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Thread: Kung-Fu Music

  1. #31
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    Kung Fu Kongress

    Because we all know that Kung Fu is fun-keh! Kung Funk rocks the heart of my bottom.
    Kung Fu Kongress brings the funk
    By Michael Beall
    Published: Friday, March 25, 2011
    Updated: Friday, March 25, 2011 02:03


    Kevin Van Dort sings with the rest of Kung Fu Kongress during their set at the Wilma Theatre Wednesday evening.

    The March sun falls behind the Wilma Theatre. Inside, New Orleans funk band Galactic runs through their sound check for Wednesday night's show. Bass notes and horns pulse through the venue's walls to the parking lot below.

    In the parking lot, local group Kung Fu Kongress prepares for their opening set. Drummer Campbell Youngblood-Petersen, discusses time signatures in 44/16 and 22/16 with trumpet player Tully Olson. Youngblood-Petersen taps his thigh and snaps his fingers in unison with Olson's hummed melodies, trying to kick their nerves.

    Only a year into their young music careers, the eight-piece funk band is thrilled for a rare opportunity that few local groups are granted — playing before one of their biggest influences at one of the largest venues in town.

    "Words can't even describe how I feel right now," Olson said, minutes before sound check.

    Kung Fu Kongress is composed of eight core members: two guitarists, a bassist, two saxophones, a trumpet, a keyboard and percussion. All are jazz and classical music majors at The University of Montana's Music School, except guitarist and vocalist Kevin Van Dort and keyboardist Josh Farmer.

    Galactic was brought to town by the national music promotion The Knitting Factory, and Kung Fu Kongress was the first local northwestern band to work with them.

    "I shook their hands. Now I can't wash mine," a member in the group outside said after speaking with Galactic. "They asked me if we were touring, and all I could say was, ‘uh … no.'"

    Logan Foret, Kong Fu Kongress' 22-year-old booking agent and manager, is also a member of the Bassface Artist Cooperative, a collection of DJs, painters and break dancers around Missoula. Foret's experience and relationships in the Missoula music scene helped their chances to land high-profile performances such as Wednesday night's opening slot.

    "We already had relationships with a lot of venue owners," Foret said. "So getting it going wasn't too difficult. It was really about setting themselves apart from other funk bands around the state like Reverend Slanky and Cure for the Common."

    Kung Fu Kongress got their start performing in basements and house parties around Missoula, playing classic funk covers with musicians who could find time away from school and other side projects.

    The outfit performed their first venue show at The Palace last April. Their progression from house parties to selling out shows at The Top Hat and other downtown venues has been swift, but the band hit a roadblock when their original vocalist Cove Jasman moved to Portland.

    "From there it was kind of a stopping point," Foret said. "We took a couple months off for hiatus last school year to see what kind of direction we were going to go with a vocalist."

    That's when 39-year-old local blues musician Kevin Van Dort approached Kung Fu Kongress with an interest in filling their void.

    "A lot of these guys knew Kevin from doing some jazz shows out in the Missoula Winery, where Kevin plays a lot of music," Foret said. "Kevin has a good stage presence. He has a really powerful voice, and we need someone who's a charismatic front man."

    Van Dort joined Kung Fu Kongress in December, and the group performed New Year's Eve at The Top Hat. Van Dort became a full-time member of the band, helping them stray from strictly covering songs to composing their own tunes.

    "It's cool to see the next generation of guys who are still in school," Van Dort said. "Just to have the University here and draw music majors is really fun. It's an interesting process. They keep me real, and I try to get them dirty."

    Kung Fu Kongress is looking into recording an album and playing shows across the state this summer. Currently, they're focusing their time writing and composing original songs, which has only been in progress for the past two months.

    "All of us are very creative in our musicality, so you have to find a lot of wiggle room," Olson said, outside in the Wilma parking lot. "You have to learn to work with other people. The style of music that we play is definitely complex and takes a lot of thinking to play."

