Category Archives: Musicians

Keyboardist Jose Roman talks Daphne’s Roots’ debut album ‘Enter the Voyage’

Jose Roman is a true musician. He doesn’t just enjoy music, he lives it. He breathes it. He feels it. When his fingers touch the keys of a piano, he is alive, and when one listens to his music, they are alive as well.

Despite working on many successful projects and working alongside many artists, Roman’s claim to fame is with the progressive/alternative rock band Daphne’s Roots. Besides playing the keyboard, Roman writes songs and arranges high quality keyboard parts to the musical ideas of the other band mates. Once these ideas are polished, and the songs are completed, he is an outstanding studio musician, bringing his ideas to life. He always consistently delivers versatility and a wide range of musical abilities.

“Working with Jose is an amazing experience. He is so full of energy and creativity that makes you feel good and motivated. He is a top-notch player which makes him extremely reliable. He has an extensive musical knowledge which is very useful. For instance, we wrote together some percussion arrangements and he always surprised me with his creativity and talent,” said Felipe Restrepo, drummer of Daphne’s Roots.

In 2012, Daphne’s Roots released their first album titled Enter the Voyage. Being the founder and main songwriter for the band, it was Roman’s idea to start working on the ambitious project. For a long time, he had the concept of the album in his head. It is the first part of an epic story, told through different songs. The album was the breakthrough for the band, and to this day, one of the most exciting experiences of Roman’s esteemed career.

“It was extremely exciting and thrilling to work on this project all the way through. From the writing process to the studio time, the motivation to deliver an amazing album was always there. The atmosphere on the studio was always electric and inspiring. I would write new songs and then show them to the guys and then we would work on them all together. It was an unforgettable experience and we are very proud of the result we accomplished,” said Roman.

As the founder and leader of my band Daphne’s Roots, Roman motivated my band mates to start working on this project. They had a repertoire of songs that they played together, and together they choose the best songs and wrote even more in order to develop the album. Roman’s role, in addition to playing the keyboard on every track, was to write the remaining songs in order to complete the first part of this concept album.

“Writing all the keyboard parts was a lot of fun for this project. I used many of my different keyboard influences to enhance as much as possible the songs. Once at the studio, the recording process of the keyboard parts was very exhilarating. It was very cool to experiment with different layers of keyboards that we could put in the recording. At the end, I was very satisfied with all the keyboard parts on all of the songs,” he said.

The album ended up being a large success. Not only did fans love it, but upon its release, Enter the Voyage was awarded “Best Album of the Month” by the popular radio show La Zona del Metal.

“We were very gladly surprised and honoured to know our album did so well. It is always gratifying to know we connect with many fans as possible with each project we release. We are very grateful to be recognized by this prestigious radio show that we admire very much,” said Roman.

None of this could have been possible without Roman’s contributions. Daphne’s Roots is a very keyboard driven band, and it was very important to get that part of the album right. There are a lot moments on multiple songs where sometimes the keyboard is all by itself, responsible to evoke a very emotional part. Without the presence of the keyboards on this album, the structure and sensitivity of the songs would not have worked.

“Still to this day, I hear a lot from fans that the keyboard parts are their favorite parts of the songs and that is very rewarding,” he said.

The best part for Roman, however, about working on Enter the Voyage, was not the awards or the fan reaction, it was getting to work alongside his friends, doing what he loves.

“One of the most gratifying experiences about working on this album was writing a couple of the songs with my good friend and band mate Manuel Sambour, who is the main singer and lead guitar player. The way we complemented each other was rich and creative. This is true not only with Sambour, but with the rest of the band as well. The chemistry in this band is very powerful and I believe that is the main key element responsible for this project success,” he concluded.

Peter Lam’s musical genius wins Best Score Award for film ‘Lovebites’

When Peter Lam was a child, he, like most other children, loved movies. He would sneak into his parents’ movie collection, eager at any opportunity to experience a new film. However, unlike most children, who would be enthralled by what they saw on the screen, Lam was captivated by what he heard through the speakers.

