#BBNG

[beatsforbrothels]

BADBADNOTGOOD & Ghostface Killah - Experience

[kwy]

didn't see it posted on here but it's so pretty

[kal3cchi]

matty - i'll gladly place myself below you

[cumdinewitmoi]

full playlist

[more-records]

#jonahyano #portraitodadog #badbadnotgood #bbng #music #singersongwriter #electronic #rnb #🇯🇵 #🇨🇦 #音楽 #シンガーソングライター #cd #cdジャケット #artwork #アートワーク #morerecords #モアレコ入荷情報 #大宮 (more records) https://www.instagram.com/p/CoJayuEyIki/?igshid=NGJjMDIxMWI=

[puppy95]

New chaz album just sounds like that 100gecs new album that i also didnt like :( so thats another flop SORRY including that new black keys album also lame the new peggy was bad too its just not the same i cant explain wait do i even like any new music this year

[charlott2n]

whats the state of jazz in the 20s. who should i check out. i know kamasi and bbng but thats kindof it. oh and also like sungazer and the comet is coming are interesting. but yeah

[lesbianchemicalplant]

the other day, I was gonna put on BADBADNOTGOOD while we cooked....my gf hadn't heard of them and I was like “....yeah IME there's an odd thing where like, a lot of people who don't rly listen to jazz but do like Lofi Hip Hop Beats also listen to them? like they'll listen to Lofi Hip Hop Beats, and then also BBNG but not other jazz”

I put their first album on and she said “oh yeah I see why Lofi Hiphop Beats fans would also like this”

[luuurien]

Jonah Yano - Portrait of a Dog

(Jazz Pop, Neo-Soul, Singer/Songwriter)

Padded by BADBADNOTGOOD’s rich and warm jazz stylings, Portrait of a Dog captures multiple kinds of grief in one marvelous hour, Jonah Yano’s rush to immortalize family history and heal from heartbreak allowing for gentle folk meditations and heavier jazz pop jams to hold equal weight.