    "Yo, Campbell," Olson shouts. "Do you remember what meter ‘Playing Hard to Get With Your Girlfriend' is in?"

    "Should we say it in a way that sounds most impressive?" Campbell replied.

    Campbell leans into his car and starts tapping out the rhythm.

    By the time the 15-minute warning for the band's 8 p.m. set rolled around, the talk of the next night's headlining show at The Palace and future travel plans ended. They lowered their voices and talked strategies. The horns and sax players sang melodies to Campbell's practice drum, and Foret got them organized.

    The band followed Foret up the spiral staircase and onto the stage, where he took the mic and introduced Kung Fu Kongress. With a bass line from Trebor Riddle, the group kicked in to high gear.

    The seven-song, 45-minute set ended in a standing ovation from the Wilma crowd. Kung Fu Kongress packed up their gear, and soaked in sweat with full grins across their faces.

    "It went really well," Olson said after the set. "We got to hang out with Galactic. The sound was so good, and the energy from the crowd really helped us out."

    A half-hour later, the Wilma continued to fill as Galactic hit the stage for their headlining performance. But even if they didn't fill the hall, it was time well spent.

    "Tonight brought the band closer together," Van Dort said. "I'm glad we got the opportunity."
    Gene Ching
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  2. #32
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    kung fu

    I still haven't heard these guys.
    Deep Banana Blackout Members Sit in with Kung Fu


    Kung Fu performed at Fairfield CT’s Acoustic Café on Friday night. Midway through the group’s first set, Deep Banana Blackout’s Johnny Durkin (percussion) and Cyrus Madan (keyboards) joined the band for “Scrabb,” Frank Zappa’s “King Kong, Deep Banana Blackout’s “Bringing Up The Rear” and The Meters’ “Sissy Strut.” Durkin reappeared during the band’s second set and remained on stage for the rest of the night. Kung Fu features Deep Banana Blackout saxophonist Rob Somerville. Kung Fu will appear at the

    Both bands will appear together this Summer at the GOTV music Festival while Kung Fu will play a headlining set at Kempton, PA’ s Some Kind of Jam 6 this Friday.
    Gene Ching
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  3. #33
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    Still waiting...

    Some day they'll appear at a festival near me.
    Published: 2011/06/23
    by Fady Khalil
    Summer Stars: Kung Fu


    Here is another of our “Summer Stars,” emerging acts featured in the 2011 Relix Festival Guide who will be making the rounds this summer…

    When a serendipitous jam session brought together keyboardist Todd Stoops and bassist Dave Livolsi—Connecticut’s Kung Fu —it “wasn’t a very serious thing.” Stoops recalls its debut show, an informal Monday night residency at a friend’s New Haven, Conn. bar: “The first week, maybe like 70 people came.” But, much to the band’s surprise, he adds, “From the third week on, we were sold out! We ended up doing 14 weeks, and it was sold out almost every week!”

    And so it’s been for the band composed of seasoned live music veterans, Stoops (RAQ) and Livolsi (Scofield/Jazz is Dead), with Rob Somerville (Deep Banana Blackout), Tim Palmieri and Adrian Tramantono (The Breakfast). In just 15 short months, its brand of “kick you in the teeth fusion” has garnered national attention with well-received performances at numerous festivals including The Big Up, Camp Barefoot and Gathering of the Vibes. And though its originals “run the gamut of styles” from up-tempo funk to odd-meter jazz—with reinvented covers of classics from Jeff Beck to Herbie Han****—Kung Fu’s mission at live shows remains simple: “We come as a group of commandos.” Stoops quietly elaborates. “We come to blow up the bridge.”

    Appearing at: Gathering of the Vibes, The Big Up, Strange Creek Campout, A Bear’s Picnic, Jam at the Grove and more.
    Gene Ching
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  4. #34
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    Slightly OT

    Jared Leto: I want to do kung fu
    By Cover Media on 27/07/2011

    Jared Leto is frustrated by the “sleep demons” who have been making his nights unpleasant.

