Jamil Rashad AKA Boulevards has two releases to his credit, including last year’s dance-laden breakout album, Groove!. Riding a wave of momentum, Boulevards has made a quick return with the recently released Hurt Town, a high-energy, funkadelic album that features Neon Indian, Laura Reed, and more. Hurt Town evokes the sexualized R&B sounds of Prince, Rick James, and Earth, Wind & Fire, all injected with renewed youthful vigor. Rashad is the breath of fresh funky air that music needs, and with Hurt Town released on December 8th, he’s looking to close out 2017 with a soulful bang.

After listening to your new album Hurt Town, I have one question for you…Who was she? And how bad did she hurt you?

[Laughs] It wasn’t just one girl, it was other relationships in the past as well and just things I’ve been holding onto for a long time. There was a lot of emotional conflict in myself and pain and anger that I was holding onto. I just thought, ‘I gotta get this stuff out man.’ This needs to be an emo and funk record. This needs to be emotional funk! When I would listen to my favorite artists like the SOS Band, Chic, Rick James, or Prince – they were able to mask a lot of emotional tracks behind upbeat funky jams. That’s what I wanted to be able to do with this record.

So making Hurt Town was therapeutic for you?

Yes, I worked really hard on the record. It was an up and down rollercoaster with the entire process. There was a point that I wasn’t going to put it out and some of my family and closest friends kept telling me, ‘You gotta put this body of work out bro! This is some of the best stuff you’ve done’. And now it’s happening!

How did you link up with Alan Palomo of Neon Indian for the album?

A couple years ago I was drunk in a bar in Brooklyn, and Alan was there and drunk too, and I walked up to him and was like, ‘Aren’t you Neon Indian?’ and he said, ‘yeah.’ We talked about doing a collab and he thought it would be dope. I was touring with King Gizzard and Mild High Club in Australia and sent him some tracks and he dug them and then was able to contribute to “Nu Burn Ave.” So it worked out well.

I saw you at SXSW but a mini-hurricane hit before you performed, and you still went on. What happened there?

That was crazy! I think I did four songs and they cut my set to 15 minutes. I just did pedal to the metal funk and the crowd dug it. It was dope, just quick and painless.

Was touring off your first record Groove! the first time you toured the country?

Yes it was the first time. I played New York, went overseas and started playing festivals. I used to be a roadie in some friends’ bands but this was the first time people came to see me play.

 

 

A lot of people get burnt out by partying too much on tour and not taking care of themselves. How do you find a balance on the road?

Well, I found a balance. I had a lot of life changing experiences on the road because I’m actually getting into recovery now. I run a lot and take care of my body and plan on going on the road and being clean next time.

Did you have a bottom that changed things?

I saw the person I was becoming and I didn’t like that person. When I was living in New York, my relationships with my family, friends and women just faltered. You get tired of apologizing all of the time. It gets exhausting and depressing. I didn’t like who I was becoming and I wanted to find happiness and peace. I needed to find a balance. I couldn’t do all this stuff, if I wanted to have a successful career. I was on tour with Tuxedo and Mayer Hawthorne – that was my bottom – I was wild n’ out onstage and not performing to the best of my ability. I was tired of it. I want to be able to do music 1000%. I want to be a successful musician, son, brother, friend, and partner. I couldn’t do that partying and drinking and just couldn’t do it anymore, so I had to make some changes. It feels good, it’s been five months, and it’s been the happiest five months of my life.

Musicians tend to glorify partying and it would be nice if a few would tell the truth. You know what I mean?

That’s another part of it. I was obsessed with Rick James, he’s like my favorite artist. I was obsessed with that lifestyle and thought that’s who I wanted to become. I realized that that’s not who I want to become. I saw how I was treating my body. Rick James is a mastermind genius but that’s not how I want to go out. I’m in this for the long haul you know, I want longevity in this. Even if not for the music, I want this for myself.

How big of a role does running play in your sobriety and life?

Running is big man. I’ve been running since I was 12 years old. I ran competitively in college, high school- and middle school. Now that I’m in recovery it keeps me focused and I also meditate. It’s better without a coach yelling at you to go to practice, I can start doing it for myself. I can be one with Mother Nature and just have fun.

Where did your fashion influence come from?

