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The rain was relentless in East Fort Lauderdale as the midnight hour approached. A line of lively youth wrapped around under a small overhang at the entrance of the Culture Room. Mostly an attempt to stay dry, but more importantly a last minute move of haste to get inside before the band came on stage. Hours previous the same venue played host to a metal show, and the double billing made for a level of uncertainty for when fans could find shelter from the storm inside the cozy two tiered room.
Now Conspirator, a super-group comprised of Mark Brownstien (bass) and Aaron Magner (keys/synths) of The Disco Biscuits, Chris Michetti (guitar) of Raq and Mike Greenfield (drums) of Lotus, would take over and pump out an extended late night set of live electronica and l guitar-infused dub movements. As I patiently waited for a resolution to a press credential debacle, all four members walked by me. They were met with comments from the impatient que of fans and all smiled before hustling inside. The nontraditional approach of using the front door, and walking among the crowd, set the tone for a very intimate and relaxed vibe between the musicians and the audience of night owls.
The venue was comfortably full and there was no indication that it was nearly 1 AM when the first notes of “So Much More” greased the wheels for what would be a nonstop two hour dance party. The Disco Biscuits electronic influence is noticeably present in the sound of the band, but without any of the traditional jam band improvisational techniques. The beats are from a more electronic purist realm, and the breaks come harder and faster. Classic song structures are nearly non-existent and a more sporadic sequencing of up-tempo, highly sampled, synthesizer lead instrumentals are the name of the game.
The set list weaves in and out of tracks that typically built up to a plateau for either Michetti to launch into a face melting guitar solo. If that didn’t happen then Magner would take over and construct a high-note synthesizer effect into breaking peak before the rhythm section bottomed out and blasted back into the original progression. The concept is nothing new, of course, but the execution and minor details such as Greenfield’s drum fills and Magner’s vocal samples are on point and very polished.
Fans of each of the three bands can still differentiate the sounds of the contributing members, but in a freshly amplified collective that aims to keep the energy through out the room and the dance party pulsing. To this effect, the war was won and both goals were achieved.Also noteworthy was how attentive the crowd was to what was happening on stage. Reactions to teases of familiar tracks, and jumps from deep grooves into something as silly as the infrastructure of a Backstreet Boys song, were all manifested by flailing arms and shouts for more.
Shedding all stereotypes and predisposed characteristics, I could not help but be inspired by the thought that the negative attributes – usually associated with the primary bands of certain members of Conspirator, were completely lost on this crowd. Maintaining some of their self-professed law abiding citizen demeanor, the band broke away from the stage at the 2:30 AM curfew. The attempt at hoodwinking didn’t last long. They came back and Brownstien thanked Greenfield for sitting for sitting in with the band the same way he had done eight years ago. With that they launched into one last extended monster jam with “Retrograde” before calling it quits for real. No where near ready for the night to end just yet, post-show parking lot shenanigans and early morning after parties kept the night rolling until the sun was coming up. Special thanks should be given to Matt and Destiny, the entire Brotherly Love Productions Krewe that came out in large numbers, and those that were generous enough to host both before and after the show.
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Also in this months issue of WeMerge, Brotherly Love Productions head man Matt Beck muses on the past, present and future of the BLP empire. This is a really great read and it doesn't hurt that the photos featured were shot by yours truly at the Greenhouse Lounge/Aquaphonics show at The Old City Limits in Delray Beach, Florida. Click the image below or check it out here on page 12.
Brotherly Love Productions | WeMerge Magazine | September 2011
Last month I had the pleasure of sitting down with The Heavy Pets in their Delray Beach studio for two nights right before they embarked on a late summer tour up and down the East Coast. I have to admit that the all-access feel to their recording process, generous sharing of some beers and a total willingness to break up the recording to talk with me, and pose for some pictures, showed that these guys are a class act. The good people at WeMerge took my words and transformed them into this polished presentation that is undeniably cool to look at. Thanks to Matt and Destiny at Brotherly Love Productions for setting all this up, and of course a big thanks to Jeff for connecting with me both nights to make sure this happened. Click on the image to make it bigger or click here and go to page 32.