    Jared Leto has revealed his dream to “be a chick and take kung fu”.

    The 39-year-old US rocker is best known as the frontman of 30 Seconds to Mars, as well as for his successful television and movie career.

    Jared harbours a hidden ambition though, which he has revealed after being inspired by action picture Sucker Punch. The film stars Hollywood beauties including Emily Browning, Abbie Cornish and Jena Malone and tells the story of a young girl fighting to escape a mental asylum.

    Watching the movie stars in action made Jared realise he should take up martial arts, and he took to social-networking site Twitter to reveal his plans.

    “Watching suckerpunch. Pretty girls kicking ass. Makes me want to be a chick and take kung fu (sic),” wrote the heartthrob.

    Jared also vented about his current sleeping problems. The musician has been restless during the night, and blamed his issues on evil spirits.

    “F**king sleep demons robbing my dreams tonight. If I catch them I'm gonna...(sic)” wrote Jared.
    Not sure on the 'be a chick' part. For more on Sucker Punch...
    Gene Ching
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  5. #35
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    International Love

    Christian rap.

    What happens when LA born and raised musician who is also a Taekwondo champion meets a Russian battle MC, who was one of the first females in Russia to participate in hip-hop competitions? That’s right – International Love Movement takes its place.

    International Love is a Band from Sacramento, California, formed by Reeta Style and the Kingdom .
    It's TKD music, not kung fu music. Rapper E. J. Harris aka Kingdom claims he is a TKD champ.

    Here's their website.
    Gene Ching
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  6. #36
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    Shaolin Jazz

    Almost posted this in the Shaolin forum...
    Tuesday, October 11th, 2011 | Posted by PrimaDonna_Jam
    Shaolin Jazz – The Gil Scott Suite (Tribute Project)


    Who is Gil Scott? That is the question many will be asking after hearing this dope FreEP tribute to the late jazz poet, musician, and author. Shaolin Jazz, a concept developed by Gerald Watson and DC’s own DJ 2-Tone, combine the works of Gil Scott and Wu-Tang Clan to deliver a unique three track album entitled The Gil Scott Suite. They describe the project as a musical marriage of the elements of an iconic Hip Hop group and the assortment of jazz to bring a new genre and experience to music lovers. The album has an old school hip hop, feel good vibe to it and is definitely different from today’s heavy bass and punchline filled music. It’s that Pinky Ring S**t, as the first song is appropriately titled. The album’s cover art was designed by Shamona Stokes, the winner of the Shaolin Jazz Album Cover Design Contest.

    Gil Scott was an inspiration to many Hip Hop artistes, including Kanye West who used some of Gil Scott’s work on his latest solo album My Beautiful Dark Twisted Fantasy. Gil Scott died May 27, 2011.
    Gene Ching
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  7. #37
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    Steve Aoki

    Aoki plays the Bill Graham Civic this Saturday and I'd really love to see him, but I'm already committed to the Beijing Wushu Team performance at the Palace of Fine Arts that night.
    Steve Aoki Expands His Horizons
    The UCSB Grad and Dim Mak Founder Plays the Earl Warren Showgrounds
    Wednesday, January 18, 2012
    By Aly Comingore (Contact)


    Martial arts and music are not so different; both are tied to the body and how to achieve its best efficiency. In the case of Steve Aoki, globetrotting deejay and founder of Dim Mak Records, the two are one in the same. Music is most certainly a doing word for the former UCSB student, who, since founding his label in 1996, has helped some truly indelible acts find their footing in the U.S., including Bloc Party, MSTRKRFT, and Battles. Most recently, Aoki has set his sights on conquering the kingdom of dubstep, the busiest and buzziest genre emerging from electronic music that has kids mobilizing in droves. To this end, he signed Canadian deejay/producer Datsik, who will be accompanying him on his Deadmeat tour alongside a menagerie of other artists on his label. Aside from all this, in January alone Aoki has still managed to release a single with Tiësto, a remix for Bassnectar, and his second album of original material, titled Wonderland — his first full-length since 2006. Not a bad start for the New Year.

