No one would argue that the Bad Brains is one of the most important American punk bands of all time. Their influence is deep and wide ranging: Minor Threat, Red Hot Chili Peppers, Beastie Boys, Lil Jon, Living Colour, Matisyahu, Mos Def, 311, hundreds of hardcore bands and any young punk musician. The anchor of this dynamic, powerful, innovative and soulful foursome is bassist Darryl Jenifer.
“[Darryl]’s the musician who most influenced my playing. Though stuff I play now is in a different vein, if you listen to our hardcore tracks, I think you can hear his influence. On the knowledge tip, definitely go and see the Bad Brains every time they play. I’ve seen them like 50 times. I climb up on something where I can get a good view of Jenifer’s hands, and just jones. He’s an unbelievable bassist.” - Adam Yauch of Beastie Boys
Not only is Darryl considered one of the pre-eminent bassist of his era, he’s also an award winning producer. Having produced two albums for famed Canadian reggae band Bedouin Soundclash, Darryl was honored with the prestigious Juno award in 2004 for his production work on “Sounding Mosaic”. He has also produced The Idlers, Stiffed, Morgan Harris, as well as tracks for Sublime, and many of the tracks for his own band the Bad Brains. Darryl maintains a studio in Woodstock, NY.
About “In Search of Black Judas”
Darryl Jenifer returns to ROIR, home to the Bad Brains’ legendary debut album, to release his solo debut.
“In Search of Black Judas” blasts off with hardcore riffs and monstrous grooves, delivered with classic Bad Brains fire and fury and the quickness to shift into downtempo reggae passages. It’s a heady and intoxicating mix of sounds that continues a quest for innovation and soulful vibes, anchored by Jenifer’s rock steady lines.
From the stripped down rub-a-dub of “Babylon Leave Me Alone” to the dark and ominous “Trinity Rub”, an excursion into post-punk-dub akin to PIL or The Ruts, Jenifer’s inventive bass builds a rock-steady foundation on each track. “Black Slavery Dayz Mosh” is a charging reggae groove featuring Bad Brain’s vocalist HR’s twisted and treated vocals. With intricate, spacious and detailed production “In Search of Black Judas” is an aural pleasure and long awaited addition to an already grand legacy.
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Q: How do you build a Wooden Horse? A: Trees. Sand Snowman’s sound hearkens back to a time when people used the word “hearkens.” It is possible that this faerie acid folk is made by actual faeries, with the beautiful lilting harmonies and subtle progressive diversions that only small, winged beasties can perform properly. Gentle, with an edge; sitting atop the same cloud as the more mystical Bunyan, Perhacs, or even Bob Trimble compositions. Quiet, but lush with crisp acoustics leading hand percussion and other exotic instrumentation to the sea shore. This is truly an incredible string band, whose jaw-droppingly beautiful album will hopefully have new initiates seeking out the group’s several previous releases. Beware, however, as playing this album may result in a bad case of Green Men.
As an artist, Sand’s sound and vision is that of musical hide and seek, things seen peripherally, memory, not being here, light, spaces & shadows, vision quests on public transport, trances in shopping queues, time as a playground, hugging monsters, riding the outskirts of one’s age. Ingredients are acoustic guitars, piano, bass, electric guitar, organ, drums, percussion, mandolins, recorders, sitars, xylophones, vibes, violin, voices and miscellaneous found, treated and accidental sounds. Many will see the Sand Snowman as a continuation of a tradition which began with artists like the Incredible String Band and Nick Drake, and which continued through into Syd Barrett’s finest moments. They may have a point. For years, Sand Snowman has spent a quiet life in the heart of London, countering the harsh noises and hectic bustle of this strung-out metropolis with miraculous albums of mysteriously quiet music. His first three full-lengths, released in strictly limited editions and vanishingly small print runs, established a musical cosmos filled with bright wonder: in the best of psychedelic traditions, Sand’s songs did not fearfully seek for an escape from reality, but subtely twisted its parameters to create delicate shifts in perception. The way in which Sand segues completely independent songs into coherent, interrelated suites may indeed be comparable to the techniques of others, but he is following in no one’s tradition but his own.