Interview With Jeff Lloyd of The Heavy Pets | WeMerge Magazine | September 2011
Anticipation for a well-liked act coming to town is often enough reason to get through a long day, but nothing can beat a case of the Mondays better than a surprise show from a band not on the radar. Especially if that ensemble is a trio of New Orleans jazz fusion artists that are gracing your local hang out for free. Brotherly Love Productions played their cards right on making it an open door night for the impromptu Voodoo Town show - a gamble on the South Florida faithful representing on short notice. It paid off.
The Buddha was retrofitted for lounge listening mode, complete with plush chairs and sofas. The 30 or so patrons smoked hookahs and sipped craft beers as Tom slipped on his bass, Trace picked up his trumpet and Brandon twiddled his sticks. The first set moved through their catalog of yet to be recorded tunes, as well as intermittent covers of "Pink Panther Theme" and "Chameleon." Some how they made the staple anthems really their own. The sound was unique and fresh - a perfect mixture of a funky rhythm section and a jazzy trumpet that incorporated a myriad of effects and loops. To top things off Trace also showcased some skills as a beat boxer and rapping vocalist. The combination was a rich, balanced sound that traversed the technical genre spectrum in a way that appealed to both the adept jazz freak and the grooving funk head.
The second set opened up the chance for some sit ins with our own local musicians. First Travis Ackers took over the bass reigns for an extended jam before being joined by band mate Cameron Troy on drums. They launched into another extended improvise section. Interestingly enough, the trio including Trace on horns was a flashback to when these guys all played together in Tallahassee years ago. Much like conversation with an old friend, they picked up right where they left off, and the communication was noteworthy to say the least. Cameron stuck around for a take on George Gershwin's "Summer Time" before another audience member, Jessie Ricca, jumped in on acoustic guitar for a quick jam and "So What". A fitting end to a stellar night of creativity clashes was a solid rendition of "When The Saints Go Marching In" with Cameron playfully filling in on bongos. Despite the week night status, no one wanted to leave just yet, as the buzz was pretty high. After a few night caps and laughs the early morning finally sent us home satisfied with our dose of NOLA.
Saturday turned into a throw away afternoon of recovery, writing and venting on the events of the night previous. The dust had settled and the general consensus was that the venue was the notorious dirty party and this was just a last straw for the tight knit local community of music-inclined. After a short stop to check up on Cheesehead Productions, who were gearing up for Cope at The Funky Buddha Lounge and Brewery, I was on the road heading South. Brotherly Love Productions partnered with reggae band The Resolvers to organize a bus-turned-party wagon for the crew to roll down to downtown Miami. This had potential!
Get Down On It
Welcome to Miami
Things got off on the right foot and the good vibe was in full swing when we stopped to pick up more passengers in Hollywood, but not before numerous keg stands took place. The silly antics built the friendly atmosphere filled with Soul Train sing-a-longs and humorous banter. By the time we arrived at the Transit Lounge I was feeling pretty damn good and probably had my share of the transportation cost in liquid consumption alone. I was not alone in this endeavor. My partners in imbibing, Mr. and Mrs. Earthspice, lead our short stumble over to Tobacco Road just in time to catch the last few songs of Greenhouse Lounge's first set.
Tobacco Road
The cozy upstairs venue was close to full and the Miami BLP Krewe was already going hard on the short bar. Luckily the party bus made for a meeting of the buzzes. Sir Charles' set was a high energy dance party by the small stage. Even the older heads running sound were bobbing to the heavy bass. Whether it was the Miami mindset or the gritty venue dynamic, the Jacksonville DJ was bringing the heat to an already warm venue. He paid homage to Pretty Lights with a particularly well placed mix and satisfied my previous curiosity as to whether the Fort Collins producer was a heavy influence on his sound. After over an hour he announced his last track and jumped off the stage like a ball of raw energy. The guy had just completed a 60 minute dance aerobics session on stage and was still ready to go. I was impressed.
Sir Charles
Party in the City
It was getting late, and the room was as full when Greenhouse Lounge started their second set. Right out of the gate a burst of high octane grooves got the place pulsing in the dim lit room. I snapped a few pictures, but the beats and booze combined and I had to abandoned camera to take my place on the dance floor. Each time I took a grooving reprieve or stopped to open my eyes I caught familiar faces lost in the trance of multifaceted dub and deep electronic rhythms. It felt good to let loose and surrender to the music. The aforementioned sound engineers had the levels near perfect and this allowed for Zach Weinert's intricate samples and guitar chops to really shine. They were on a totally different level tonight and it felt more like a music odyssey than a predetermined set of individual tracks.
