By now you will know that our obsession with the discography and wider projects of the visionary Ari Joshua runs deep and spans his various endeavours. Naturally, when we heard that Ari was back with the uniquely titled, Scared of Eric, alongside Delvon Lamarr, Grant Schroff, and Skerik – three of his long time collaborators, we were curious to say the least, and couldn’t wait to immerse ourselves once again in his sonic universe.

The opus kicks off with a cerebral soundscape, and a dimensional, darker energy than we have previously experienced from the creators. There is intrigue, drama, cinematic allure and an almost haunting presence as the composition evolves.

Scared of Eric is presented by Music Factory Records. It serves as a psychedelic boogaloo-funk jam which is intended to unite four of the Pacific Northwest’s most daring musicians in a sonic tribute to Skerik himself!

The creeping, cinematic intro unravels into a tense, hypnotic groove. Delvon Lamarr’s simmering organ and Grant Schroff’s taut rhythms form the foundation for Skerik’s ferocious saxophone and Joshua’s angular guitar lines, which clash and merge, almost like a duel. Together, the instruments manifest screaming sounds that mimic a human reaction. This is truly a surreal and almost emotional dialogue between notions of chaos and control. The result is both unsettling and exhilarating.

We learn that the track was recorded live by Mell Dettmer at Studio Soli, shaped with overdubs and mixing by Jason Gray at Blue Mallard Recording, and mastered by Doug Krebs. The artwork by Chris Ball (Deepgroove Designs) was created to visually capture the track’s manic brilliance and swirling energy with psychological tension.

Scared of Eric‘s blend of funk, psychedelia with a cinematic edge makes it a strong candidate for sync placements in comedy-horror films or surreal, offbeat scenes. Perhaps moments of mounting absurd tension or dark humour – think of recent releases like Totally Killer (2023), Lisa Frankenstein (2024), or Renfield (2023)!

Naturally, we have added Scared of Eric to our New Music Spotlight playlist, and our TIMELESS and TRIPPY playlists, whilst we continue to stream the wider discography of Ari Joshua, and anticipate future releases from the visionary artist!

The post Ari Joshua enlists Delvon Lamarr, Grant Schroff, and Skerik for cerebral and cinematic composition, Scared of Eric appeared first on KIMU.

Establishing the mood with a cerebral riff and immersive organ melodies, expanding with a charming and guitar performance, Ari Joshua, John Medeski and Billy Martin open Blurry Face with the psychedelic nuance that we have come to love and appreciate from the creators.

We have been following Ari Joshua and Music Factory Records‘s work for the last couple of years, and are constantly in awe of his instrumental mastery, and the emotional depth that goes into his art. The composition holds a psychedelic adjacency with a cinematic allure – something that is consistent with Ari’s work.

The artwork further cements this, looking like a celestial being that you might meet during a DMT trip. There is an overwhelmingly positive vibe to the experience, like taking magic mushrooms in the sun. This is the genre of psychedelia that leave us feeling whole. The textured drums guide us further, and the 8-bit adjacency has us feeling like we are playing Sonic The Hedgehog on a 1990’s SEGA Megadrive!

Ari confesses with reference to the collaboration, “Blurry Face was born in the moment, no overdubs, just raw takes between legends John Medeski and Billy Martin. Built from a loop Billy created years ago, this session brought out a spontaneous conversation in sound. It’s about tapping into that sacred zone where intuition leads and genres melt away. For those who love MMW, like do, this one will feel familiar. Just a trio, with John on bass and organ, no bass guitar here. I had been talking to Medeski since I was about 19 years old about working together, I am grateful we made this happen – dream come true.”

The track features Ari Joshua on electric guitar and effects, known for blending jazz, psych rock, and avant-garde styles; John Medeski on electric organ and clavinet, bringing a signature psychedelic warmth; and Billy Martin on drums, laying down deep, polyrhythmic grooves based on a loop from his Loops from the Underground collection. The session was engineered by Chris Bittner at Applehead Studios, with additional mixing by Jonathan Plum and mastering by Joe Lambert, whilst Seb Niark provided the trippy artwork.