Now, Lam is an internationally sought-after film composer. He has worked on countless successful projects, including the award-winning films The Ballerina, The Shoemaker, & His Apprentice, and (le) Rebound. He recently worked on the score for the TV movie Menendez: Blood Brothers, which premiered on Lifetime earlier this month, with over a million people tuning in to hear what he is capable of. However, what is perhaps the most celebrated film of his career is Lovebites, a 2015 animated film that catapulted Lam to the top of his field, being recognized as one of the best film composers to come out of Hong Kong in recent memory.

“I am always excited to work on animations. It’s a very imaginative genre and music often plays a big part in shaping the ‘sound world’ of the animated world. A composer often doesn’t come on board on a live-action film until the film has been shot. But in animation, I often start composing while the animation is still being developed or rendered alongside. The whole creative process feels very organic, hence it’s always fun to work on animations,” Lam described.

Lovebites is about the praying mantis Cecil, and tells the story of his first date. Lam’s music is vital for Lovebites, as the story is essentially told through music. It is an animated film with no dialogue and minimal sound effects, and the score runs continuously through the film from start to finish. Lam’s ability to capture the emotions of the two mantises is what makes the film so engaging.

“We bounced back and forth about musical ideas and the storyline, and when I started working on the project, I was presented with the initial character sketches and concept art. I scored the entire film based on the animatics (pre-rendered animation). In a way, the material I was working with then was not as detailed or delicate as the final product, but on the other hand, it offered me a bit more freedom for imagination, and encouraged me to be creative,” he described.

Stuck Truck Studios, the production company of Lovebites, had total trust in Lam’s creative decisions. Knowing they needed the best for a film that relies so heavily on the score, the team quickly invited Lam to be a part of the project after hearing samples of his work. Lam decided to create a score that only featured percussion and plucked instruments to create the quirky world of insects.

“Stuck Truck Studio encouraged me to think outside the box in order to create a colorful and quirky palette for this cute animation. It’s always fun to break away from conventions and experiment with new sounds,” said Lam. “I think the approach I used for the music gave the film a unique character, and I had a lot of fun experimenting with wild percussion sounds that, if not for this film, I would never have thought of using.”

This musical approach proved fruitful. After its premiere at the Original Narrative Festival in Dubai in February 2015, the film went on to see enormous success at film festivals around the world. That same year, it was an Official Selection at BFI Future Film Festival, Chile Monos International Animation Festival 2015, Athens Animfest, Tiltshift Festvial, 9th River Film Festival, Original Narrative Dubai, Reel Teal Film Festival, MICE Valencia, and the Vancouver International Film Festival. It went on to win the Audience Choice Award at the Melbourne International Animation Festival, and the Character Animation Award at the ANIMEX International Festival of Animation and Computer Games. Lam was personally recognized at the Short Sharp Film Festival Australia that year, winning the award for Best Score.

“Given that this was one of my first experiences in working with animations, I was very delighted to know that the film did so well in so many film festivals. Lovebites has been screened around the world and has set foot on almost every continent. I guess winning the Audience Choice Award at the Melbourne International Animation Festival and Best Score in Short Sharp Film Festival in Australia shows how effective my music can be,” said Lam.

After its success at so many film festivals, the film was later featured in the acclaimed animation website and channel CG Bros. It has amassed more than 4.2 million views (on YouTube since that time), making it a viral animation. None of this success would have been possible without Lam’s creative ear for the score, knowing its importance in telling the story. Agaki Bautista, the Art Director for Lovebites, believes Lam is one of the best film composers he has ever worked with.

Peter was always punctual in responding and we always felt comfortable having a dialogue with him. Communication was clear across all fronts. Peter is super receptive towards creative collaboration. We started off by sharing references and bouncing off ideas with each other and he was open throughout the process. It is rare to have the level of creative cooperation that we had with Peter,” said Bautista.

Lam’s talent is evident in everything he does. His work on Lovebites shows the world that his creative instincts are spot on, and he is exceptionally versatile. Be sure to check out his work in the upcoming animation film Slippages – Grace in IMAX later this year.