    Aoki’s relentless energy was all too evident as I caught up with him on the phone in the middle of a trip to Vegas. Even over the din of the casino, I could fully hear the conviction in his voice as he described the recent doings of Dim Mak, named after the “death touch” of Chinese martial arts lore. “Efficiency is anything that scores,” Bruce Lee once said. “One utilizes all ways and is bound by none.” Certainly the right approach when applied to music, as well.

    Wonderland has a huge range of guest personnel. What do you see as the uniting factor between them? The uniting factor is essentially me. The way I see this album is a culmination of all the different influences and sounds that have been a part of my life for the last four years. My goal for this album was to be totally eclectic and totally diverse. I wanted to showcase all these different sounds that I love, because the thing is, I love all kinds of music. I’m a punk, a hardcore kid, a raver; I love hip-hop, rap … in that token, I wanted to work with all these different artists, and also work with their swagger and style, as well. So the album is meant to be a proper album of songs, rather than the bangers and singles I’ve been putting out the last couple of years.

    Dubstep is obviously a big influence on Wonderland. To what do you attribute the genre’s massive popularity? It’s a new style for people. It’s actually been around a long time, but it’s finally emerged with certain artists. I think what it is is artists who put melody along with the heavier side of dubstep; it makes it so interesting for people. Skrillex is like Daft Punk; he really commercialized dubstep because he put amazing melody and incredible, heavy sounds in his tracks so that all kinds of people can listen to it and not be alienated by it. It’s all about certain traditions that can bring a sound or culture to the masses. Like Justice, in my opinion, in ’07 — they were the artist who put electro on the map. In 2011, Skrillex brought dubstep to the masses.

    What can we expect from Dim Mak this year? We’re putting out Datsik’s album this year. We’re actually putting out Infected Mushroom’s album, as well, and broadening our horizons as far as sound. I’m involved in helping curate and making it different. They have their own lane, of course — they’ve created their own sound — but now they’re trying to do something unique and newer, and we’re helping build that new lane for them. So when you guys hear it, it will be a collaboration. We’re putting out [an album] called Evilution — it’s Datsik and Infected, and it’s coming out in February or March.

    It seems like you have been phasing out bands in favor of deejays/producers. Is this a conscious thing on your part? Well, we’ve evolved through so many different genres across the last 15 years. At one point, we were putting out hardcore and emo. The thing is, as I said, I love all kinds of music. In 2007, we stopped putting out indie bands and made a diligent effort in the dance community and signed MSTRKRFT and The Bloody Beetroots. They required a lot of our attention, because when you sign someone at that scale, you really have to give them the time and the opportunity to help build them. So I made that decision to focus on those two artists rather than try to find the next Bloc Party, or the next Gossip, or something like that. So when that happened and they were becoming more and more successful, our work also increased, so we just tried to focus on that.

    What do you have to say to kids struggling with music? How do you break out of the DIY mentality? You never break out of the DIY mentality. It’s always been part of Dim Mak’s business model. When we have people coming into the office, we’re pitching them that same concept: Get your feet, get your hands dirty. You’re gonna have to do the work yourself. You can’t really rely on too many people. No limitations: That’s DIY. If you don’t have the money, find a way to get it. You might have to do certain things to get there, like what I was doing early on: I was stealing. I was stealing from Kinko’s to make all my copies. My friend worked there, and luckily I had that outlet to make all the inserts for my LPs and 7 inches. The Dim Mak motto is “by any means necessary.” You’ll find a way if you really believe in what you’re doing.
    4•1•1

    Steve Aoki plays the Earl Warren Showgrounds with opener Datsik on Friday, January 20, at 8 p.m. Visit collectiveeffortevents.com for tickets.
    Gene Ching
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  8. #38
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    Asian Kung-Fu Generation

    Asian Kung-Fu Generation Band Releases First U.S. Album
    posted on 2012-01-26 01:00 EST


    CD includes rock band's Naruto, FMA, Tekkonkinkreet, Bleach theme songs

    Japanese rock band Asian Kung-Fu Generation announced on Tuesday that their Best Hit AKG album has been released to U.S. audiences, marking the band's first stateside release. The greatest-hits album shipped in Japan and became available on the U.S. iTunes Store and Amazon's MP3 download service on January 17.