A Pacific Northwest tour for Ari’s other band, The All’s Eye, is expected to be announced soon for late June and early July, bringing explosive live energy to the West Coast. Blurry Face is one of many releases from Music Factory Records, with a follow-up single, Reversible Submersible, arriving on May 23rd, and a full-length album also in the works.

This also marks the first official release through Music Factory Records’ new website, which is currently in development. To celebrate the launch, Ari is offering a super engaging free play-along track with the solos removed, along with full sheet music, where musicians are invited to jam with it, record their own takes, and share them for feedback and a chance to be featured on the site and socials!

Naturally, we have added Blurry Face to our New Music Spotlight playlist, and our TIMELESS and TRIPPY playlists, whilst we continue to stream the wider discography of Ari Joshua, including Rare Groove, and Audio Bicycle Day.

The post Blurry Face Brings Psychedelic and Improvisational Fire as Ari Joshua, John Medeski & Billy Martin Share Their Masterful Energy appeared first on KIMU.

As huge Jimi Hendrix and Ari Joshua fans, you can imagine our excitement to hear the news that Ari had covered the iconic song Voodoo Chile. Now, Ari’s multidisciplinary artistry and guitar work is a masterclass in music creation, so we had a feeling that we would be in for a sonic surprise with the release.

The cover kicks off with a cerebral, trippy guitar work which feels akin to a psychedelic trip into another dimensional. The performance rivals the original in creative essence, but also in finger work. It’s no small feat to cover a Jimi song, so there is no doubt that Ari’s intention was clear from the outset to ensure that he did it not only justice, but made it his own – and the results are tangible.

In case you didn’t know, Voodoo Chile started as a candid jam session, and eventually became one of the most iconic songs in Hendrix’s discography. The song was a fan favourite during his career and remains one of his most memorable (and most drawn-out) vocal and guitar performances. This is brought to life masterfully by Ari and his collaborators.

The lyrics of are filled with references to voodoo magic and religion, providing plenty of haunting images throughout the song. Ari and Jimi sing about being a “voodoo child,” which confirms their shares belief in magic and superstition. This is a quality that transpires in Ari Joshua’s wider discography, which has always had a conscious and psychedelic edge, so it is inspiring to not only have this confirmation, but see it manifest with this cover.

“You don’t just play Hendrix – you conjure his spirit,” Ari Joshua confesses. We learn that the take on Voodoo Chile was done in a single recording and no doubt retains all the aura and electrifying energy of the original.

The cover features Ari Joshua slaying on guitar and vocals, Russ Lawton brings to life his kinetic energy on drums, Ray Paczkowski manifests intricacy on keys, whilst Ben Collette heads up tracking at Tank Recording, Jonathan Plum shares his skill as mixing engineer at Mat London Bridge Studios, with Joe Lambert‘s expert mastering. The artwork illustration was created by Burgandy Viscosi, whilst Monte Mitchel at Forest Shore Designs designed the layout.

We have added Ari Joshua‘s version of Voodoo Chile with RAAR Trio to our New Music Spotlight playlist, and our TRIPPY and TIMELESS playlists, whilst we continue to stream the growing body of work from RAAR Trio, and anticipate future releases!

The post Ari Joshua and RAAR Trio take us on a psychedelic trip with evocative, intricate and mind-bending cover of Jimi Hendrix’s Voodoo Chile appeared first on KIMU.

The Simian is an instant classic, weaving together a vibrant tapestry of layered strings, organic keyboards, and uplifting lyrics that evoke the soul-stirring essence of The Allman Brothers Band. With a sonic palette that’s as colorful and dynamic as a rainbow, the track offers us a full-spectrum experience of sound, emotion, and groove.

This track serves as a journey – one that delves deep into a psychedelic and dimensional soundscape. The interplay between the keys, guitars, and percussion is nothing short of sublime, creating a sonic texture that is both expansive and intimate. The lyrics are metaphorical and trippy, intertwining seamlessly with the instrumentation to take the listener on a transcendental ride. The out-of-this-world piano solo sends the track soaring, while the final culmination of instruments results in a dynamic and epic crescendo. This conscious sound is both spiritually deep and sonically mesmerizing – a must-experience live performance, especially in venues like the Jazz Cafe or any of the tour stops.