In the meantime, watch Lovebites here and let your eyes, and ears, capture the essence of the story with Lam’s work.

Bassist Yasutaka Nomura talks Smokey Lenses’ new highly-anticipated album

Yastuaka Nomura is lucky enough to love what he does. There is no “back to work grind” that so many face on a Sunday night for him, or dull days filled with no real feeling of accomplishment. His job gives him joy, a sense of purpose, and adrenaline rushes. That is the life of a professional musician.

Having worked with several bands, such as Mammoth, Squanky Kong, and Voodoo Kungfu, Nomura has worked on a wide variety of genres for a professional musician. He enjoys this, not wanting to pigeon-hole himself into one specific type of music. The guitarist and bassist is recognized for his undeniable versatility and talent, which is why when the Indie Rock/Alternative band Smokey Lenses was looking for a bassist, he knew he had to be a part of it.

“I wanted to work with Smokey Lenses because I liked the songs, but also because the music they play is something I usually don’t get to play, even though I always liked listening to that kind of music and I always wanted to play it with a band with original material. I was very excited when they asked me to play in the band,” said Nomura. “I usually don’t get to play the kind of music that Smokes Lenses plays so I was inspired to do a completely different musical approach than I usually do in my other projects. I was definitely a new challenge for me.”

Initially, Nomura had heard the band was looking for a new bass player for their album recording through his friend Aliyar Kinik, the drummer of Nomura’s band Mammoth. The band’s drummer needed a substitute and Kinik was filling in. He mentioned to the band that he new a good bassist, and after hearing Nomura, they knew they had to have him.

“Recording the album was great. We recorded total of 12 songs and I’m happy with all of them. The songs were already great before arranging but I think the work of the band is making the songs sound even better. I can’t wait for the album to be released and to listen to it,” said Nomura.

When recording the album, they did all the basic tracks live at once, with everyone in the same room. This is not a common way of recording. Because of using this style, the tracks have a lot of energy and organic feeling, according to Nomura. Recording like this allows there to be more energy, with better dynamics and conversation between each band member, just like a live show.

“It was awesome. I barely knew the band members at first but we got along very quickly. Everyone in the band was very easy to work with and fun people. We always had a great time at the recording sessions. I cannot wait to work with them again,” said Nomura.

The album is expected to be released later this summer, which is highly-anticipated due to the release of the first single Candle Glow, which was released May of last year. The single received positive reviews and was featured by popular music blogs like Speak Into My Good Eye, That New Jam, and Revolution Tunes.

Candle Glow is definitely one of my favorite songs from this album. It has a nice catchy melody and lyrics. I’m really happy with the recording too,” said Nomura. “The success it has seen since being released is great. We started off the album recording with this song. It was the first time I could even play with the band since our schedule didn’t match before the first recording session, but I think we were already locked in at the first session.”

As a guitarist and bassist, Nomura typically plays progressive rock, metal, funk, R&B, jazz, and fusion. He says progressive rock and metal require a lot of technique, with the sense of odd meters and solid timing. Funk and R&B require a nice 16th note time feel and a good sense of call. Jazz and Fusion require great skill with improvisation, nice swing, 16th note feel, pocket and of course sophisticated technique. The music that Smokey Lenses plays is far different from these genres. It doesn’t require either an amazing technique or the skill of improvisation but a good time feel/pocket on mostly 8th note beat, importantly the skill to stay on the groove and not overplay, technically speaking. Many musicians so familiar with other genres would have found themselves overplaying and not staying on the groove, which would interfere with the vocal melody. This was not the case for Nomura. He even tried to sing on everything he played on bass. His adaptability was appreciated by the band, who may not have been able to make the album or see the success that they say with Candle Glow without Nomura.

“Yasutaka is very professional and easy to work with. The work process went smoothly and he produced exceptional results. Yasutaka is a professional musician, so he understands the importance of being excellent at his craft and has a dense knowledge of music theory. He is respectful, focused, observant and learns extremely quickly,” said Singer and Guitarist Adam Oberst.

With talent like this, there is no doubt Nomura will continue to come through our speakers for years to come. Listen to Nomura’s work and Smokey Lenses’ song Candle Glow here.

