and being a positive role model for them, I love using music to express social change, I love the healing effect it has on my soul, I love that I can incapsulate all that I feel in one song.

I am also faced with the things that I hate about music. I hate the way capitalist ideas of commodification has so much influence in the presentation of the music/musician.  I continually am searching for ways to challenge this and to take myself out of that context.


In/ out (Lo-fi)

DUBAIS(LO-FI)

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