Unlike most acts of their vintage, The Legendary Pink Dots look forward. After more than 25 years, they continue to make compelling new music that is demanded by fans and maintains the high level of quality that set their careers in motion. Led by singer/songwriter Edward Ka-Spel and keyboardist/songwriter Phil “Silverman” Knight, the band continues to create their singular brand of modern psychedelia. Edward Ka-Spel’s lyrics breathe with a sagacity and cleverness only found in rock’s greatest writers. Their new album “Seconds Late For The Brighton Line” finds the band in familiar territory; pulsing Krautrock, dark and sinister pop and epic post-industrial soundscapes. The album invites the listener to put on head phones, close their eyes and embark on a technicolor journey. Stand out tracks include the epic electronic groove of “Russian Roulette”, the pretty naivete of “Someday” and the chilling goth-pop of “Endless Time.” The recent departure of long-time band members Niels Van Hoorn & Martijn De Kleer has left The Legendary Pink Dots to operate as a quartet. The new crew will embark on an extensive North American tour this Fall that celebrates the band’s 30th Anniversary.
SPIN Magazine says: “Fancy a break from the norm? These U.K. psychedelic rockers mix LSD whimsy & industrial gloom.
Time Out New York says: “…they’ve earned the legendary by now”
LA Weekly says: “The ‘Pink Dots are the latest, greatest thing – always will be – ‘cause one can never pinpoint exactly what they’re on about but can suffer measureless revelation upon hearing it.”
Seattle Weekly Says: “Softly psychedelic like a dreamer with blurry vision, and manically poppy as in the old days of the Flaming Lips.”
Popmatters Says: Pop Matters says: “New listeners beware; the intellectual stimulator of Dots records is addictive.”
US & CANADA TOUR
Fri Oct 15 – Biltmore, Vancouver, BC
Sat Oct 16 – El Corazon, Seattle, WA
Mon Oct 18 – Club Sound, Salt Lake City, UT
Tue Oct 19 – Gothic Theater, Englewood, CO
Thur Oct 21 – Triple Rock, Minneapolis, MN
Fri Oct 22 – Double Door, Chicago, IL
Sat Oct 23 – Rumba Café, Columbus, OH
Sun Oct 24 – Grog Shop, Cleveland, OH
Mon Oct 25 – Magic Stick, Detroit, MI
Tue Oct 26 – The Mod Club, Toronto, ON
Thur Oct 28 – Middle East Upstairs, Cambridge, MA
Fri Oct 29 – Le Poisson Rouge, New York, NY
Sat Oct 30 – DC9, Washington, DC
Sunday, Oct 31 – Irving Plaza, NYC (with DRESDEN DOLLS)
Mon Nov 1 – M Room, Philadelphia, PA
Tue Nov 2 – Thunderbird Café, Pittsburgh, PA
Wed Nov 3 – Local 506, Chapel Hill, NC
Thur Nov 4 – The Masquerade, Atlanta, GA
Fri Nov 5 – The Plaza Theatre, Orlando, FL
Sat Nov 6 – Orpheum, Tampa, FL
Tue Nov 9 – House of Blues Dallas, Dallas, TX
Wed Nov 10 – Elyslum, Austin, TX
Sun Nov 14 – The Rhythm Room, Scottsdale, AZ
Mon Nov 15 – The Casbah, San Diego, CA
Tue Nov 16 – Echoplex, Echo Park, CA
Wed Nov 17 – Sainte Rocke, Hermosa Beach, CA
Thur Nov 18 – The Detroit Bar, Costa Mesa, CA
Fri Nov 19 – Café Du Nord, San Francisco, CA
Sat Nov 20 – Café Du Nord, San Francisco, CA
Mon Nov 22 – Doug Fir Lounge, Portland, OR