Check out Nomura’s YouTube, Instagram, and Soundcloud to hear more.

DAHOV AND JEREMIH BRING MUSIC FANS TOGETHER

 

The Arts are often the key to a universal experience and language among all people of the planet. While the accent of different paintings, cinema, and music may reveal their point of origin, the ability of these mediums to convey emotion and a connection with others is often beyond the words and language they might contain. It has often been said that the work of an artist is that of bringing all peoples together by conveying the emotions we all share, regardless of our background. As technology brings the world closer, the assimilation of different cultures and their artistic contributions is clearly evident and results in a decrease of noticing the differences and an increase in the appreciation of what these differences offer to the collective global experience. The Canadian percussionist/drummer/entertainer knowns simply as Dahov performed at a concert with American artist Jeremih (Jeremih Felton) exciting the crowd at the Olympia Theatre in Montreal. Jeremih is a Chicago native whose multiple high charting hits like “Birthday Sex” and “All About You” broke into the top five on the Billboard charts. His legions of fans are based in the R&B/Hip Hop world while Dahov is a solo artist known for House, EDM, and various other musical forms with which he infuses Latin and Middle Eastern rhythmic ideas. While both artists share a love of percussion from their early teens, each of them has cultivated and evolved into their own style and brand of musical entertainment. Their performance together at the Olympia Theater shows how these artists brought their fan bases together for a night of thrilling entertainment, proving that we can appreciate the differences we have while recognizing a common thread.

For his appearance in Montreal, Jeremih and his management were seeking out a Canadian artist who would both be familiar to the crowd as well as be exciting enough to create a feverish tone for the concert. Patrick Farah (owner of Sky Entertainz) was consulted and he immediately suggested Dahov. Patrick and Dahov have worked together on numerous large scale entertainment events in Canada. Farah declares, “Dahov’s unique style and looks are definitely a selling point. With such passion in what he does, he sets the bar at a complete different level from others in this business! He is also such a wonderful person and he reflects his personality in his work ethic. He is the type of musician and entertainer who creates a special bond with his audience. Rather than setting himself above the audience, Dahov has an amazing ability to pull everyone in and making them feel as if they are in an intimate party, relaxed and able to have fun.”

STUDIO11 taken by ARA SASSOUNIAN (well known artistphotographer)

(Photo courtesy of Ara Sassounian)

This event featuring Jeremih and Dahov is a template for how different artists can create an experience for an audience that is eclectic and yet relative. While Jeremih is a singer/rapper, Dahov is a percussionist who does not sing. Both artists perform with DJ’s and/or tracks and, at least in this situation, both had dancers joining them onstage. Very similar production styles but very different content. Perhaps the most amazing aspect of Dahov’s ability is that he is able to entertain the audience by playing a hand percussion instrument know as a Darbuka. This middle eastern “goblet drum” is the core and essence of his one-man band (supplemented by tracks). It is truly amazing to see how this talented artist can drive a crowd (in this case, the 700-member audience that packed out the Olympia) to a literal feverish pitch. His technique and musicality is mesmerizing while his ability to hold the crowd in the palm of his hand and create the excitement equal to any outdoor EDM festival is…well, jaw dropping. The synergy between the artists’ performance was a great success but was not necessarily intuitive. At a meeting prior to the performance that night, Jeremih and Dahov discussed how to approach the differences in their musical styles in order to insure a cohesive quality for the crowd. While much of Jermih’s music is more relaxed in tempo (sometimes even romantic), Dahov is known for his upbeat party vibe style. Dahov explains his approach to manifesting the appropriate vibe for the evening, “We wanted to do something different than the usual upbeat show, so I used Arabic oriental techniques. This style usually calls for you to play for belly dancers and, even though there are faster beats, we performed the slower beats using the derbake percussion because it allows for very intricate and interesting rhythmic ideas. It was a perfect match to afterwards fade with Jeremih’s first song.” Dahov readily admits that, just as the crowd was exposed to different musical influences at this performance, the percussionist/entertainer himself also gained an even greater appreciation for his fellow entertainer. He notes, “Jeremih is truly an amazing talent. It’s always educational for me to see how another artist relates to the crowd, how they design the rhythm of their show, and how the crowd reacts to what they do. Anyone who has seen Jeremih perform has seen the evidence first hand of how great he is. I knew his music but seeing him live gives me a deeper understanding of his talent. I like Hip Hop and Rap but I am more into a club house, EDM, Latin kind of music. I love the feel of the beat, the melodies, especially when I perform to these kinds of music it feels like I am actually inside the music…producing it! I like Bachata, in particular Romeo Santos. Bachata is such a relaxing type of music. I enjoy listening to it whenever and wherever. It makes me feel like I’m somewhere down south sitting on the beach and watching the ocean! Another type of Latin music that I like is reggaetón. Reggaetón is all about the party; the positive mood and tropical paradise! EDM and house artists like Calvin Harris and Tiesto are my favorites. I have seen them both perform in Las Vegas and their music is on another level! Their collaborations with other artists are perfect! The melodies and sound samples they integrate enter your ears and gets your emotions jumping. I’m hoping to come to the US and pursue my own version of the path that these artists have forged. I have proven to myself and the people of Canada that a drummer can perform by himself and command the attention of sold out crowds. Performing and communicating with American artists like Jeremih has only made my desire to become a part of the great American music and entertainment industry even more attractive…and seem more possible.”

