Since emerging in 2014 with their debut album This Is How I Let You Down, The Franklin Electric (TFE) have logged over 400 shows, canvassing the world alongside artists such as Mumford & Sons,  Ben Howard, Half Moon Run and City and Colour before headlining their very own tours around the world. Along the way, their 2017 album Blue Ceilings marked a major milestone, leading to a nomination at the 2018 JUNO® awards in the category of “Breakthrough Group of the Year''. Building on this momentum, TFE released their full-length LP  In Your Head / In Your Heart in 2020, accumulating over 4 million streams of the title track In Your Heart alone. The group then released the EP  Never Look Back, and full-length album This Time I See It in 2021. 2022 began with a steady release of five singles: Borderline, Answers, Rabbit Hole, Lesser Of The Worst, A Token Of Your Purpose. Led by the heartfelt folk anthem Answers, the group saw monthly listeners triple in the last 6 months. This release cycle helped refresh the group’s success in their backyard of Quebec, while broadening their reach internationally. 
On the next single Call Me, Jon feels at home, finding his way back to an extremely open and vulnerable place with acoustic-based instrumentation and raw, honest lyrics. The song was written in a small coastal town in Nayarit, Mexico, as a live improv jam recorded on his phone, and then produced at his home studio just outside Montreal. 
Jon states “ It felt easy and honest.” He goes on to say,  “ I feel I've reached the point that I can now make the music I want to make freely and say the things that are closest to me. Call Me is about the ideas we've created about ourselves or others have created about us. I've seen many versions of myself come and go and I'm now able to let go and share them as if it was just another story.”
The single is accompanied by a breathtaking music video filmed while Jon was traveling around Portugal. The video captures gentle moments of a mother's love, portraits of local fishermen and lifestyles, and sceneries of Portuguese coastlines. 
Franklin is poised for the next chapter with a full length album set to release this year. Tour dates to be announced in the coming weeks.

Experience the excitement and energy of Las Vegas each weekend on VEGAS NEVER SLEEPS with Steven Maggi.

Listeners across the country and around the world will enjoy this weekly romp to Las Vegas, the capital of fun, food and entertainment. For the latest Vegas news and a look behind the scenes of world-class hotels, dining, gaming, special events and conventions, turn to VEGAS NEVER SLEEPS with Steven Maggi! Hear about those things that only happen in Vegas, as well as how this oasis in the desert has transformed into a visitor’s paradise welcoming over 42 million tourists each year.

**Underground Radio** 
Join the team and get a Caddyswag cooler for your golf bag at caddyswag.com

MEMBERS:

Jean Waterlot - vocals, keys
Manu Simonis - guitar, strings
Gabriel Reding – bass  
Pierre Waterlot - drums 

MGMT: 

Stephane Viard : stephane.viard@gmail.com

BOOKING:

Belgium:

Arnaud de Koninck
arnaud@progressbooking.be (Fr)