    The CD's 17 tracks feature selections from six of the band's albums and two EPs as well as the new single "Marching Band." Songs also include the Naruto opening theme “Far and Beyond,” Fullmetal Alchemist opening theme "Rewrite," Tekkonkinkreet theme “A Town in Blue," and the Bleach opening theme “After Dark.”

    Asian Kung-Fu Generation formed in 1996 and released their first album Hōkai Amplifier in 2002. Magic Disk, the group's sixth album, rose to #2 on Oricon's album ranking chart after its release on June 23, 2010. The rock band has sold about 2.5 million copies of its albums and single CDs.
    Official website

    I mentioned them when I first pillaged this thread. Now we know more.
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  9. #39
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    Planet Asia

    I've heard of Planet Asia as it's an S.F. thing, but I don't really know the music at all.
    Sunday, February 26, 2012
    Kung Fu Slaps: Influential rapper Planet Asia covers new territory
    By Ian Birnam | Staff
    Last Updated 1 day Ago

    With hip-hop’s ever-changing spectrum of styles, you may be hard-pressed to find a rapper from back in the day that can still sound fresh. Ambient production is growing, as is the trend of incorporating genres from the complete opposite side of the soundscape. To have been around for 15 years and still remain at your prime is something rappers should all aspire to. In Planet Asia’s case, this aspiration is a reality. Starting back in 2000 as one-half of the rap duo Cali Agents, Asia has become a leader in the underground hip-hop community. With the release of Black Belt Theatre — his first retail album in four years — the San Francisco artist’s prime production value and skillfully executed rhymes prove that age really is just a number.

    Although Asia has been a producer for various artists over the years, this album marks his return as a solo MC. Asia described his path toward the album as a journey to his roots. “I was going towards a more producer role in terms of records for a while,” said Asia. “But this album is more like your typical Planet Asia record like the Jewelry Box Sessions.”

    By going back to the basics and strengthening them, Asia hopes to bring forth a record that will not only please new fans, but serve as a thank you for fans who have been with him from the start. “I’ve really made this album for the people that have been listening to Planet Asia my whole career, so they finally get a quality album with good features, good production.”

    Asia preaches the truth here. As a self-proclaimed “beat fanatic,” the production quality is the main highlight of Black Belt Theatre. Producers like Khrysis, Dirty Diggs and Soulprofessa all leave their own distinct mark on the album with Asia leading the overall direction of the sound. The features also offer a variety of styles, ranging from known acts like Talib Kweli to local legends like Mistah F.A.B. and The Jacka. “All my features were with people whose music I love,” said Asia. “I haven’t done any songs with a lot of these dudes before, and I was wondering what kind of sound we could get when we put our styles together.”

    Whether it’s the rhymes strong enough to chop wood on “Lost and Found,” or the way that Raekwon’s calm collected approach contrasts with Asia on “No Apologies,” the record’s diverse beats and lyrics strike hard with violent precision on each of the album’s 18 tracks.

    One of the biggest concepts of this album is growth. As an MC with 15 years in the game, Asia has been slowly perfecting a style that has yet to become dull or tired. Asia described this record as a comeback album, but jokingly interjected, “But don’t call it a comeback, I’ve been here for years.” He mentioned that he was more comfortable on this album, especially in terms of his rhymes. Specifically, how a carefully executed lyric can hold stronger than a rapid-fire send-off. “I remember when I would try to cram as many words as possible, and run out of breath just trying to rap,” said Asia. “ If there’s one thing I’ve learned, it’s that less is more.”