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SONGWRITER DARCY CALLUS PROFESSES THAT LA IS STILL THE MELTING POT OF THE ARTS

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Sometimes the most valuable things are right in front of you and go unnoticed, or at the very least underappreciated. America constantly produces musical artists who are lauded and respected all over the world. Yet these artists often go through many years of struggle as they mature into the icons they aspire to become. The US public doesn’t often stop to consider the fact that this training ground in which we live is a shining star to artists of the world. This has always been obvious to Australian Darcy Callus. This artist has long dreamed of being a part of the musical community which he believes to be the home of the elite, Los Angeles. While there are numerous locations in the world with talented artists, Callus readily admits that the concentration of world class artists per capita in LA is unlike any other place on the planet. As an award-winning jazz pianist turned pop artist (he was one of the finalists on Australia’s X Factor), Darcy has a deep understanding of the difference between being a “one hit wonder” who got lucky and being an artist who cultivates a long career with depth. He is also not afraid to, as he puts it, “Follow his nose where it leads” him. When the opportunity to work with LA based singer/songwriter Rotana Tarabzouni presented itself to him, Darcy was eager to work with such a talented artist and spend some time in the city he considers to be the center of the industry.

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While Darcy has been associated with such music industry luminaries as Dave Stroud (known for his work with Prince, Justin Bieber, Justin Timberlake, Bruno Mars, Kelly Clarkson, and Michael Jackson), multi-platinum producer Bryan Todd, and others; writing with Rotana gave him the opportunity to work with a brand new artist in the States who shares an international view of the US as he does. Tarabzouni grew up in Dhahran, on the Gulf coast of Saudi Arabia. To state that her experience as an artist in her homeland was not encouraged is a drastic understatement. Women are not exactly groomed to seek out fame as a popstar in her homeland. On a family vacation in Boston, she spontaneously went to an audition and received massive encouragement. That was enough to convince Rotana that she needed to pursue her dream in America. Callus received no persecution in his native home of Australia and was even a sensation on Australia’s X Factor. Still, he also understood the potential of the US music community and opportunities which the industry’s infrastructure afforded the talented and hard working. The two met at an artists get together and recognized the musical counterpoint in each other’s talent. Darcy states, “We definitely clicked immediately in terms of wanting to create music that was original and personal, not derivative and following what was popular at the moment. Even more importantly, I understood where she was coming from as a songwriter and what she was trying to express.” Describing the process, he continues, “Rotana is truly gifted when it comes to melodies. She comes up with them quite quickly and they are very strong. All of my training in music allowed me to quickly understand what she was looking for and find the harmony to her melodies on piano. There was a specific color tone that propelled the emotion she wanted to communicate. If you can understand an artist both musically and professionally, you can help them as well as excite them about their own music.”