  Don’t even try to find the meaning of “Temperplane” in the Webster. The word is the fruit of Jean Waterlot’s imagination, an attempt to capture the momentum that lead to the release of the 3rd album of his band Montevideo: a fantasized plane that would allow you to fly through various degrees of emotion, from where you could observe our planet Earth from above, far above. 
Nonetheless it’s a more conventional plane that Montevideo took to record those 8 songs, heading to New York to work with Joakim who established his Crowdspacer studio in Brooklyn a few years ago. The band decided to extend the fruitful collaboration with the French producer started on their 2nd LP “Personal Space” in 2012. So fruitful that they also signed the record to Joakim’s label, Tigersushi.
After exploring more synth heavy, discoid vibes on “Personal Space”, Montevideo are coming back to their indie roots here, a rawer energy, without abandoning their ambition to keep your feet dancing. Here, their “psychedelic dance” vision takes on the challenge of dressing up the Beach Boys with the baggy jeans of the Happy Mondays, bringing the Pacific ocean breeze to Manchester, spreading complex vocal harmonies all over the dancefloor. Who else other than Joakim, the producer, musician, DJ and remixer, could have made this vision happen?
Between the band and Joakim, the communication is fluid and effortless. Like Andrew Weatherall or Erol Alkan, the studio sorcerer seamlessly mixed Dance and Rock acting as a producer from the recording to the mixing, beefing up the beats, adding the right samples where they were needed. “With his extensive knowledge of Electronic Music, Joakim filtered our ideas through the processing of his machines” says Jean.
A special attention was brought to the vocals arrangement and they space in the mix, emphasizing lyrics that gained in depth, especially after the 4 belgians heard about the devastating terrorist attacks that happened in Brussels airport as they landed in NYC. Jean recalls: “It was really strange to experience those terrible times in our homeland from such a distance, through American media. We somehow unconsciously fled this apocalyptic world we describe in the song Temperplane”.
Because of their Pop influences and the melting pot of cultures present in Brussels, English remains their language of choice when it comes to singing, like when they describe this “Fun House”, a nightly place to lose yourself, even scarier that The Stooges’ one. The song starts like Fad Gadget and ends like The Charlatans, like a tribute to the the historical bond between Belgium and British pop music that dates back to the 80s (Factory Benelux, Les Disques Du Crepuscule…).
Montevideo’s dance-pop crossover sometimes evokes the psychedelic fumes of the Beta Band or Django Django (New Dandy, Empy Space), before taking a romantic New Wave stroll in Brooklyn (Sutton Street) or heading straight to the club (Calypso).
The very graphic artwork was done by the legendary studio H5, famous for iconic French Touch artworks like Super Discount. Maybe the Temperplane is actually a time traveling aircraft, bringing together Primal Scream, New Order and Metronomy and proving that there’s another life after their post-punk debut and that 2018 electronic music can still enhance ambitious pop melodies to take you high, very high.

Gloria Gaynor will tell you, “I have more than survived. I have thrived.” Indeed an optimistic message accentuates her new gospel album, Testimony, and it’s delivered with the exhilarating vocals that have become the legendary performer’s trademark.
 
For Testimony, Gaynor partnered with Grammy-winning producers Chris Stevens (TobyMac, Mandisa) and F. Reid Shippen (Jonny Lang, Robert Randolph) to create a roots gospel collection that relies on Gaynor’s own songwriting, a couple of hymns, and a stunning interpretation of Bob Dylan’s “Man of Peace.” Special guests include Yolanda Adams, Jason Crabb, Mike Farris, and MercyMe’s Bart Millard, as well as first-call studio musicians Daru Jones (drums), Drew Ramsey (guitar), Shannon Sanders (keyboards/B3), Jason Webb (piano/keyboards), and Willie Weeks (bass). Latrese Bush, Melinda Doolittle and Jason Eskridge provide dynamic background vocals.
 
As a songwriter, Gaynor considers herself primarily a lyricist and she embraced the collaborative process of setting her words to music. She also appreciated Stevens’ concept of roots gospel, noting, “That means to me that the roots of the music, and the lyrics, are based in what gospel used to be years ago. I think that the basic thing is that it’s more bluesy.” Yet she is quick to clarify that Testimony is not a sad album, observing, “There’s enough sadness in the world.”
 
For the first time in a career that stretches back to the 1970s, Gaynor recorded in Nashville. The sessions took place inside one of Music Row’s most historic buildings, the former RCA Studio
A. “The idea of having all the musicians in the room with me, recording some of these songs, was electrifying – so inspirational,” she says. “Whenever anybody asks me what I think is the main difference between music today and music back in the ‘70s and ‘80s, I always say the spontaneous creativity that can only happen between live musicians working in the studio together, inspiring one another.”
 
Gaynor nearly lost everything after falling backwards over a stage monitor at the Beacon Theatre in 1978. Paralyzed from the waist down, she endured spinal surgery and a four-month hospital stay. Thus, it isn’t a coincidence that Testimony begins with these lyrics: “There was a time I was broken / I didn’t know which way to turn / I was paralyzed…” Gaynor remembers turning to God to fix the situation. "I left the hospital pretty certain that He would, not knowing how,” she says. “The record company had called and said, ‘It's over. We're not renewing your contract.’
But God had other plans and as we always say in Christianity, ‘But God.’”
 