My dad while growing up. Jazz artist and funk artists in NYC in the late 70’s. My dad was a radio DJ so I got to see a lot of funk heads and jazz heads and they’re just cool. I like keeping things classic and timeless.

If you could collaborate with any artist, who would it be?

Chic, Daft Punk, Pharrell, and Thunder Cat would be tight. Chromeo would be dope as well.

 As a native Houstonian, it is a strange feeling to have an event in our city considered the paradigm of ‘cool’. Sure, Houston has incredible museums, an expansive ethnic food offering, and is home to the largest rodeo and renaissance festival in the nation –but it is the nascent Day For Night festival that causes scenesters in both New York City and LA to go green with envy. In it’s third year, Day For Night has gathered momentum and continued to deliver quality music and art, despite obstacles and forces of nature that would crush a less dedicated festival team.

While no festival is perfect, Day For Night continues to be imperfectly perfect, as its weather, cancellations, and drama just add to the volatile but exhilarating atmosphere. The fringe and counter-culture of Houston is rarely on display, and DFN has done wonders creating an all-inclusive playground where world-renowned artists, progressive musicians, and black-clad locals converge in an explosion of creativity. Here are some highlights (and a few lowlights) from the festival that continues to impress going into it’s third year.

5 Best Performances:

Nine Inch Nails – A memorable set that began with lead singer Trent Reznor telling the crowd, “We’re not gonna let a little rain stop us – let’s go piggies,” as they launched into their hit “March of the Pigs.” While other artists at the festival balked at the unfavorable weather (see Cardi B), Nine Inch Nails fought a driving rain storm like they were doing battle with Mother Nature herself. Although the set ended by the stage being evacuated, it was an immaculate baptism for NIN fans.

Perfume Genius – Mike Hadreas aka Perfume Genius creates primal pop with tremulous vocals and anvil-like backbeats. Hadreas moved with grace and effeminate poise while oscillating between his songs from his last album, No Shape, and older crowd pleasers like “Queen” and “Hood”. The voice of Hadreas is transcendentally beautiful and his gyrating stage antics made this performance perfect.

Solange –  Although she cancelled an appearance on Friday, Solange was the hometown highlight for the Sunday night crowd. It is easy to pin Solange as the beneficiary of her sister’s fame, but it’s evident upon her first song that she has a unique aura and talent unto herself. “I want to shout out H-town, my hometown!” as Solange talked about hitting the Galleria and going to local hotspots like Frenchy’s. Solange’s set reflected the deep soulful spirit of Houston and filled the audience with her uplifting light.

Pussy Riot –  My expectation with the all-female band that had famously been imprisoned by Vladimir Putin in Russia was a politics-heavy outfit short on musical abilities, and boy was I wrong. Pussy Riot brought their Slavic brusque attitude to a high octane hip-hop and pop set that was magnified by over-the-top pageantry. The songs were catchy, but when they announced, “This next song is the song that sent us to prison for two years,” the reality of their strength and resilience hit home hard.

Justice – There was a time when there was no getting away from a song like “D.A.N.C.E” but now, a decade later, Justice is still able to melt faces and ignite a city-wide dance party. Seizure-inducing lights and chest-rattling beats fomented the biggest dance party of the weekend. The French duo has just released their third album, Woman, and it looks like they’re back to charm America.

Honorable Mention: En Vogue, Kimbra, James Blake, Jaime XX,

5 Disappointments (Besides the weather and some late cancellations):

Cardi B – In all fairness, the hype built around her performance was undeserved, and many would argue her career might be as well, but the reality tv star still managed the saddest excuse for a performance I’ve seen to date. NYC rapper Hood Celebrity came onstage to lip sync for a few songs before letting the DJ awkwardly stall for 45 minutes. Scheduled for an hour, Cardi came on for ten minutes, rapped three songs and then said, “It’s too cold ya’ll” and left the stage. A huge waste of everybody’s time.

Pretty Lights – I’m not sure if Derek Smith is getting experimental but his typically high-energy, crowd-pleasing set was buried away somewhere, while he tinkered with a minimalist electro odyssey. Pretty Lights played the Spinal Tap equivalent of a free-from Jazz exploration in front of a festival crowd, needless to say, it did not go well.