To support the release of The Simian, the band will embark on a winter tour, bringing their electrifying performances to audiences across the Northeast. The schedule includes:

• February 6 – Woods Valley Ski Resort, Westernville, NY
• February 7 – Ophelia’s on Broadway, Albany, NY
• February 12 – Buffalo Iron Works, Buffalo, NY
• February 13 – Three Heads Brewing, Rochester, NY
• February 14 – Kings Rook Club, Erie, PA

Additionally, on February 9 and 10, the band will film a live set at Matt Rifino’s New Jersey Studios, ensuring fans can experience their magic in high-quality production. Rifino, a five-time Emmy Award-winning engineer, brings unparalleled expertise to this special recording.

Adding to the song’s visual and conceptual depth is the trippy and eye-catching artwork by Roberlan Borges Paresqui. Known for his bold and psychedelic designs, Roberlan’s art perfectly complements the vibrant energy and uplifting message of The Simian.

The All’s Eye is a powerhouse collaboration of three of the hardest-working artists on the scene. Each member brings a wealth of talent and experience, creating a sound that blends jam band improvisation, rock ‘n’ roll energy, and jazz sophistication.

• Kris Yunker (Hammond Organ, Piano, Clavinet) has collaborated with Alan Evans (Soulive), George Porter Jr. (The Meters), Barely Dead, and Goose, showcasing his versatility across funk, jazz, and jam genres
• Ben Atkind (Drums) has performed with Goose, members of The String Cheese Incident, and Lettuce, highlighting his rhythmic precision and dynamic energy
• Ari Joshua (Electric & Acoustic Guitars, Vocals) has worked with musical luminaries such as John Medeski, Billy Martin, KJ Sawka, Ray and Russ from Trey Anastasio Band, and Stone Gossard (Pearl Jam), blending technical mastery with emotional depth
• Jason Hann (Shaker, Bongos, Congas, Percussion) of The String Cheese Incident joins as a special guest, further enriching the track’s rhythmic textures

Fresh off their recording session at Carriage House Studios, The All’s Eye is set to release a series of singles over the next six months, promising audiences an immersive journey through spontaneity, exploration, and deeply rooted musicianship. Every live performance unfolds with the excitement of discovery, as each player draws from their extensive live and studio experiences.

The Simian will be available on all major streaming platforms next Friday! Get ready to dive into the sound and let the journey unfold! In the meantime, stream West Hill Road to experience a taste of what is to come!

The post Exclusive Preview: The All’s Eye Unleashes The Simian – A Sonic Journey Through Classic Vibes and Modern Grooves appeared first on KIMU.

The All’s Eye Trio’s debut single, West Hill Road, is a masterclass in dimensional acid jazz, psychedelic exploration, and intricate instrumental interplay. This 7-minute journey sets the bar high for what fans can expect from this newly formed supergroup. The track showcases a boundless creative energy that feels equally at home in a studio recording and a spellbinding live performance – a promise the band is already delivering on during their 2024 East Coast tour.

From the opening moments of West Hill Road, Kris Yunker’s keys establish a shimmering sonic landscape. His bright upper-register melodies weave seamlessly with Ari Joshua’s guitar, whose phrasing alternates between soulful restraint and daring flourishes. Beneath it all, Ben Atkind’s crisp drumming anchors the composition with a groove so tight it feels effortless. Together, the trio crafts a sound that is at once adventurous and accessible, drawing from their deep well of influences to create something undeniably their own.

The track’s structure is a testament to the trio’s visionary song creation techniques. It unfolds like an improvised conversation among musical equals, yet it never feels aimless. The dynamic shifts are deliberate, creating peaks of soaring intensity and valleys of contemplative calm. The interplay between Joshua’s fluid guitar work and Yunker’s vibrant keys forms the heart of the piece, with Atkind’s rhythm work providing the soul. The result is a hypnotic blend of jam band psychedelia with roots in jazz, funk, and rock.

Hearing West Hill Road is one thing, but experiencing it live would undoubtedly be transformative. The All’s Eye Trio thrives on spontaneity, and each performance promises new twists and turns. Audiences can expect an unfolding musical story that feels as fresh for the performers as it does for the listeners. The East Coast tour, with stops at iconic venues like The Stone Church in Brattleboro, VT, and Zen Barn in Waterbury, VT, is a chance to witness this boundless energy firsthand.