☆☆☆☆

Named after a painting his ex-partner made, Portrait of a Dog is in a constant rush to catalog as much of Jonah Yano’s memory as possible. It’s an album woven around two different kinds of grief that don’t always make their presence clear, heartbreak from both the lingering hurt of a past relationship and watching his grandparents’ memory fade the foundation of everything Yano creates, Portrait of a Dog’s rich neo-soul arrangements padding for the toughest topic matter he’s breached yet. Across its 12 songs and 50 minute runtime, Yano is able to expel all his emotions without letting the music drag behind him, Toronto jazz heavyweights BADBADNOTGOOD at the production helm to give Yano’s stories compositional strength and a slight dreaminess for his abstracted, cloudy songwriting to bounce off, Portrait of a Dog grounded by intense emotions Yano allows to drift about the air. For how harrowing his inspirations are, Yano and BBNG keep the compositions fluffy and warm, restrained when the focus is on Yano’s voice and blooming into the BBNG’s ecstatic soul jazz when all his thoughts have been laid out, bringing balance to the album Yano uses to keep himself stable while recounting the waves of emotion that came over him in the aftermath of visiting his grandparents and working through a breakup at once. Loss permeates all of Portrait of a Dog, but Yano is set on capturing those bruises at their most tender, unafraid to look his grandparents' health in the eye and hold onto his memories of them along the way, his reserved performances situating him near heartbreak without forcing him to sing of it outright. Portrait of a Dog shrouds its stinging core in heavenly neo-soul and inky songwriting, but every emotion is deeply felt through the beautiful arrangements and gentle pace. BADBADNOTGOOD’s production is Portrait of a Dog’s beating heart, but rather than the mystical chamber jazz of their 2021 release Talk Memory, they return closer to the sound of IV tracks like In Your Eyes and Cashmere and their dusty soul jazz, straightforward composition roadmaps where the verse-chorus-verse structure is accentuated with instrumentation that wanders around those boundaries. In the places where Yano’s voice drops away, the band are able to express spiraling grief in ways his words cannot: Leland Whitty’s rich tenor sax tone makes for a wonderfully melancholic lead voice in the ending section of Haven’t Haven’t, and closing track The Ordinary Is Ordinary Because It Ordinarily Repeats sounds like it could have been an outtake from Talk Memory as its stumbling percussion and glowing improvisational work from Whitty ends Portrait of a Dog without Yano’s voice at all, him and BBNG instead choosing to let the album drift away into tender soul jazz that doesn’t seek to act as a definitive end point for Yano’s story - he’s continuing to process the massive holes in his familial history and how much he’s able to preserve of it, and Portrait of a Dog is just one departure point into the next chapter of Yano’s life and artistry. It’s those imperfections and the album’s refusal to do everything in one go that the album uses as an emotional engine: early highlight Always presses on its 3/4 waltz feel with Yano’s sharp vocal delivery and regal string arrangements from Eliza Niemi for a song that’s both heavenly on the ears and tense on the heart; The Speed of Sound! cuts out much of the thick instrumentation to close out the A side of the album with trickling, abstracted neo-soul perfectly matched to the story Yano is telling. The music matches Yano's tangled emotions while simultaneously helping to bring clarity to him, and the resulting songs work perfectly to bring you close to his heart. Yano’s diaristic, often indirect songwriting fortifies the two separate losses he worked through while writing them, but his performances and specific lyrical moments still pierce right through the center of his soul. The title track is one of the few songs here solely focused on his breakup, the glowing painting that adorns the album cover one of the few memories he allows himself to keep of his last relationship  (“Well, there's your portrait of a dog / And the apartment is a mess / So why can't I remember you?”), Yano’s smoothly fingerpicked guitar and BBNG’s smooth backing instrumentation blooming a perfect slice of moody, introspective jazz pop. By knowing all the different dynamics he’s looking to parse through with Portrait of a Dog, Yano’s songwriting is able to sprawl without becoming emotionally distant: his cover of Vashti Bunyan’s Glow Worms is dark and brooding, Bunyan’s sentimental lyrics turned so slightly sour by the sorrow of the album’s core themes, the song clever situated between the heartbreak of watching his grandparents’ health decline he sings of in So Sweet (“We'll all sit down to eat / Remember where you sit this time / You're opposite of me”) and the Sea Oleena-assisted ethereality of Quietly, Entirely is absolutely brilliant, Oleena’s glistening ambient stylings melting beautifully into the jazzy inflections of BBNG’s arrangements and Yano’s gentle singing. Though Portrait of a Dog's lush soul compositions and Yano’s dreamy songwriting may paint the album as a plush, cloudy listen, it’s impossible to hear a song like Song About the Family House or Haven’t Haven’t and not feel Yano’s immediate desire to hold onto as much of his history as he can even as his family disappears right in front of him, his cryptic songwriting keeping his pain from flowing over and creating a measured but passionate listen. Portrait of a Dog's shaggy, extensive examination of all the pain Yano has recently crossed paths with is highly dynamic and valiant in its approach to heartbreak, delicate as it tries to both collect as many memories as it can without pushing Yano past his emotional limits. Through its rich soul jazz arrangements and fantastic group of performers, the album creates space for Yano to traverse the depths of his different relationships and what it’s like to both leave them and watch them start to disappear, Portrait of a Dog unafraid to mix multiple griefs into a singular thesis for Yano. As he archives his family history and attempts to recount romantic loss at the same time, Portrait of a Dog becomes an elegant and poignant exploration of how different kinds of pain subsume into each other; how part of healing from heartbreak is learning where each individual part of that sorrow lies and making an effort to understand and grow from all of them. Yano’s sentimental neo-soul couldn’t have been a more perfect place for him to do exactly that.

[latestofthelatest]

Bien, Bien, Nada Mal. Bad Bad Not Good se presentó en Niceto y no estuvo nada mal.

Los BadBad se presentaron en dos oportunidades en el marco del gran ciclo que empezó este año, Niceto Black promete ser por lo menos hasta ahora, lejos, de lo mejor que está pasando este año en Buenos Aires.

Con la desfachatez digna del calendario de cada uno de sus integrantes los BBNG se presentaron en dos Nicetos colmados, que hasta aquí no tiene nada de extraño, pero si se toma en cuenta que es una banda de millenials que hacen jazz fuzion-intrumental, ahí radica la clave (key) de esto.

Estos cuatro canadienses que apenas superan los veinte años se despacharon con dos shows a base de su mezcla de jazz, con momentos de hard, grandes pasos de post bop y hasta me animaría a decir que hubo solos dignos de free jazz, dejaron boquiabiertos a todos los asistentes.

Buscaron climas y los lograron, la gente pedía silencio por momentos.

Pasearon por sus tres producciones (exceptuando su trabajo con Ghostface Killah de Wu Tang Clan) con la limitación de la falta de vocalista, pero con todo el empuje y convicción de lo que hacen.