The US is a country which prides itself on so many aspects that are prominent in the working relationship between Darcy and Rotana. A country which accepts those from other lands, in pursuit of their dreams, with the ability to express themselves freely…it’s as representative of the American Dream as the Westward Expansion. Callus comments, “There’s no doubt that both of us feel fortunate to be here in LA among the greats. You literally can walk into a club, restaurant, coffee shop, whatever, and run into an artist you have listened to your whole life. Of course what we’re really here to do is work. It’s amazing that I can meet an artist like Rotana and immediately begin creating music with an almost unspoken approach. I’m sure that this is all because of the group of artists who are known everywhere in the world…in places like Australia, Saudi Arabia, and almost every other place on the planet. As an artist and musician, you feel like you are in the center of the universe when you are here…and that inspires you even more.”

Success in never guaranteed but is already evident in the work that Callus and Tarabzouni have done. Rotana’s debut single “Daddy” was co-written and arranged by Darcy. The single was playlisted on Apple’s “Hot Pop Tracks” for weeks as well as Spotify’s US VIRAL 50. Some of the music Callus wrote with Rotana was debuted at The 2017 Sundance Film Festival “A Celebration of Music and Film Concert”. At this concert, Rotana shared the stage with Common, Andra Day, Jim James, Hunter Hayes, Peter Dinklage, Ava DuVernay, and more. Early indicators like these give presumptions that the music which Callus and Rotana created together is going to have every bit of the impact that had hoped to achieve. Darcy smiles as he communicates, “I have quite a history of working with extremely talented female vocalists. It’s interesting that in this situation the vocalist is a woman and her femininity is celebrated while she is in control. As a man, I’m in the supportive role (playing piano). They are exhibiting strength as well as a softer side. I love that about music. It allows these situations that you won’t find in all walks of life. Artists are celebrated and encouraged to express what is unique about themselves.”

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When questioned about his experience thus far in LA, Darcy confirms, “I am Australian and I love Australia but I feel that the US audience is much more willing to have an open mind. American audiences want to give you a chance. Many artists have said that you have to become famous and accepted somewhere else and then come back home to be recognized. There’s a little truth in that. If you go anywhere else and say you are an LA musician, you are instantly seen in a different light. People assume that you are great and…to be honest, to be a successful LA artist…you have to be great!”

REGGAE BY WAY OF NEPAL WITH JOINT FAMILY INTERNATIONAL’S MAGNETIC DRUMMER

One of the most effective way to influence a culture is through the Arts. For example, when the music of one region permeates the world on a global scale, it’s doubtless that this region “has arrived” as a worldwide focus. Reggae has brought attention to parts of the world which might have been overlooked, giving voice to the sounds and moods of its originators with great positive effect. Kathmandu is a long way from Trench Town in Jamaica but the Nepali band Joint Family International (JFI) heard the call of reggae and took up the mantle, to great success and acclaim. In addition to their domestic and international touring, JFI won three Hits FM Music Awards (Nepal’s equivalent of the Grammy) for: Best New Artist, Best Performance by Group or Duo with Vocals, and Best Pop Composition for their debut release One Good Thing. Perhaps the most intrinsic facet of reggae is its rhythm which is so unlike the European or American ones found in Jazz, Rock, R&B, and so many other modern musical forms. Sanjay Shreshta (JFI’s founder, bandleader, and guitarist) needed the most adept drummer possible to give JFI’s rhythm section authenticity. Sanjay knows quite a bit about drummers as he is also the drummer for the famous 1974 AD band. Sanjay’s enlisted Nepali session drumming ace/instructor at the Kathmandu Jazz Conservatory Kismat Shreshta. Sanjay proclaims, “Kismat is charisma personified when it comes to playing on the stage in front of an audience who wishes for an unforgettable musical experience. I’ve never seen anyone who has a better command of groove and blends so well with the music and Bass lines. Kismat has such a deep understanding and sensitivity of what the music needs…and when he solos, it’s a treat for his bandmates as much as the audience. I knew that having him behind the drums in JFI would be the spark that would propel JFI to greatness.”