    That ideology is apparent especially in tracks like “Big Fish,” a song where Asia described seeing himself “sitting in a little boat on a river, thinking deep.” The melodic string section combined with the thumping bass mix together in an aquatic, trance-like groove. Asia delved further into the track, saying that it describes how he feels about being in the game. “I’d rather be a big fish in a small pond, then a regular-ass fish in a big-ass ocean. I never intended on being the torch-holder for the underground, I just wanted to make good music.”

    Other tracks aren’t quite as philosophical. Some like “**** Rappers” — or the “torture song,” as Asia referred to it in the interview — showcase the quality of hip-hop today as seen by the veteran artist. While the tracks that express thoughtful musings or views on the world are definitely worth a listen, it’s the songs with unconventional themes whose sole purpose is to display heavy beats and lyrical mastery that stand out on the album. “Bruce Lee” in particular exemplifies this idea, as the track blends a kung-fu-esque horns section with some old-fashioned bass and snare that captures a unique fusion of tones that sound dope even with the comical martial arts cries layered on.

    Asia also described working with Rasco and Chace Infinite on the track and how the dichotomy of their voices complement each other. “One (voice) is real deep, and the other is more raspy with a jazzy feel,” said Asia. “I would not have wanted that track to come out any other way.”

    Black Belt Theatre serves as a testament of how Asia has been able to preserve and strengthen both his flow and beats over the years. The album never sounds stale, nor does it feel forced as a rapper trying to hang on to his last few minutes of fame. Asia is living proof that you don’t need a major label or some glitzy shtick to affirm your place in the hip-hop scene. “A lot of hip-hop dudes feel that if some dude is on TV every day, then they’re not a real MC. That’s bull****,” Asia said. “If it’s good music, then it’s good music, and that’s what I feel Black Belt Theatre is representing. Good music can come from anywhere.”

    Ian Birnam is the lead music critic.
    Gene Ching
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  10. #40
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    Laura J Martin

    20 March 2012 Last updated at 16:34 ET
    'Kung-Fu' inspires folk artist Laura J Martin's debut album

    Laura J Martin by Barrie Dunbavin

    A Liverpool singer songwriter says "Kung-Fu films" and "childhood memories" are the inspiration behind her debut album.

    Laura J Martin said the "haunting flute melodies" featured in Japanese films have inspired her folk music.

    The Maghull singer songwriter released The Hangman Tree in January and has since received national air play.

    She was recently tipped for success by BBC 6 Music DJ Marc Riley who described her as "nothing short of brilliant".

    She said: "I used to watch a lot of Kung-Fu films before I went to sleep at night, and I loved the haunting flute melodies on them.

    "My song 'Spy' sounds particularly Kung-Fu-esque, one of my tracks is based on a Japanese legend and 'Fire Horses' is about a Japanese arsonist."

    The album features a range of instruments including the flute, mandolin, ukulele and Japanese drums -as well as objects found around her home.

    Ms Martin added: "I banged pots and pans in the kitchen, a sugar bowl, my sister's typewriter, a cheese grater and I even blew across beer bottles, when I was recording the album.

    "If I could afford a drum kit, a studio and a bunch of musicians, I would have gone with it, but my budget and being an impatient person meant that I was going around the house and banging things there instead.

    "Recording in my bedroom meant that I could be as experimental with the sound as I wanted to be."

    Ms Martin will play a series of festivals in 2012 and plans to start writing her second album later this year.
    Here's Laura's MySpace page. You can hear Spy there.
    Gene Ching
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  11. #41
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    Don't have a link, and it may have been mentioned already but there is a death metal band called Dim Mak.
    Album titles like 'Enter the Dragon', 'Intercepting Fist' and song titles like 'Phoenix Eye Fist'.

    High on Fire also have a song written about Bruce Lee called 'Master of Fists'.

  12. #42
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    Shut up and Dance >or< Dance Before the Police Come!