Set Times – I heard after the fact that there was actually an official DFN app, but it was released midway through the fest. Because of the weather, set times were constantly changing and people were constantly accessing the mobile DFN site to stay on top of the latest audible. Not a big issue but annoying to say the least.

Thom York Late Show – More of a personal issue, but I can’t be the only one who needs to work on Monday morning. I get having the music going late on a Saturday, but I would have loved to have seen Thom Yorke’s set without having to sacrifice sleep. A name as big as Thom Yorke would have gotten a bigger audience prior to a 12:30 AM set time.

Bets Moments of DFN 2017:

Lil B Doesn’t Know Where He Is –  Lil B shouted out UGK, DJ Screw, amongst many others. He then said, “I want to shout out Dallas, Texas! What up ya’ll!” At least he got the state right.

BLACKIE Shocks  – This local electro-screamer had a mosh pit going on at the Yellow Stage and, while he had many admiring fans, the shocked faces of those who were passing through were worth the price of admission alone.

Phantogram Calls Out Cardi B – Bombshell Phantogram vocalist Sarah Barthel had obviously heard of Cardi B’s diva behavior the day before, which prompted her to say, “We’re going to take a quick break and will be back in an hour and a half. We’re going to hang out with Cardi B.”  Barthel continued to lambast Cardi B throughout the set, which was fine with everyone present.

House of Kenzo – A hip-hop art collective chock full of sissy-pride and raunchy dancing, The House of Kenzo were shocking and electrifying in every way. Twerking, rapping, and freak dancing gave this performance a uniquely raw and appealing vibe.

Billboard Callout – Whoever ran the projector at DFN was having a lot of fun giving inspirational quotes, dishing out fun artist facts, trashing Donald Trump, and even calling out a festival attendee named Jimmy Nguyen. Apparently Jimmy Nguyen was selling fake DFN passes and was put on blast in front of the whole festival. Gotta love the moxie of the guy/gal behind the projector!

 The Black Fret Ball of 2017 was a genuine cause for celebration, for both musicians receiving grants, and for music fans sitting in the seats at Paramount.  An Austin non-profit that has doled out over $2 million to a variety of Austin music acts, Black Fret empowers local musicians to create music and tour without having the financial pressures and stressors that plague the industry. Founder, Colin Hendrick, was quoted "There is such an amazing depth of talent in this town and we are excited to see such great artists year after year supported by our members in such a meaningful way. This year’s nominees included such talent as Akina Adderley, Black Pistol Fire, Bright Light Social Hour, Carolyn Wonderland, Croy and the Boys, Daniel Eyes, David Ramirez, Eric Tessmer, Los Coast, Jackie Venson, Kinky Machine, Mobley, Sarah Sharp, Warren Hood, Whiskey Shivers, The Deer, and Los Coast. The Black Fret Ball featured amazing performances and collaborations that created as quality entertainment as one would find in Austin, and the money given out in grants ensured that the city will continue to expect more

 Native-Texan singer, songwriter Ryan Salata was surrounded by music as a child but didn’t pick up a guitar until his early years of college. Heavily influenced by his surroundings, Ryan draws inspiration from the funky urban sounds of the city leaning toward sounds with a Mo-town beat or Jack Johnson vocals. Ryan released his first EP, Thoughts on Paper, in December 2015 and has received an overwhelming response from fans. Ryan continues to tour locally while working on new music for his next release. "Devil Eyes" is one of Ryan’s new tracks that marks his progression as a musician and songwriter. Make sure to keep an eye on Ryan as he continues his musical journey! 

Austin can’t get enough of the hip-hop trio, The Bishops, who are rolling out their latest track "Say My Grace". An ode to family, which is of obvious importance to the siblings, "Say My Grace" also preaches humility as the group’s profile grows larger and larger. The spacey, dripped-up beats by Troy Bishop, and silky vocals by Cara Bishop coalesce into an earworm of a track. The Bishops are young, ambitious and looking to tear down the barriers of music genres while shirking the expected. Keep an eye on these trailblazers,  who are definitely just getting started. 