Kismat has toured and recorded with a variety of successful groups including: Albatross (Band of the Year award winner- Radio Kantipur), Urjazz (playing to crowds of thousands at the World Village Festival held in Helsinki) and various others. As the only Nepali drummer to ever have been awarded a professional endorsement from an American company (Vater sticks and percussion), Kismat is more than a respected drummer in his homeland; he has become a drum hero. While the respect and praise of others might be the icing on the cake, this drummer is always focused on the music. JFI presented Shrestha with an opportunity to dig deep into reggae. As a longtime fan of the genre, it was a welcome challenge for him. He comments, “The general idea most people have about reggae drumming is that it is easy and that’s exactly what the great drummers of reggae want you to think. They want you to feel the lightness of the music and lyrics, without noticing how amazing they are as musicians. The more I researched and studied Reggae, the more I learnt about its specifics and differences, meaning that it isn’t as easy as it sounds. I listened to the best reggae drummers and taught myself about reggae music. During JFI rehearsals, Sanjay would show us a certain grove and feel of the music, which we then took home and internalized. I also researched more on the different styles of playing to allow myself to play this kind of music as authentically as possible. There are still parts of who we are all as players that crept in to the music, it’s inevitable. I have spent my life performing jazz and rock music. I think there will always be some of that in my playing.” The song “Netaji” from JFI’s debut recording is an example of this. “Netaji” spent 3 months as the number one single atop the Nepali charts. While the song exhibits the authentic reggae sound and hopeful attitude, the linear hi hat, snare, bass drum “licks” that Kismat subtlety weaves into his drum part give a hint that his proficiency is always slightly restrained to serve the groove.

 

JFI received international accolades and garnered fans in addition to those of their homeland. The group appeared at the 2014 Kolkata Peace Festival which took place in Calcutta, India. Invited by an organization named Bangla Natak which hosted this annual music festival in association with the US embassy, JFI performed to an estimated 5,000 concert attendees. In 2015, the band travelled to Thailand as part of the Global Battle of the Bands as well as the Kathmandu Jazz Festival in 2013. JFI has been the headliner band for the Sundance Festival (in Kathmandu) from 2010-2012.

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Kismat and his bandmates began JFI as a way to celebrate Bob Marley and also challenge themselves. The overwhelming acceptance of this band from Kathmandu playing music born of Jamaica has surprised them more than anyone. Kismat confirms, “Honesty, these awards came as a huge surprise for us all as we had never imagined a reggae band such as ours to receive awards and acceptance of this magnitude. The recognition we got through media and the like for winning these awards made all our efforts seem worthwhile. While we had started the band for fun’s sake, winning these awards made us even more inspired to move on.” One Good Thing is available on iTunes and multiple digital music formats.

Supakuma: The Japanese Music Producer Who Needs to be on your Radar

Record Producer Ikuma Matsuda
Record Producer Ikuma Matsuda aka Supakuma shot by Karlena Bucknor

Over the last few years music producer Ikuma Matsuda, known widely as ‘Supakuma,’ has blown onto the music radar with incredible force establishing a strong reputation for himself as a dynamic and diversely talented producer– especially in the rap and electronic scene.

One of Supakuma’s most recent stunners is the rap-driven club banger “Ram it Up” from LA-based artist Andre Xcellence. Engineered and produced by Supakuma, you can definitely feel the energy emanating from “Ram it Up,” it’s one that will pick you up off the couch and get you moving your way over to the club.

Despite Andre Xcellence’s Caribbean background, and the fact that reggae music is definitely in high demand in terms of current radio trends, the producer suggested they sidestep the mainstream market and go in a different direction.

“I thought it would be interesting to bring back the feel of early 2000s iconic sounds such as Lil’ Kim, Missy Elliott and some of recent sound such as Nicki Minaj instead of following the current radio sound,” explained Supakuma. “The artist and his promotion team really liked the style.”