While The All’s Eye Trio is a new project, the members’ collective pedigree is impossible to ignore. Kris Yunker’s collaborations span genres and include notable artists like Alan Evans (Soulive) and George Porter Jr. (The Meters). Ben Atkind brings his rhythmical mastery as the former drummer of Goose, a band now playing large venues and captivating fans nationwide. Ari Joshua’s multi-genre prowess has seen him share stages with legends like John Medeski and Robert Glasper. These credentials add weight to the trio’s already impressive chemistry, making “West Hill Road” a debut track with the confidence of veterans and the hunger of innovators.

West Hill Road is an intricate journey into the creative minds of three instrumental masters. The track balances technical brilliance with emotional resonance, inviting listeners to explore its depths again and again. Whether you’re drawn to its psychedelic flourishes, its acid jazz grooves, or its dimensional sonic textures, this single is a must-listen for fans of exploratory music.

For those seeking the full All’s Eye Trio experience, their November 2024 East Coast tour offers the perfect opportunity:

• 11/20: The Stone Church, Brattleboro, VT
• 11/21: Zen Barn, Waterbury, VT
• 11/23: Main Pub, Manchester, CT
• 11/24: The Sanctuary, Maynard, MA

With more music to come, including 15 tracks recorded at Connecticut’s Carriage House Studios, The All’s Eye Trio is just beginning to unveil their creative vision. Don’t miss the chance to see them live – it’s a journey you won’t forget. In the meantime, we have added West Hill Road to our New Music Spotlight playlist and our TRIPPY and TIMELESS playlists, whilst we continue to stream Ari Joshua’s wider discography, and anticipate future releases from The All’s Eye Trio!

The post West Hill Road by The All’s Eye Trio: A Psychedelic, Acid Jazz Journey of Dimensional Soundscapes, Instrumental Mastery, and Visionary Songcraft appeared first on KIMU.

Cherry Peach is a portal into a vibrant, nostalgic world where retro charm and modern sophistication coexist in perfect harmony. This track, a collaboration of virtuosos Ari Joshua, John Medeski, Billy Martin, and Jason Fraticelli, embodies a retro-futuristic aesthetic that bridges the joyous, 8-bit energy of vintage video game soundtracks like Sonic the Hedgehog and Super Mario Bros. with the intricate finesse of modern jazz-funk. The result is a cerebral and cinematic journey that stimulates the intellect while embracing the soul in pure escapism.

From the very first notes, Cherry Peach establishes itself as a playful and cinematic piece, alive with charm and depth. The composition feels like an adventure unfolding, conjuring images of colorful landscapes where rhythm and melody create a narrative of exploration and delight. The intricate instrumentation is a masterclass in collaboration, each musician bringing their unique voice to create a rich and detailed tapestry. Medeski’s organ work is a particular highlight, bubbling with swampy funk tones and cascading into free-flowing flourishes that feel both organic and exploratory. His harmonic layers serve as the foundation, over which Ari Joshua’s fuzz-laden, Hendrix-inspired guitar melodies emerge. At the 40-second mark, a catchy, harmonized melody takes center stage, cutting through the mix with a vocal-like clarity, blending seamlessly with Medeski’s lush organ tones.

Billy Martin’s drumming is a study in controlled chaos, grounding the track in precise grooves while leaving ample space for improvisation. Jason Fraticelli’s upright bass lines thump with an organic warmth, anchoring the harmonic framework and driving the rhythmic flow. Together, these elements create a sound that is simultaneously complex and accessible, brimming with nuance and an infectious energy. While there is an unedited version of the quartet performing this track, this studio-polished version, mixed by multi-instrumentalist Jeff Fielder, brings out its bouncy, playful essence. Fielder, known for his work with Duff McKagan, the Indigo Girls, and Stone Gossard’s Painted Shield, adds a modern sheen to the retro groove, enhancing the track’s escapist qualities without losing its raw, improvisational spirit. Mastering by Ed Brooks of Resonant Mastering adds the final touch, ensuring every note and groove resonates with clarity and warmth.