Los BBNG son el recambio, la nueva generación, la nueva ola y la vanguardia en la que están también metidos, Kamasi Washington, Thundercat, Karriem Riggins, Terrace Martin, Robert Glasper con una carrera más extensa, por nombrar a los más conocidos, pero todos estos nombres están dándole a la música popular su impronta de jazz, solo con repasar sus trabajos podemos dar cuanta de la importancia y el grado de influencia que está teniendo el jazz en la música contemporánea actual.

Si contamos sus colaboraciones con Kaytranada, Rihanna, Ghost, Kendrik Lamar, Danny Brown, los Odd Future, Tyler The Creator y Earl Sweetshirt, podemos hablar un poco de la apertura musical y del cambio que representan además de lo buscados que son.

La complejidad, el entendimiento, y sus eximias intervenciones en solos que sin sobresaltos fueron la clave y que por momentos las atmosferas de los solos de teclados ejecutados por Matthew Tavares fueron superlativos. Leland Whitty en saxo es la más reciente incorporación (2016) para dejar de ser un trio, sus intervenciones fueron tema de elogios y no se quedarian atrás como así tampoco los desbordes de Alexander Sowinski en la batería, lo más correcto, sin pasar casi al frente ni ser estridente en sus momentos de lucidez, fue el bajista Chester Hansen, que fue pura solvencia, cimentando la base de la banda donde los demás desplegaban alas.

Sonaron de manera ajustadísima y lograron cautivar a los más de mil asistentes que se acercaron por curiosidad o por conocimiento a ver otra fecha de este gran ciclo que ya nos regaló a Tony Allen y pronto no ofrecerá el reggae de Horace Andy una leyenda de la música jamaiquina además de Lee Fields un soulero de la más vieja escuela que se pueda encontrar hoy en día y todo el techno y house de Detroit con Theo Parrish.

No quiero dejar pasar la oportunidad de hacer dos referencias o análisis sobre la propuesta de los muchachines.

Su manera libre y sin atarse a la convenciones y rigidez del jazz nos hace recordar el revuelo que causo la irrupción de Weather Report con su jazz rock o jazz fusion en aquellos años 70, luego de haber vislumbrado el camino trazado por Miles Davies apenas unos años antes, justamente con dos de sus integrantes (Wayne Shorter - Joe Zawinul) que habían pasado por sus formaciones.

El otro avance del jazz fusionado con el tan de moda funk de aquellos años, fue por parte de otro ex colaborador de Davies de su eximio segundo quinteto, Herbie Hancok y su proyecto Headhunters llevaron mas allá esa búsqueda emprendida por el mandamás.

Esto fue lo que llevaron a cabo los Report, fueron bocanadas de aire fresco a comienzos y durante sus años de máximo esplendor que fue toda esa década, los dorados años 70.

WR con Joe Zawinul en teclados, Jaco Pastorius en bajo y la inestimable colaboración de el grandioso Wayne Shorter eran los que marcaban la diferencia en aquellos años un verdadero seleccionado, internacional, word music aplicado en la procedencia de  sus integrantes, Zawinul, austriaco, Pastorius con su ascendencia finlandesa, alemana, sueca e irlandesa, un afroamericano (Wayne Shorter) hasta llegó a haber un peruano, Alex Acuña, un brasilero, Airto Moreira , un norteamericano descendiente de árabes (Omar Hakim), un francés de origen antillano (Mino Cenelu) entre los más de 20 integrantes que tuvo en toda su existencia el grupo, esa, seguro fue una premisa.

El otro punto relevante para rastrear las raíces es de los BBNG fue la aparición de Medeski, Martin and Wood, el trio conmociona por el abordaje inesperado y con muchos mas recursos técnicos, habida cuenta de los desarrollos tecnológicos que se dieron en ese campo durante esa ventana de casi 20 años entre la presentación en sociedad del jazz rock o jazz fusion y la propuesta de MM&W.

Entre ellos y los BadbadNotGood hubo otras experiencias como el primer gran rescate del jazz hacia el rap y hip hop, el otro según la prensa norteamericana otra mutación, el ñu jazz, y las inestimables colaboraciones de JDilla, Guru, Madlib que metieron sus dedos y aportaron su cuota.

Escenas más cercanas en el tiempo y en cuanto a sonido también.

Dicho todo esto y hecha las salvedades, a dormir tranquilo con el corazón contento de haber visto a la nueva gran cosa que está pasando en la música y estremeció a Niceto con la nueva avanzada del jazz.