Though it was only released a month ago, “Ram it Up” has already drummed up some pretty impressive praise, with Boomshots saying: He had us from the moment he flipped Super Cat’s “Don Dada” hook over a frenetic Supakuma-produced track that sounds something like Diwali on steroids.”

The booty-shaking hip-hop dance beats created by Supakuma and Xcellence’s strong and often comical lyrics prove that these two have clearly formed a fruitful relationship. About working with Xcellence, Supakuma says,“He has great honesty to music. He always catches the concept of the music immediately and builds a strong vision of the story of the song when the music is talking to him. When the music is not talking to him, he never hesitates to speak up and say his opinion to everyone. That way I can show my idea and he shows his thoughts, which makes good chemistry. “

The music video for Andre Xcellence’s song “Ram It Up” is set to go into production shortly and is being handled by Richard Jackson, creative director of Haus of Gaga, the creative team that handles most of the clothing, props, stage sets and other visual aspects for Lady Gaga’s music videos and tours, such as the famous ‘egg vessel’ Lady Gaga arrived in at the 53rd Grammy Awards. The video is expected to be released before Coachella.

Aside from “Ram it Up,” Supakuma is currently producing and engineering Andre Xcellence’s EP, which is expected to be finished by the end of 2017.

About why he enjoys working with Supakuma, Andre Xcellence says, “Most of all I would say his spirit. He is a true student of the game. Supakuma’s  attention to detail and the way he goes about his craft of  producing a record is refreshing. To have someone who knows exactly where music is at in it’s current state and how best to release music to seamlessly integrate is priceless.”

Last year Interscope Records hired Supakuma to produce the beats, as well as record and audio engineer Reem Riches ft. Osbe Chill song “Everyday.” Osbe Chill got a huge boost in the industry in 2016 when he was co-signed by hip-hop veteran The Game, who helped spur seven-time Grammy Award winner Kendrick Lamar’s career when he took him on tour and featured him on “The R.E.D. Album”– and we all know how well that turned out.

Like all of Supakuma’s work to date, the results of Reem Riches song “Everyday” featuring Osbe Chill are flawless, it’s no wonder so many artists are vying to work with him. His beats bring a dark, chilling element to the song, which drives the vibe, but never overshadows the rapper’s vocals.

Originally from Japan, Supakuma has become known across genres for his work as the producer and engineer of Paramore Entertainment artists Calista Quinn’s pop single “Slumber Party,” which premiered exclusively on Radio Disney in 2016, and Maxso’s “Pressure.” He also engineered the song “If Only You Knew” by J.O Jetson, which hit no.17 on the U.S. National Radio Ranking charts in November, and Brian Justin Crum’s cover of “Creep,” which Crum sang on season 11 of NBC’s Primetime Emmy Award nominated series “America’s Got Talent.”

What’s so interesting about Supakuma’s work as a whole is the diversity of the projects he’s produced. However, considering the powerful set of qualifications, and range of influences that he brings to the table, it’s not surprising that he’s managed to produce and engineer hit songs for such a genre-diverse group of artists. Aside from producing and recording, he also plays guitar, bass, piano and drums.

About his musical progression over the years, Supakuma explains, “I started playing the guitar and was listening to rock and heavy metal, then I started to play classical music… I studied composition jazz and big band in college and now I produce a lot of pop music but honestly I fancy producing future dance music. I love the process of a very constructive and detailed way of approaching things.”

So how’d Ikuma Matsuda get the nickname Supakuma? Anyone who’s worked with the multi-talented producer and engineer can probably guess.

He explains, “An A&R from Interscope records saw how I was producing and I was playing almost all instruments and mixing very quick so he started Supakuma.”

From producing and engineering artists from some of the most popular record labels in the world such as Interscope Records and Sony Music’s The Orchard, as well as well-known independent labels like Andre Xcellence’s American Commission / Pink Money Records, Supakuma is clearly being sought out to take huge music productions from an idea in the artist’s mind and turn them into a fully realized listening experience. In addition to producing Andre Xcellence’s forthcoming EP, Supakuma is also currently working on an upcoming collab with Grammy Award winner Shafiq Husayn from Sa-Ra creative partners.