Ari Joshua’s artistic vision shines throughout. Born in Cape Town, South Africa, and raised in America, Joshua’s journey has been one of constant growth and exploration. A graduate of The New School in NYC, he has collaborated with a wide range of luminaries, including Robert Glasper, Delvon Lamarr, and members of The Trey Anastasio Band. His deep respect for John Medeski and Billy Martin, whose work with Medeski, Martin & Wood profoundly influenced him, is evident in his artist statement. Reflecting on the recording session at Applehead Recording, Joshua describes it as a dream realized, likening the experience to being “a kid in a candy store.” He recalls Billy Martin predicting that he would walk away with more music than he knew what to do with – a prophecy that has come true as Joshua continues to release gems from his vault, including Cherry Peach.

This track is more than a celebration of individual talent; it’s a testament to the power of collaboration. The addition of Jason Fraticelli’s thumping bass and Jeff Fielder’s refined production elevates the piece into a retro-funk classic that feels both timeless and contemporary. Influenced by artists like Herbie Hancock, Jimi Hendrix, Lettuce, and Soulive, Cherry Peach channels these inspirations into something wholly unique. The music dances between nostalgia and innovation, creating a soundscape that is as joyful as it is thought-provoking.

Fans of Cherry Peach have even more to look forward to, as Ari Joshua prepares for a winter tour with The All’s Eye Trio, featuring Ben Atkind and Kris Yunker. Tour stops include The Stone Church in Brattleboro, VT (November 20), Zen Barn in Waterbury, VT (November 21), Main Pub in Manchester, CT (November 23), and The Sanctuary in Maynard, MA (November 24), with additional dates to be announced.

In Cherry Peach, Joshua, Medeski, Martin, and Fraticelli have created a track that transcends genre and era. It’s a playful, cinematic piece that invites us to escape into a world of sound where every detail is lovingly crafted. Whether you’re drawn to the nostalgic echoes of vintage video games, the swampy depths of funk, or the intricate interplay of jazz improvisation, Cherry Peach is an auditory adventure you won’t soon forget.

The post Cherry Peach: A Retro-Funk Odyssey of Playful Elegance by Ari Joshua, John Medeski, Billy Martin, and Jason Fraticelli appeared first on KIMU.

Music Factory Records and Ari Joshua’s latest single, The Clinic, is a transcendent sonic exploration, melding virtuosity with an ethereal consciousness that elevates the listening experience to something both meditative and neuroplasticity-enhancing. Joined by a powerhouse ensemble including Skerik on saxophone, Delvon Lamarr on Hammond organ, and Grant Schroff on drums, Joshua’s composition bridges the gaps between genres, traditions, and soundscapes, inviting the listener on a journey of harmonic tension and release.

From the moment the opus begins, it envelops us in a cerebral stereophonic gaze. The opening soundscape, sculpted meticulously by engineer and Polyrhythmics bassist Jason Gray, is a masterclass in the art of space and texture. The capture of these elements by Mell Dettmer enhances the auditory canvas, blending a delightful rawness with the polish of vintage analog gear. Dettmer’s use of classic reverb tanks and real tape delays creates a dichotomy that defines the piece: it is both grounded in old-school warmth and elevated into a dream-like, head-in-the-clouds atmosphere. This interplay of the organic and the ethereal quickly becomes a hallmark of Joshua’s signature sound – feet firmly planted on earth, but head soaring in the cosmic realms.

Musically, The Clinic walks a tightrope between the past and the future. The chord progression, centered around the iconic ‘Hendrix Sharp 9’ sound, explores tritone substitutions with a deft touch, guiding the listener through sequences of dissonances that build tension before offering a satisfying release. It’s in these harmonic shifts that the track finds its intellectual edge, inviting not just passive listening, but active engagement. The mastery with which Joshua and his collaborators navigate these complexities – capturing them in a seamless, one-take recording – speaks to their collective expertise. It’s as much a testament to their musicianship as it is to their ability to communicate through improvisation.

Grant Schroff’s drums lay a firm yet flexible foundation, anchoring the groove while allowing space for Lamarr and Joshua to paint their intricate lines. Lamarr’s gritty Hammond organ lines interweave seamlessly with Joshua’s tight, expressive guitar work, creating a dynamic conversation that feels both grounded in the traditions of bebop and boogaloo, yet ever-expanding toward new sonic horizons. There’s a looseness to the playing that belies the technical precision underlying every note, a skillful balance of groove and exploration. Skerik’s saxophone, meanwhile, injects a bold, colorful improvisation, adding an edge to the composition that keeps us on our toes.

