Thanks to Chris and all of our friends at SoulTracks for making Zo! their featured artist this month! Click here to visit Zo!'s page on SoulTracks.
Part 2 of Garth Trinidad's interview with The Foreign Exchange prior to the release of their new album, "Authenticity". Sandrine Orabona - director/editor, Anke Thommen - producer, David Waldman - director of photography.
in: PAST SHOWS
The Foreign Exchange's FIRST show ever in Houston!The Foreign Exchange with Sy Smith, Darien Brockington, Zo! and live band
Sunday, September 19, 2010 at 7:00 PMNumbers Night Club, 300 Westheimer Road Houston, TX 77006 | (713) 526-8338
Part 1 of Garth Trinidad's interview with The Foreign Exchange prior to the release of their new album, "Authenticity". Sandrine Orabona - director/editor, Anke Thommen - producer, David Waldman - director of photography.
For your convenience, we have put together a comprehensive list of physical and digital music retailers that carry SunStorm. The list is as complete as possible and will be updated frequently. If you have a hard time finding the album in your area, please don't hesisate to leave a comment and/or to contact us via email, so that we can help you find your copy.
As always, thank you very much for your support!
Continue reading Where to buy SunStorm [Updated Aug 14]
Continue reading Washington City Paper reviews SunStorm
in: PAST SHOWS
CMJ Music Marathon "Authenticity" Release Concert
Saturday, October 23, 2010 at 7:00 PMB.B. King's Blues Club, 237 West 42 St, New York NY | (212) 997-4144
11. All Is Well With Love (feat. Chantae Cann)
Before I even begin this story, just understand that there is always one... No matter what album you work on, there is always one joint that is just a pain in the ass to complete. Welp, ladies and gentlemen... Allow me to introduce you all to one of my most beloved tracks, "All Is Well With Love!"
Continue reading Studio Campfire Stories: All Is Well With Love and Make Luv 2 Me (SunStorm Week Day 7)
in: PAST SHOWS
The Foreign Exchange's FIRST show ever in Dallas!The Foreign Exchange with Sy Smith, Darien Brockington, Zo! and live band
Saturday, September 18, 2010 at 8:00 PMThe Door, 2513 Main St, Dallas TX 75226 | (214) 742-DOOR (3667)
Continue reading SoulTracks reviews SunStorm
9. This Could Be the Night (feat. Eric Roberson, Darien Brockington & Rapper Big Pooh)
The funny thing about making music, or art for that matter is that you never know what you're sitting on. I had been sitting on this drum pattern for about 2 or 3 years not knowing what to do with it... just the bare drums exactly how you hear them in the final song. It was something that I would listen to every quarter or so, mess around with it, get mad with what I recorded and scrap it altogether. I had even done a song where that drum pattern's tempo was cut in HALF... It just still wasn't there yet. FINALLY, one day during the recording of SunStorm, I finally came up with a chord progression that I was happy with and actually kept it! But the joint had been sitting for so long that even when I found the progression that worked, I was still skeptical. Even when I would include it on a CD with the rest of the album formulated around it as just an instrumental, I would think, "It will get life once vocals are recorded on it." I ended up tracking it out and sending it through to Phonte so we could have the usual "who do you think would fit on this joint" talk. We talked about Erro (Eric Roberson) being a part of the album pretty much from the beginning... in fact, when I first met him back in December 2007 in Chicago, we spoke about working together, but it just never came together....
Continue reading Studio Campfire Stories: This Could Be The Night and Flight Of The Blackbyrd (SunStorm Week Day 6)
7. SunStorm (feat. YahZarah)
I started teaching back in the summer of 2006 and the first summer that I took off wasn't until 2008. I was so damn excited about having an entire summer to myself that as soon as I got home from the school on the last day, I went to work in the studio. The FIRST joint that I put together wound up being the music for the title track of this album... "SunStorm." Once again, the drums were done first and they resulted from me being in such a happy ass mood, I can't really describe it any other way. The drum pattern made this music what it wound up becoming. The feeling that I got from it was one of 'freedom' and 'fun'. With that being said, I distinctively remember figuring out a synth bassline that was very busy while keeping the fun and free elements in that music. And just like 95% of the music that I make, I played that synth bassline part all the way through the entire song. I think that when you actually play all the way through your piece, you are able to capture MUCH more of a feeling than that of a looped track. I don't think that the bassline should hit the same way in the first 8 bars of the song as it does coming out of the first hook, for example. The second half is what put it over the top... I made sure to send it to Phonte as soon as I was finished. He hit me with a text back, "I'ma MURK this joint!!" He was originally going to keep this one for himself... but ended up sitting on it after writing about 50 different things to it and not feeling satisfied with anything - I understand that pain FULLY (wait 'til you read the "This Could Be the Night" story).
5. Be Your Man (feat Darien Brockington)
Musically, the instrumental for "Be Your Man" was one of those joints that just kinda came to me. I vividly remember arranging the drum track first because at the time my intention was to lay something slower and also very simple... So I laid a simple 'one-two' or 'march' pattern for the drums at first. But in playing around with the pattern a little more, I ended up bringing the rimshot in simply for the additional nod factor and purposely left the hi-hat out (I actually experimented with an eighth note hi-hat pattern but hated how it sounded, it didn't work at all). The chord progression was something that I worked out through playing around on the keys, it wasn't planned... It was definitely a feeling, and I liked how it moved - pretty, but contrastingly dark. Once the progression was found and practiced, I played the chord stabs and allowed them to act as the eighth-note hi-hat rhythm instead of using an actual hi-hat. The live bass served as the glue for the music and the spacey sounding pad was the additional 'candy' and it was to my liking... still simple and now more mysterious. Once I sent this piece to Phonte and we got on the phone about it, he already had in his head that D. Brock was the man for the job, which completely worked since at that point Brock didn't have a feature on the album yet.