[maxwell-grant]

 🎶✨ When you get this u have to put 5 songs u actually listen to, publish. Then, send this ask/tag 10 of your favourite followers ✨🎶

tagged by @artbyblastweave. Thanks! Well now I have to curate my playlists for this so I don’t look like some kind of dweeb plugged into videogame music and Youtube instrumental-only recs 24/7, what would the neighbors say?

Rejoice by Devin Townsend

I’ve been paying more attention to the rest of Townsend’s discography and I’ve been really loving it, been listening to Z² a bit lately and I’m highlighting Rejoice in particular. I got a new job recently, and it’s a really good job, I really really need the money, but it also takes 2-3 hours of subway/bus surfing to get to, which involves a lot of walking, which I usually enjoy doing except I'm usually racing on a schedule, and ever since I twisted my ankle a couple years ago I’ve been dealing with chronic pain that's gotten so much fucking worse since I took this job, feels like daggers stuck in both of my feet all day, so that part of the chorus that goes “IT HURTS, SO MUCH” tends to be pretty cathartic to listen to in the ride. Because yeah, it fucking hurts Mr Ziltoid, thank you for screaming that with a cool backing track, limping home feels way less shitty with cool music as added fuel.

-O U T - O F - I D E A S - by Dankmus

Good YTPMVs just scratch an itch nothing else does. Generally the better YTPMVs come from sickos who painstakingly sample and edit every little scrap of sound the source material gives them, like iteachvader who goes through the most batshit lengths to cannibalize ASotH into a uniquely consistent musical soundboard, but Dankmus is closer to those that use the source as added spice for a whole new instrumentation, which is usually less fun, but he’s doing on such an absurd level of quality. He makes the most hypnotically catchy music with Simpsons meme soundbits intertwined inseparably and it works so marvelously. The vocals and synth of this one in particular get stuck in my head a lot.

Iron Horse / No Man’s Land by Mean Mary, couldn’t pick one

Stumbled onto these by sheer accident looking for songs to match WIP-specific keywords. Banjos tend to be associated so frequently as a comedy instrument but every now and then something like this knocks you over with sheer skill and mood alone. Really love her voice and enunciation, her songs are wonderful instrumentals even without it but her voice is so great, so full of character, so dramatic. She’s very quickly become one of my favorite vocalists to listen to.

Confessions Part II (feat Colin Stetson) by BADBADNOTGOOD

Some of the punchier tracks of BBNG are music for when you need to absolutely and completely need to get your brain hotwired enough to willpower through sewage. They play the soundtracks that manifest when you need to groove while your eyeballs are twiching and sparks fly off your temples and your hands grip the desk and the work is just not gonna fucking end anytime soon but you’re not quitting now, and then when the saxophones start blaring nonstop it’s like they’re screaming and roaring and raving the way you wish you could do right now, and then they hit you with a nice spitzy beat that makes it a little easier to put up with the next minutes or so (is spitzy even a term? Probably not, but it feels right for them), and the music dips into one layered intensity after another and then it grabs your head and shakes it loose and makes it feel like any second now your spine is gonna spring out of your neck like a snake nut can and somehow, it feels like that would be a nice thing to happen that might even fix your back and hey, I feel better now.

Boi Luzeiro por Cordel do Fogo Encantado

Putting links to both the audio as well as a live performance, audio quality’s different but watching the performers go wild on drums and one vocalist taking center shmooving with a pandero at hand is indispensable (to not spoil the ending as well). I’ve been trying lately to branch out tastes and listen to more Brazilian music and I really enjoy northeastern Brazil styles, feels like rediscovering something I always liked and never really had any reason to not listen to more. Not sure it translates too well into English but I really love the song’s concept and lyrics, love the cordel theme the band uses, love the drums and beat ramping up intensity, love the vocals, love the progression, VEM TACAR FOGO NO MUNDO, EI HEI-EI HEI - QUANDO O DIA NASCER E MORRER, EI HEI-EI HEI, QUANDO O DIA NASCER E MORREEEER. Maracatu music just hits differently and I’ve been missing out big time.

tagging @krinsbez, @jcogginsa, @deathchrist2000, @zoanzon, @mirrorfalls, @irregularjohnnywiggins, @about-faces, @totallynotagentphilcoulson, @khancrackers, @thedeathalchemist

[lactating]

everyone in the world check out bbng's IV album in the highest possible audio fidelity you have access to. break into your dads studio apartment and steal his five hundred dollar headphones he got scammed into buying. lay in the bath. press play. visualize jewel tones.