The afro-space-boogaloo feel of The Clinic is undeniably modern, yet its roots are deeply embedded in the soul of classic jazz and funk. The fluidity with which the players move between loopable grooves and improvisational flights of fancy is reminiscent of the exploratory spirit of early fusion, but with a contemporary sensibility that makes the track feel fresh. This modern edge is further reinforced by the production – Jason Gray’s meticulous layering of analog warmth over digital clarity allows the track to breathe, with each instrument occupying its own distinct space within the soundstage.

At its core, The Clinic is a study in balance: between tension and release, between the analog and the digital, between the meditative and the cerebral. There’s a consciousness to the way the sounds are arranged, almost as if the music is sculpting new neural pathways in the listener’s mind. This neuroplasticity-enhancing quality is one of the track’s most intriguing aspects; it engages the brain in a way that feels simultaneously grounding and expansive, offering a form of sonic meditation that lingers long after the final note fades away.

Joshua’s ability to continuously evolve this piece – having performed it with over a dozen different lineups – speaks to its versatility. While previous versions, such as the psychedelic rendition with his RAaR Trio, offered a more lush, cinematic experience, this stripped-down version shines in its raw honesty. It’s this adaptability that has allowed The Clinic to become something of an anthem in Joshua’s live repertoire, evolving with each performance but always retaining its core identity.

The track’s production, engineered by Mell Dettmer and Jason Gray, with mastering by Doug Krebs, is rich and textured, offering the same high-quality production values that fans of Music Factory Records have come to expect. The analog warmth of the mix, combined with the organic nature of the performances, creates a listening experience that is both immersive and reflective. The accompanying visuals by Deep Groove Designs further complement the music, capturing its evolving and vibrant essence.

As Ari Joshua steps into Grammy consideration territory, The Clinic stands as a shining example of why his work is garnering attention across genres and categories. Whether it’s for Song of the Year, Best Jazz Performance, or even Best African Music Performance, Joshua’s ability to transcend musical boundaries while remaining true to his roots is what sets him apart. With streams accumulating and an ever-growing fanbase, The Clinic is poised to become a defining track in his already impressive catalog – a piece that invites listeners to not only hear the music but to feel it, think with it, and ultimately grow through it.

The post The Clinic by Ari Joshua, Skerik, Delvon Lamarr, and Grant Schroff: A Neuroplasticity Enhancing Soundscape of Mastery and Meditation appeared first on KIMU.

In the realm of transcendental musical journeys, Praysue by The Ari Joshua Quartet stands as a shamanic, nine-minute opus that beckons udto explore the deepest corridors of our consciousness. A work that feels as much an auditory ritual as it does a composition, Praysue intertwines the mystical with the cerebral, creating a sonic experience akin to a DMT trip – where time, memory, and place dissolve, leaving only an immersive connection to the divine.

From the outset, the piece builds a meditative atmosphere, enveloping us in a delicate mist of upright bass and orchestral strings, reminiscent of ancient rituals, echoing through the ages. Ari Joshua’s guitar, a guiding light through this mystic landscape, invokes the spirits of our ancestors, weaving together threads of classical tradition and jazz improvisation. It’s not difficult to imagine this as the soundtrack to an Ayahuasca journey in the Peruvian jungle, or even an ancient excavation scene in Indiana Jones or The Mummy. The music conjures visions of forgotten temples, ancestral voices, and moments suspended in time.

Billy Martin’s drumming provides the rhythmic bedrock – its percussive explorations as unpredictable as the mind in altered states, adding a primal layer to the complexity of the soundscape. John Medeski’s keyboards elevate the piece into a realm of kaleidoscopic textures, breathing life into the sonic journey. His analog tones and swirling organ lines feel like the sound of the universe speaking through wires and magnetic tapes, guiding the listener through a dramatic and ever-evolving auditory ceremony.