 

Local favorites, Hovvdy, are the slacker music aficionados whose music embodies Austin’s soul. Gearing up for its Feburary 5th release, Cranberry, is Hovvdy’s sophomore album that is being released on Double Double Whammy Records. Having described their own music as Pillowcore, Charlie and Will are choose to dive into a solipsistic dream, that shimmers with shoegaze, and simmers with Sonic Youth. "Petals" is a suburban love letter, chock full of neighborhood imagery, family bonds, and everyday beauty. The music video is a near carbon copy of every 90’s MTV alternative rock video that which portrays the group jamming in their seemingly childhood home. While the over-saturation of indie music in Austin continues, Hovvdy differentiates their music by savoring the moment rather than rushing to the chorus. Pre-order, Cranberry, now available here: https://hovvdy.bandcamp.com

 

After two EPs, Oceansoft is Wonderbitch’s first full length LP.  True to their unique sound, Oceansoft is a stylish, adventurous throwback to the clean sophistication and calculated funk of yacht rock and 80s RnB/Pop, but with modern sensibility and production in mind.  A couple new members and new influences bring new facets to the smart, the smooth, and the shiny.

"Run Ya" is the first single off the new album which is loosely based around a wild story Wonderbitch dreamed up: 

A group of rich folks out on a yacht in the 1980s hit a storm and get warped to an alternate dimension where money doesn’t matter and nature is taking over civilization. A type of Waterworld/American Psycho hybrid that influences a nuanced and experimental sound.

 

Check Wonderbitch perform for their vinyl release tonight at the Mohawk.  More info can be found here: https://www.facebook.com/events/1534300743327195

 

The high falsetto warble of Big Bill’s nonsensical punk is as energizing as it is entertaining. Formed in 2011 by the Braden brothers, Big Bill continues on Austin’s punk legacy with local bands like the Big Boys clearly influencing their sound. The band’s debut LP, Stand By Your Bill, comes out on November 17 and "Pharmacy" is one of their first singles. The video, which is directed by Andy Ray Lemon, channels elements of Asian karaoke videos and 80’s era elemental video effect. Four random punker girls mime the song’s lyrics in one of Big Bill’s suprisingly more normal videos with a catchy but morbid lyrics togoalong with it. Big Bill is a perfect mix of humor, anti-establishmentism, musical talent, and the absurd – so support them by buying their debut LP, Stand By Your Bill, when it comes out next Friday.

Worm Suicide might have been birthed in Victoria, TX but they have made their spiritual home in Austin for the past two decades. While the lineup has evolved throughout the years, Worm Suicide’s nihilistic and unhinged spirit has lasted throughout. Having played on Misfits and GG Allin compilations, the Austin punkers have done their part in furthering punk music while keeping their local live show as exhilirating as ever. The group hasn’t lost a step, and was voted the Austin Statesman’s best performing punk act of 2016-17 and even recently released Too Hung To Fall In Love in 2017 to continue their constant stream of music. At a time when punk music in Austin is struggling to stay relevant, Worm Suicide, continues to do satan’s work by cranking out scummy tunes.

 

 Having met at show where they were all performing as solo acts, Resonant Frequency has an aura of destiny about them. The trio of comprehensively talented musicians seem to defy a singular genre, and instead they choose to emit a myriad of styles, influences, and vibes. The overarching hypothesis of Resonant Frequency is to get down and have a good time – which they seem to do in spades, and it hasn’t gone unnoticed. In the last few months, the trio has played Euphoria Fest, Float Fest, and opened for Pretty Lights – a run that is enviable by any local Austin band and evidences their mass appeal to crowds. Their third studio EP, Honey Dippin’, is a funk-laden oddysey that is as entrancing as it is explorative. The true value in Resonant Frequency is found in their live show of which their next show will be November 19, at Empire Control Room’s 4 Year Funkiversary.

Raised in Oklahoma but claiming Texas as his spiritual home, Wayne Garner wears his Souther roots proudly. While much of his music reflects the struggle he saw growing up, there is nothing contrived about his songwriting- which bleeds emotion.  Signed on to the Smith Music Group label, Wayne Garner and his band have found a way to make music full-time which is a distinct rarity these days for up and coming artists. While some roots and country music can sometimes feel hokey and manufactured, Wayne strikes a chord with his gritty guitar licks and graveled voice that brings gravity to the songs he writes. The Wayne Garner Band will play in Houston on October 28th at the Armadillo Palace.