The label acquired a new president who kept Gaynor on the roster; she cut “I Will Survive” while wearing a back brace. The song’s message of resilience and strength resonated across generations, serving as a cornerstone of the disco era. And because the universal appeal of “I Will Survive” transcends genres, it continues to be a mantra for multitudes of music fans.
 
Immersed in the temptations of fame and wealth, Gaynor recommitted herself to Christ in 1982 after a night of reckoning with drugs and alcohol. “I literally felt the Holy Spirit grab me by the collar, stand me on my feet, and say, ‘That’s enough.’ I was visibly shaken. That was a huge turning point for me. It feels like it happened yesterday. I'll never forget it, ever. When God puts his hands on you, you don't forget it,” she recalls.
 
“Now seems like the right time to release this album, only because God’s timing is perfect,” she adds. “You have to be persistent about being patient. When you’re doing what you love – what you’re created to do and fulfilling your purpose – patience comes easier because you’re having so much fun. All the other stuff is icing on the cake. I mean, we all love icing! But you need to have a little more patience. It’s easier to have patience, getting to that part, when the cake is good!”

In 2004, Marc Broussard, then a precocious 22-year-old singer/songwriter, released his major-label debut; he called it Carencro, after the Louisiana town where he was born and raised, and its thematic centerpiece was a hickory-smoked slab of Bayou soul called “Home.” That album and the three that followed revealed Broussard as an old-school Southern soul singer blessed with a rarefied gift and innate stylistic and emotional authenticity, causing the L.A. Times to rave, “The guy can really sing, with power, nuance and class. Anybody got a phone book? I’d listen to him hum a few pages.” Those records also evidenced Broussard’s maturation into a songwriter of uncommon eloquence, fashioning the indigenous idioms of his native region into compelling personal testimony.   

Now, a decade after his critical breakthrough, Broussard has come full circle with A LIFE WORTH LIVING his sixth studio album, a celebration of what home means to him, starting with his wife and kids, the street he’s lived on his entire life, surrounded by loved ones, and all the minutiae of everyday life that he has come to treasure. 

“Home definitely has a lot to do with this album,” he confirms. “But family has a lot to do with it as well, and those two go hand in hand. The infrastructure of family is really important, especially when you have four kids. Luckily I’ve got family that I’ve been able to lean on throughout all these years. Then,on top of it all, this place is just special. There’s a different way of living, a different way of communicating and a different way of celebrating life here that is infectious. And once you realize it, you never want to leave.”

Broussard signals his intentions with the cover portrait, which pictures him with his wife and kids sitting on the steps of a neighbor’s house, instruments in hand, persuasively conveying the notion that the family that plays together stays together. That touching photograph, which recalls Norman Rockwell’s heartwarming images of home and hearth, leads the listener into a song cycle that brings those traditional American values to vivid life, a linked series of ballads and deep-gut soul-rockers with revealing titles like “Edge of Heaven,” “Another Day,” “Weight of the World,” “Perfect to Me” and “Shine.” These songs, some intimate and others churning with intensity, like the kickass blues-rockers “Dyin’ Man” and “Man Ain’t Supposed to Cry,” chart the full range of concerns and emotions of a husband, father and provider as he experiences the joys and sorrows of existence. 

“Whether it’s because I’m older and a little more perceptive, or whether it was just the right time, I find myself with a set of songs that really means the world to me,” Broussard says with pride. “The lion’s share of the material on this record is extremely personal. There are decades of stories behind a single line in any of these songs. In that way alone, it’s vastly different than anything I’ve done before. There was much more attention to detail; I feel like I’ve become a more focused writer.”

From the charged metaphor of the opening track and lead single “Hurricane Heart” to the closing existential lament “I’ll never Know,” Broussard gets really close to the bone on this record—so close, in fact, that there seems to be no distance between himself and these songs, each of them drawn from the very fabric of his life; it’s as if they’re being transmitted from his heart and soul directly to the listener. That’s particularly true of the poignant title piece. 