Recorded at Applehead Studios in Woodstock, the album captures the timeless quality of music made with intention, each note a brushstroke on a vast, mystical canvas. Engineer Chris Bitner’s careful attention preserves the intimacy of the performance, while Pierre Grill’s mix expands the sound into a three-dimensional tapestry that envelops the listener in a way that feels profound, almost otherworldly.

The track’s narrative unfolds with precision. The prelude, a two-minute meditation, serves as a doorway into this otherworldly dimension. As the strings swell and intertwine with the bass, the piece ascends, carrying us higher into a state of transcendence. Joshua and Medeski’s exchange at the four-minute mark is the heart of this journey – a dialogue between the earthly and the divine, a meeting of minds that feels like a celestial fireworks display in a sky of infinite sound.

As the piece approaches its conclusion, it transforms, finding a renewed sense of purpose – a metaphorical rebirth. The cyclical structure echoes the eternal, as if the journey has come full circle, yet the traveler returns changed, enlightened, and enriched by the experience. The final moments leave the listener suspended, as if caught in a contemplative afterglow, with the lingering echoes resonating like the whispers of forgotten spirits.

With the single artwork by Mark Henson, whose work graces the walls of Alex Gray‘s gallery, the visual representation matches the profound depths of the music. Praysue is a testament to the enduring power of sound to connect us to something larger than ourselves, to bridge the gap between the personal and the universal. In its dramatic rise and fall, its mystical tension, and its deeply cerebral execution, Praysue transports us to realms where the past meets the present, and the mortal collides with the divine. Naturally, we have added Praysue to our New Music Spotlight playlist, our TIMELESS playlist, and the top of our TRIPPY playlist, whilst we listen on repeat to connect us to the universe and beyond.

The post The Ari Joshua Quartet manifest a shamanic, transcendental, and mystical experience with phenomenal new opus, Praysue appeared first on KIMU.

By now you will know that enigmatic and visionary composer, Ari Joshua, has captivated the music world with his audacious and often psychedelic compositions. His work is a kaleidoscope of sonic exploration, merging intricate melodies with experimental textures that challenge conventional boundaries. Ari Joshua‘s obsession with pushing the limits of musical form and function has led him to create soundscapes that are both captivating and disorienting, drawing us into a realm where traditional structures dissolve into a fluid, ever-shifting mosaic of sound.

What makes Ari Joshua’s music so compelling is its ability to evoke profound, almost transcendental experiences. His compositions have often been described by us as psychedelic, not merely for their use of unconventional sounds and effects, but for their capacity to alter perception and induce a sense of altered reality. Ari Joshua doesn’t just create music; he constructs auditory environments that encourage us to lose ourselves in the labyrinth of sound, where the familiar becomes unfamiliar and the ordinary transforms into the extraordinary. When we found our that Ari Joshua was back with Tagine, we were curious to say the least, and couldn’t wait to listen and share our experience.

Setting the tone with a somewhat subversive bassline with melodic nuance and textured percussion, Ari Joshua opens Tagine with an almost haunting feel, with intricate electronica detailing and a cinematic vibe. The opus expands with guitar riffs and atmospheric, breathy frequencies to take us on a dramatic journey. We appreciate the subtleties in sound design and there is no doubt that Tagine would make for the perfect score to a Hollywood thriller.

We learn that Tagine is in fact a very unique track from Ari Joshua‘s vault of recordings, and the piece was composed about the days following 911 in New York City, driving across the bridge from Brooklyn to NYC to play at a Moroccan Restaurant – hence the name! The song features Joe Russo and Marco Benevento, both well known for being members of JRAD and The Benevento Russo Duo.

Joe Russo is an American drummer who has toured, performed, and recorded with a variety of bands, including Cass McCombs, A Big Yes and a Small No, Fat Mama, Robert Walter’s 20th Congress, Bustle In Your Hedgerow, Younger Brother, Shpongle, Tom Hamilton’s American Babies, the Trey Anastasio/Mike Gordon duo, the Gene Ween Band, and Furthur (featuring Phil Lesh and Bob Weir of the Grateful Dead). He also performs with the Shpongle Live Band. In 2013, Russo formed a Grateful Dead tribute band called Joe Russo’s Almost Dead.