Greenhouse Lounge
As a result the movements moved towards higher destinations and blissful peaks of release. Jason Hunnicutt was playing more of a lead roll behind the drums and using every opportunity to hit a fill. Their underrated tightness, and ability to hit changes, is remarkable given how textured each composition is from an instrumental perspective. Zach is balancing his role as a guitar player with having to be precise on his sample board triggers. This literally dictates the overall flow of each composed and improvised section. I watched him flawlessly nail it every time. They were really feeling it. A particularly fierce "Slow Drip" emphasized this technique and was extended out into multi-layered pick ups and drops. As the last synthesizer tones rung out I came back to reality and felt the tune really capped off a strong set. An encore with a tribute to Michael Jackson's duet with Janet "Scream"confirmed that the hype was real.
Zach Weinert Triggers A Sample
The Heat Is On
The lack of any reasonable curfew in Miami allowed for the crowd to unwind throughout the venue for a while before dispersing. Impressions of the band ranged from impressed to ecstatic. I dabbled with the idea of sticking around for an after party near by. Instead I made my way out into the oddly desolate Miami street. The heat hung thick in the air and given it was early morning at this point, I jumped in a cab towards Miami Beach for some shenanigans till the sun came up. Yet another overly successful night thrown by Brotherly Love Productions. As Alonso the Taxi Driver and I crossed the bridge heading towards the Purdy Lounge, he asked about the band playing that night. The conversation ended with a warm, yet sloppy invitation to their next planned gig in the area at Aura Music and Arts Festival. Maybe we will see him there.
Set 1: Silhouette, Empires, Defeating Harrison> Merrimac Merchants, Sands
Set 2: Bebot (Up Until Now Remix), Slow Drip, Let's Go (Trick Daddy Remix), Beel, Koto, Backdoor Deal, Scream (Michael Jackson Remix)
Part 1: "Un-be-liev-able" As an avid patron to local music venues in South Florida, and abroad, bearing witness to a night like this seems inevitable. It is unfortunate, but rest assured that even upholding a status as a seasoned veteran could not have prepared anyone for the series of events that transpired.
Aquaphonics and Marc PaperScissor Team Up
After months of mounting anticipation, the North Florida dub-fusion trio Greenhouse Lounge kicked off a two night run from Delray to Miami last night. Hailed as a staple act of Aura Music and Arts Festival, as well as garnering a strong support base on their turf, South Florida ready for a strong dose of homegrown live electronic music to get the weekend started.
The heat lightening overhead lit up the sky above Atlantic Avenue. Ominous clouds threatened rain but more importantly served to set the tone for an eerie and hot summer night. Something in the air was off. I felt this even before I arrived. A cold beverage in the lot cooled my nerves and my body temperature. I was on time for once but the venue had the doors closed. This was odd given that every other establishment in the surround area was full and in swing. An unsettled group was forming outside but I wrote it off and readied my camera bag.
Things Go South
A member of the Cheesehead Productions crew hit me up and warned me to not come in. He came out and told me they just kicked Matt Beck out of the venue. As the head of Brotherly Love Productions and the promoter for the event, booting him would have some heavy repercussions. I made my way towards the entrance and caught up with him. A perfect storm of misunderstanding, mismanagement and inflated egos that stemmed from earlier in the evening had catapulted into the illogical decision to have him escorted out by a third party security personnel.
Given my personal interactions with Matt and Brotherly Love Productions, I know how much time and effort goes into bringing in talent and making sure every show runs smoothly for the band, the audience and the venue. He takes this very seriously and this was a big night for him, the bands and the local scene. Like any well oiled machine, the more simple things appear on the surface is usually an indication of more intricate processes going on in the background. In a nutshell the whole thing went awry when the venue kept the doors locked after the scheduled opening time out of some unjustified fear that no one was going to show up. When Matt stepped up to point out possible problem areas he was seen as a threat to the internal power struggle. Even as I write this it seems incomprehensible that a revered promoter could be penalized for simply doing his job.