[dopamine-cloud]

BBNG 1

[headlinerportugal]

A classe dos BadBadNotGood proporcionou uma Aula Magna em Lisboa | Reportagem Completa

Visão de 5 dos 6 elementos dos BBNG | fotos © Aitor Amorim @ torstudio - álbum completo aqui No regresso a Portugal os BadBadNotGood fizeram a sua estreia na capital portuguesa. Eles que tinham tocado no nosso país, a vez anterior registou-se a norte, mais precisamente no Vodafone Paredes de Coura em 2022.

A Aula Magna registou lotação esgotada, mesmo após a libertação de alguns bilhetes de última hora no próprio dia, a última quinta-feira 30 de maio de 2024.

Alexander Sowinski (bateria), Chester Hansen (baixo), Leland Whitty (guitarra e instrumentos de sopro) são três elementos base da banda canadiana que apresentou-se em Lisboa em formato sexteto. Outros elementos relevantes são Felix Fox (teclados), colaborou nas últimas edições discográficas, Juancarlos Magallanes (percussão) e Kae Murphy (trompete). Juancarlos e Kae fazem parte da banda ao vivo desde 2023.

Alexander Sowinski (baterista), Juancarlos Magallanes (percussão) e Chester Hansen (baixo) | fotos © Aitor Amorim @ torstudio - álbum completo aqui Ao contrário do noticiado na imprensa, neste concerto especial, a formação canadiana aproveitou para apresentar vários temas de ‘Mid Spiral’, o próximo álbum cuja edição acontecerá a 25 de outubro de 2024. Este será a união dos EPs lançados entretanto fazendo parte de uma tripleta ‘Mid Spiral: Chaos’, ‘Mid Spiral: Order’ e ‘Mid Spiral: Growth’ todos lançados no decurso deste passado mês de maio com 1 semana de intervalo. O último editado no dia anterior ao concerto lisboeta.

Evocados como sendo um grupo ligado ao jazz, na verdade, os BBNG têm sido tremendamente elogiados pela crítica especializada devido ao seu estilo inconfundível. Não têm limites levando-os a integrar, no seu estilo de improviso, tons do rock ao hip-hop.

Com os novos temas da trilogia ‘Mid Spiral’ regressam à sua fórmula precedente mais ligada ao jazz instrumental. Isso foi o tom principal do espetáculo na Aula Magna. Quem conhece o auditório desta sala lisboeta sabe que a sua lotação é totalmente de lugares sentados, mais precisamente 1541 lugares. Apesar disso o público estava totalmente ligado à performance pelo que não resistiu a saltar do seu lugar, principalmente nas músicas mais mexidas. Algo que os próprios BadBadNotGood fizeram questão de incentivar.

Animação em palco dos BADBADNOTGOOD | fotos © Aitor Amorim @ torstudio - álbum completo aqui Foi uma performance pouco iluminada na qual as imagens projetadas atrás da banda deram uma “pincelada” artística à atuação tal como já tinha sucedido em Paredes de Coura. Imagens de formato cinematográfico Super 8 num plano plenamente artístico: saturadas, desfocadas e evocativas de paisagens citadinas, montanhosas ou aquáticas.

Para o encore foram servidas duas faixas bem interessantes: “Chocolate Conquistadors” editada para a banda sonora do videojogo "The Cayo Perico Heist" um update do "Grand Theft Auto Online". A outra, “CS60”, foi um retorno a 2014 e ao álbum ‘III’.

Depois de Lisboa seguiram para Barcelona e tocaram, no dia seguinte, num dos palcos principais. Palco esse inaugurado nesta jornada pela lusitana Rita Vian cuja segunda banda foram as The Last Dinner Party. Os BBNG foram os terceiros nesse Palco Cupra.

Leland Whitty no saxofone | fotos © Aitor Amorim @ torstudio - álbum completo aqui Agradecimento final à Last Tour Portugal na pessoa da Andreia Criner pela permissão concedida ao nosso colaborador Aitor Amorim para a realização desta reportagem fotográfica.

Setlist: Eyes On Me Take Me With You Weird & Wonderful Confessions Confessions Pt. II Your Soul & Mine Unfolding Juan's World Sétima Regra Mid Spiral Lavender Last Laugh Encore: Chocolate Conquistadors CS60

Reportagem fotográfica completa: Clicar Aqui

Chester Hansen no baixo| fotos © Aitor Amorim @ torstudio - álbum completo aqui Texto: Edgar Silva com apoio de Aitor Amorim Fotografia: Aitor Amorim

[charlott2n]

Have you heard Sour Soul by Ghostface Killah and Badbadnotgood?

this was really good 👍love bbng 😁