“It was a rare occurrence to have a song that just kind of wrote itself,” Broussard says of “A Life Worth Living.” “It felt like I was the conduit more than the writer, that I received this thing. It happened right after the passing of my grandmother. She was sick, and she decided not to fight the cancer, which is indicative of her style—she lived by her own rules. My mother’s mother was the matriarch of this wonderful, massive family. Hurricane Isaac was bearing down on the Gulf Coast of Louisiana at the same time that she was passing away, and because it was such a sudden thing—we found out she had cancer and three weeks later she was gone—we were all left speechless. I felt like someone needed to say something and luckily the whole thing laid itself out in front of me. 

“That’s one of two songs on this record that came to me this way,” Broussard continues. “The other one is ‘Give ’Em Hell.’ It’s about a friend of mine, Squirrel we called him, who was the head of the English department at a Jesuit high school in New Orleans. This guy was a brilliant writer, and one of my favorite people of all time. Squirrel passed away suddenly from a heart condition last April, and that led to another song that just hit me. I sat right up in bed and heard the first line. 

“My grandmother passed away at the end of the summer of 2012, and Squirrel passed away in the spring of last year, so those two songs buttressed the entire writing process for this record,” he notes. “I felt both my grandmother and Squirrel’s presence coaxing me through every line, through every tear that rolled down my face as I wrote. Both were extremely emotional to write because I knew how gut-wrenching every line was going to be. So surrendering to the process was very difficult, but incredibly cathartic in the end.” 

The album’s other linchpin song is “Honesty,” which, like “A Life Worth Living” and “Give ’Em Hell,” began with an epiphany. “‘Honesty’ was born out of an experience I had listening to a song called ‘Don’t Tell All My Friends About Me,’ by a brilliant guy named Blake Mills,” Broussard recalls. “That song had a profound effect on me in that it was so brutally honest it couldn’t be denied. For a long, long time, I’ve avoided writing about the darker side of relationships and love for fear of offending my wife’s sensibilities. But after I heard that song, I said to myself, ‘I can’t do that anymore. I’m not gonna allow myself to be stifled; I need to be able to write whatever I’m feeling.” So I had a talk with my wife and let her know that none of this stuff was really that personal, and all she needed to do was focus on how we are to each other. Then I proceeded to open myself up. So ‘Honesty’ is really the quintessence of this new spirit in my writing. 

A LIFE WORTH LIVING marks Broussard’s return to Vanguard, which released 2007’s SOS: Save Our Soul, his scintillating album of covers of Southern soul classics.

“Luckily, I’m with a company that recognizes opportunities and is nimble and agile enough to make moves on it when they present themselves,” says Broussard. “All of the things that I needed to happen for me to feel confident about this project have come together. It’s put me in a really good head space. I’m really looking forward to the future, and there’s no end in sight, that’s the thing. We’ve got ideas that are fresh, and a team that’s really excited about implementing those ideas. I’m poised for some big things, hopefully, right here.”

With that, Broussard eases himself back into the unhurried rhythm of life in Carencro. The next order of business: dropping off a cookie cake baked by his wife to his daughter’s first-grade class at the neighborhood elementary school.

Eufórquestra (pronounced yoof-orchestra, think euphoria+orchestra) is energy and rhythm personified. An ever-evolving sound that has been influenced by music from all over the world with an emphasis on funk, pocket and groove. For over a decade the band has been igniting dance floors across the country, blending the roots of funk, soul, afrobeat, reggae and dub to create a sound that “explodes, dances and melts in your ear with sheer bliss"(Chris M. Slawecki; AllAboutJazz.com).

Eufórquestra’s fifth full-length record, FIRE, was produced by Kyle Hollingsworth (of The String Cheese Incident) and captures the passion and musical maturing of these road warriors. Over the course of 14 tracks, the band takes you on an hour-long adventure that will touch your heart and mind, and keep your fingers and toes tapping. A handful of special guests, including Elliot Martin (John Brown’s Body), Gabriel Mervine and Kim Dawson (The Motet) and Mr. Hollingsworth himself, put their own touches on the band’s already cohesive sound that is “tight and engineered to a fine, funky precision.” (Jeremy Frazier; Chicago Jam Scene) The result is a record that is distinctly modern, maintaining one foot in the future and firmly planting in the musical roots traditions of the past.