For more than a decade pianist Marco Benevento has been amassing an extensive body of work. His studio albums and liveperformances set forth a vision that connects the dots in the vast space between LCD Soundsystem and Leon Russell, pulsating with dance rock energy, but with smart, earthy songwriting to match.

Tagine delves into a dark, jazzy sound inspired by psychedelic jazz icons like John Coltrane, Miles Davis, and Medeski Martin & Wood. The opus highlights the trio’s raw talent and synergy in their early 20s, capturing their early explorations much like uncovering an unlabelled old reel-to-reel recording.

The name Tagine specifically refers to the Moroccan restaurant that used to host a weekly jam session led by Marco, frequented by Ari and Joe. This recording serves as a rare audio snapshot from the time when The Duo was just starting at Knitting Factory and Ari had recently graduated college.

Ari confesses, “I was playing a lot around the city, Marco and Joe were two of my favourite players, and I would come to Tagine with my guitar, and later The Knitting Factory to play with them. They are two of my favorite players, so great to make music with.” Reflecting on the track’s origins, Ari recalls, “This track is something I wrote after 911. The week after 911, we were driving with all our gear in Marco’s Subaru across the bridge. It was like a military shutdown. They searched the vehicle, but the guys must have known the difference between a Hammond organ and a bomb ’cause they let us through, and we crossed the bridge and played at Tagine.”

We love the origins of the track and how the sound and evocative nature of 911 has been brought to life by the creators. We have added Tagine to our New Music Spotlight playlist, as well as our new TRIPPY playlist, whilst we continue to stream the wider discography of Ari Joshua, and anticipate future releases!

The post Ari Joshua, Joe Russo and Marco Benevento revisit haunting and intricate opus created during the 911 aftermath, Tagine appeared first on KIMU.

Establishing the mood with textured drums, a timeless bassline and a playful, astral riff, Ari Joshua opens One Dub with an optimistic edge and cerebral sound design nuances, which tap into a high frequency and bright sentiment, perfect for Summer!

The intricacy of the composition is tangible, and we appreciate the nod to video games, but with a contemporary, psychedelic, and transcendental production quality. Crafted by Ari Joshua himself and performed by an illustrious set of collaborators, One Dub emanates freshness and creativity.

To manifest the track, Ari teamed up with renowned drummer John Kimock, celebrated bassist Andy Hess, and internationally touring keyboardist Eden Ladin. We learn that the intention was to create a visionary take on “rasta dub”, which is exactly what One Dub brings to life, with at trippy signature style that we have come to learn is one of Ari’s favourite sonic landscapes to design.

With reference to the talented collaborators, John Kimock is known for his influential contributions to the jamband scene, Andy Hess is revered for his work with esteemed acts, and Eden Ladin is recognized among New York’s elite players. Together with Ari, they form an unbeatable quartet.

One Dub effortlessly showcases the group’s synergy, delivering a mesmerizing fusion of sounds that captivates us with its infectious, astral dub vibes. Ari Joshua‘s personal connection to The Bunker Studio adds a layer of sentimentality to the recording, while his resolve to share his musical treasures post-pandemic reflects his commitment to the craft.

He comments, “The Bunker Studio, founded by my classmates Jon Davis and Aaron Nevise, holds a special significance for me. I witnessed its inception and recorded in its early stages. This was my first time recording in the big room. Working with Kimock, Hess, and Ladin was a dream; they are some of the best players in the world.”

We love the journey that One Dub takes us on, and have added the composition to our New Music Spotlight playlist, and our new TIMELESS and TRIPPY playlists, whilst we continue to stream Ari Joshua‘s ever expanding discography, including the various mixes of the track, and anticipate future releases and live dates from the visionary creator!

Upcoming Tour Dates

The Suncatchers featuring Joe Doria & Ehssan Karimi
May 22 – Seamonster Lounge – Seattle, Wa

Interview 
May 23 – Helping Friendly Podcast with RJ Bee and Hosts – Osiris

Ari Joshua Band
May 31 – Nectars – Burlington, VT
June 2 – Mercury Lounge – New Tork, NY

Kris Yunker, Ari Joshua, Ben Atkind Trio dates
June 5th The Stone Church – Bratelboro, VT
June 7th TBA Brattleboro – VT

Check www.arijoshua.com for more!

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