Beyond that the staff was disproportionate with only 1 bartender and half a dozen security guys, complete with ear pieces and bad attitudes. The end result was a tragic case of too many chiefs distorting the truth and the upper level management of the venue letting his staff make executive decision based on misinformation. No matter what was actually said or not said, the way it was handled was completely unprofessional and a huge turn off to the concert goers and BLP Krewe faithful.
Despite the blatant mistreatment by the venue, Matt swallowed his pride and put on his professional face when he rallied for everyone to support the bands and tear up the dance floor for them. The venue realized they were in a bad place and decided to wave the $10 cover, thus sacrificing an easy $1,500 that would have been kicked back to the establishment and promotions. This kind of drastic decision making coupled with other revelations, such as a poorly stocked bar, may be an indication that this place is in trouble. Now we know why.
Music Saves The Night
Aquaphonics hesitantly took the stage around 10:30 PM to a decent sized crowd of eager fans. The vibe was tense at first but as soon as the music started all negative thoughts were out the door. This was the biggest stage I have seen them grace and they took full advantage of the sound capabilities. Images projections displayed local artist Marc PaperScissor's designs through psychedelic filters and sequences as the boys hosed the crowd with smooth electronic movements and reaching jam sections. Much like they have been doing in recent history, Aquaphonics was on point, playing up and the best I have ever heard them.
Aquaphonics
Taking a vow to never again monetarily support the current management of the venue meant heading across the street for a beer and shot combo before coming back to Sir Charles' electronic bass efforts. My research into his sound lead me to believe he would have a different approach, but the crowd was vibing to the hybrid dubstep-electronica. I could not help but place him as a generic rendition of producers like Derek Smith, but that could be a result of my limited exposure to the genre or the limitations of the genre itself. The guy believe in his music, which any music fan will applaud regardless of their own personal preference. His unending energy on stage proves it. I will give him another chance tomorrow.
Sir Charles
The Last Straw
It was getting late and Greenhouse Lounge took the stage. They band made a point to give a warm shout out to Matt that was met by a loud, positive response from the crowd. In hindsight I think that jab might have set the venue personnel off. The staff collected every piece of BLPJessiah, the drummer from Aquaphonics was tossed for an undisclosed reason. Those that protested and tried to question the security were also given the boot. It was an unreal turn of events and the most unsettling thing I have seen happen at a show. After the show was over I went back in to question the general manager. She had no idea who I was but went off on Brotherly Love Productions management and responded that the other patrons were forced out for rough housing. Having nothing to lose at this point, I called her out on this false information before being told to leave.
Greenhouse Lounge Kills It
Unfortunately the peripheral events taking place were a distraction from what was happening on stage. That being said, Greenhouse Lounge took the crowd on a trip through heavy dub lead by Dave Sweeny's thunderous bass and robotic posture. Skillful hip-hop vocal samples from the likes of Ole Dirty Bastard incorporated well with their break beat tendencies. The tones were on point, especially Zach Welnert's clean space guitar. I had to shed my own predispositions about how they might take the hypnotic composed sections to soaring peaks and improvisational segments. Instead they rely heavily on grooving textures and strategic effect sequencing that aim to capture the ear and no necessarily fulfill tension and release junkie's desires.
Greenhouse Lounge
The set was much shorter than expected, but for obvious reasons. I enjoyed some of the darker moments in the music and was impressed with their tight transitions. The crowd put in a good energy for the band and seemed more than satisfied with the performance. It was only night one and the general consensus was to get out of there reasonably unscathed was a major plus. See you guys in Miami tonight!
Greenhouse Lounge
Set 1: Bebot (Up Until Now Remix), Koto, Backdoor Deal, Sands, Let's Go (Trick Daddy Remix), Empires Fall, Scream (Michael Jackson Remix)
Aquaphonics Set I: Sip, Spooky, In Dub/In Dew, Animal, Super Moon, Waiting For It, Fingerbreaker
Videos Courtesy of Mark Duclos - Cheesehead Productions!
They came back and Brownstien thanked Greenfield for sitting for sitting in with the band the same way he had done eight years ago. With that they launched into one last extended monster jam with “Retrograde” before calling it quits for real. No where near ready for the night to end just yet, post-show parking lot shenanigans and early morning after parties kept the night rolling until the sun was coming up. Special thanks should be given to Matt and Destiny, the entire Brotherly Love Productions Krewe that came out in large numbers, and those that were generous enough to host both before and after the show.
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