With almost 1,000 shows under their belt, Eufórquestra shows no sign of stopping. A perpetually heavy tour schedule keeps the band and fans happy, as performing live in front of an audience has always been the band’s top priority. As noted in a live show review by Grateful Web, “...the boys seem to play like the apocalypse will happen at any second and they want to die doing what they do best...”

Ty Writer is an up and coming rapper from Silver Spring, MD. Growing up in Silver Spring he was born with teen parents and lived in a single parent household, but his mother Hustled working two jobs. He started writing songs at the age of 9 and began recording at the age of 14. Influenced by artist such as J. Cole, Micheal Jackson and Nas, he has created an amazing sound that is second to no other. 

For booking and other business: ty.writer.music@gmail.com

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Twitter: Ty_be_writing2

Antonymes : In Formation

Antonymes music emerges from the adjustments and erasures of ambient, the pace and persistence of minimalism, where music expresses nothing but itself, from the serenity and austerity of Morton Feldman and the profound prettiness of Harold Budd, from the relationship between continuity and repetition rather than of contract and interplay, from secrecy, from quietness, from pause, from thought, from emptiness, from time, from far off, from itself, from where it is set and where it is setting off to.   
 
“My chief aim is to make a piece of music. You make it for yourself firstly, and then if other people want to join in, then there we are.”
 
Antonymes makes music at the edge of, and deep inside, and from above North Wales, which you can think of as a very real place, available to be visited at any time in the solid present, and also as a very strange, fantastic, ultimately unreal place, which is all it has ever been, legend, spirit, mist and fluctuating stillness stretching back to a time and place where it was seemed like the beginning of a dream, one that would always become another dream, and another, and so on. It’s worth mentioning that Antonymes is of North Wales: to take an approach to the music understanding the location where it was made up and produced, to approach the music as if it is the beginning, or the end, of some kind of map, that will take you up mountains, across streams, to the sea, where the tide comes in, and the tide goes out, under the waves, through the woods and into the obscure wilderness that stretches between one patch of land and another, between one village and the next. So: Antonymes, of North Wales, recalling the lines of the great North Welsh poet RS Thomas, “to live in Wales is to be conscious at dusk of the spilled blood that went into the making of the wild sky, dyeing the wild rivers in all their courses.’
 
Formed at some point during 2008 by designer, photographer, conceptualist and musician Ian M Hazeldine, as a group that could contain just himself, and others when it seemed appropriate, Antonymes first album was titled ‘Beauty Becomes The Enemy of the Future’. Released initially on David Newlyn’s Cathedral Transmissions label in December 2009, and as a self-published book in spring 2010. A second 2010 release, ‘31: Before The Light Fails’, was released as a digital download and as a special box, an edition of one, containing music and photography, representing Antonymes fear and suspicion of the herd mentality. The piece consisted of two tracks to be played simultaneously in separate rooms. One review described the work as “a daring and inspired exercise in creating a timeless work of art.” Various pieces by Antonymes have appeared on compilations produced by Soundcolours, Dezordr, Cathedral Transmissions and Audio Gourmet.
 
Antonymes music is made up, something coming from nowhere, with no clear sense of what might happen next, and yet a vague sense of what might happen after that. It begins at the piano, where notes, space and intention, and something of the soul, and the mind catching itself combine over time, until a shape appears, which suggest other shapes, and lines, and something else, an anatomy, the lateral spread of a single surface, and a shadow or two. A composition, the result of a mystical sequence of events involving improvisation, imagination, presentation, communication, intuition and manipulation, has been completed. It is the improvisation, certainly, more of Pauline Oliveros, Terry Riley, Alvin Curran and La Monte Young than jazz, the patient, probing occasionally accidental forming of structure, tension and atmosphere around spontaneity and a form of focussed daydreaming, which is a near relation of a form of praying.

Paul Morley, January 2011.

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