    Not quite sure which is the band name and which is the album name (and I don't really care either way).



    From Worst Album Covers of All Time (NSFW)
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  13. #43
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    Kung Fu *******

    I've been having this fantasy of a music festival with all of these kung fu named bands.

    Kung Fu *******: As Awesome as Its Name
    Posted by Michael J. West on May. 18, 2012 at 11:56 am

    Bobby Muncy

    In advertising its first-ever gig last night, the awesomely named Kung Fu ******* kept its description simple: "The only thing to say is that it is something completely different." This is true. Indeed, there were times during the group's 8 p.m. set at Twins that even back-to-back tunes were completely different.

    "The idea behind this group was to play stuff that was hard for us," saxophonist Bobby Muncy elaborated from the bandstand. "And to be free and open." That's also true. Muncy and guitarist Anthony Pirog were responsible for the quartet's entire repertoire, and it was difficult, avant-garde-leaning stuff. The band had the advantage, however, of also being brilliant—and one of the most exciting new jazz projects to hit D.C. in recent memory.

    Kung Fu ******* is an equation in which there is no constant. Drummer Larry Ferguson seemed at first like an anchor, holding down swing where it was needed and shifting at all the right spots on Pirog's "Song in Five" (which actually had sections in four and six as well). But he was more devious than that, stretching and contracting the time in unexpected places, hiding the one here and there, and scattering around accents on "Motian." Bassist Mark Foster didn't even offer that suggestion of stasis. His electric six-string was elastic and abstract on the opener, Muncy's "Tough Guy," but had no compunction about walking, or going funk. On "Paraphoresis," probably the set's highlight, it joined with Pirog's guitar in a fearsome post-rock drone.

    Speaking of Pirog, he was the most powerful weapon in the band's arsenal, and the most representative of their versatility. He switched attacks and effects with seemingly every piece, although a certain proggy, melodic wash did recur. Undoubtedly Pirog is one of the area's most eclectic musicians: He plays jazz, Slint-influenced rock, contemporary classical (his performance of Terry Riley last year will not soon be forgotten), and the folkish experimentalism of his most prominent project, Janel & Anthony. All of that comes to the fore in Kung Fu *******.

    As for Muncy, he didn't even stick with one axe. Skronking tenor and mesmerizing soprano saxes came out (an alto was set on stage, but didn't make an appearance in the first set), as did a bass clarinet in "Paraphoresis"—where, surprisingly, it shrieked. The commonality between them was simply the momentum that Muncy was able to build on each instrument, winding into long, powerful lines that could startle in their heft or melodic charm.

    Put these four protean sounds together, and all at once, and you have some serious adventure happening. This first gig was six months in the making, and Kung Fu ******* doesn't have another scheduled. When another one comes along, drop everything and flock to it.
    Gene Ching
    Publisher www.KungFuMagazine.com
    Author of Shaolin Trips
    Support our forum by getting your gear at MartialArtSmart

  14. #44
    Join Date
    Aug 2010
    Location
    Western MA
    Posts
    953
    Not sure what this has to do with the kung fu school in Kunming, but I found this video and thought it belonged here.

    http://www.youtube.com/watch?v=iQz-HNH3nPk

  15. #45
    Join Date
    Jan 1970
    Location
    Fremont, CA, U.S.A.
    Posts
    47,947

    Slightly OT

    Aesop Rock - ZZZ Top

    Directed by Pete Lee
    Produced by Lizzie Rose
    Exec Prod: Aesop Rock
    Dir. of Photography: Drew Daniels
    Sound Design: Matteo Grilli
    Starring Aesop Rock + Hao Zhi Hua aka Patti Li,
    Zumbi, Dennis Ruel, Edward Kahana, Vlad Rimburg, Lucas Okuma, Alvin Hsing, Bryan Cartago
    Gene Ching
    Publisher www.KungFuMagazine.com
    Author of Shaolin Trips
    Support our forum by getting your gear at MartialArtSmart

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