The brother hails from French-Canada and looks the part. But his soul and spirit is deeper than most can even imagine. His painful witness of genocide in his native Rwanda and his evolution into a star in France and Canada, make for an incredible story. Melodically written in song, Corneille brings to mind a young Marvin Gaye: thought provoking, smooth vocals and always looking for growth. I was first introduced to Corneille’s music while grocery shopping in St. Tropez. Almost three years later, I had the unexpected opportunity to chat with him about his American debut.

Nu-Soul: Congratulations on your new and first English album. Are you loving all the accolades it’s been receiving?
Corneille: (Laugh) Nice to start over again, but not really. I’m really looking forward to all the good things coming from it!

NS: The album is called The Birth of Cornelius, is it your way of introducing yourself to the American audience or is it something you went through? Or, a combination of both?
Corneille: Well it’s really something I went through personally. Cornelius is actually my birth name and Corneille is what I changed to when I was 7. I’ve never gone by Cornelius, so with this album, I wanted to own what ever I had in my childhood hears, through my original name. It was appropriate to use my birth name. And, it just so happens that it is my new album in the US, so it works.

NS: Did you pull any inspiration for this album, from the last two, which were not released in the US?
Corneille: Definitely. I approach it as an evolution of the last albums I’ve done. It’s never really a departure from my original work. You will find some similarities between the first French album to this English one. I call it an evolution of sorts. The way I treat my vocals and the way I approach my melodies are similar, for sure.

NS: I heard your first two albums in France a few years ago, and I love it. Do you plan on releasing your French albums here in the States?
Corneille: Oh, if the demand is there, for sure! I’ve yet to see how the American public is going to receive this album. But, it’s definitely something I’d like to do. Most of my audience is based in France, Africa and French-Canada, so it’d be interesting to see how Americans react to French music.

NS: I’ve shared your original music with a DJ friend of mine because I think it’s really important to expose us here to other genres and styles of music. Just because you are black, doesn’t mean you have to necessarily perform American soul or R & B.
Corneille: Coming from Africa, we’re so inspired by what’s happening in the West. We don’t cut segments or separate things or genres. Music covers the whole. Stevie Wonder, Sting or Phil Collins would be playing on the same station. That’s how I learned to listen to music. Ultimately, a good song is a good song. That’s how I learned to make music, how to love music. That’s how I paint my music and it’s what’s influenced my lyrics.

NS: Do you find need to share your personal story of having suffered and witnessed the genocide in Rwanda?
Corneille: No, not really. Though the song writing has been therapy for me. My perspective today of the genocide is very different of what it was 5 years ago. My first album was written from the perspective of someone having gone through genocide. And in my second album I had gone through seeing fame. So now it’s like I’m starting from scratch. I’m always dealing with myself. The mission is not to share my pain with others. It’s my way of expressing myself. It’s all a very personal journey.

NS: What about American R & B music attracts you?
Corneille: Everything about American culture was interesting and very appealing to me while growing up in Africa. The grandeur and every artistic form that was coming out of the states, was appealing to me. Somehow, I identified with hip-hop a lot in the late 80s and early 90s, when it became more of a culture. I wasn’t all into the rapping and rhyming of the culture; it was more the singing that attracted me, through the Jackson 5 movement.

NS: So, any plans for a U.S. tour?
Corneille: We’re talking about it, but it’s mainly focused right now on letting people know about the music. In this recession time, we’re being creative in getting the music out!

NS: Do you Twitter?
Corneille: I don’t even know what that means!

NS: Oh my goodness, we have to get you on Twitter! It’s great. It’s a way to get people to follow you and get your music out there! And, it’s free!

NS: What would you like to be doing 5 years from now? How do you want to be know and associated?
Corneille: My thing is song writing. I love to write. I hope to be in a position where I have the opportunity to put my talent as a songwriter and producer in front of other artists. I want to be able to combine those two elements. Creating music from the first lyric and chord to the last step of the process. I’d love to play in the venues I grew up dreaming of, like Radio City Hall.

Download Corneille at Itunes
Purchase Corneille at Amazon

For more information and to purchase Corneilles’ new album The Birth of Cornelius visit his site at http://www.corneille.ca/ or myspace.com/corneillemusic

Subliminal Records is one of the most respected and influential dance music imprints responsible for bringing cross-over dance hits and underground records to DJs around the world. After a short absence the label has returned, stronger than ever with a whole host of new tracks and artists.

Like no other Erick Morillo understands the impact of blazing beats, and his choice of records has proven to be highly attractive. Erick now brings us the first compilation release of 2009. Subliminal Summer Sessions ’09 is a true reflection of Erick Morillo in his element, peak-time club music – packed full of upfront dance tracks. It spans all the genres of House and maintains a hugely sexy vibe throughout.

Disk 1 opens up with an Original Hands Up remix of Mark Brown & Juan Kidd “Burning” setting the scene for what is going to be an absolutely cool and original sound – pure funky house music! Cascading through disk one I’m stopped dead on my tracks by Mastik Soul’s “Bofe De Elite” (Original remix). A fat beat is the basis of this track. It got me nodding my head right from the start! The man himself Erick Morillo feat. Deborah Cooper deliver a track that won’t only uplift you mood it’ll turn you into a dance floor maniac with “Get Lifted” (Drones Dub mix).

Erick continues in Disk 2 with his dance floor-filling knowledge opening up with a steaming tune by Johnny Gleeson & Mclaren called “Poindextra.” An amazing production that will definitely rock the spot! I am also taken by Deadmau5 “Slip” (Original remix). Pure House madness!

I’d say this compilation is nothing less than superb. Erick Morillo delivers a formidable collection of dance floor filling club tracks. I wouldn’t be surprised if this is the sound that you’ll find at his various Subliminal events worldwide. All in all this is a release that will please all lovers of quality House music. As Erick professes, “The tracks featured on this mix will be the tracks I will be playing throughout my sets this summer. I don’t think anyone will be disappointed with this mix.”

-Smalz

myspace.com/erickmorillo

Download at Amazon

Ibiza has always been at the center of glamour, glisten and music since the late 80’s. It consistently leads musical trends that are replicated all over the world. The sound of Ibiza is much talked about and it’s in constant flux from one year to the next. It’s a potent blend of decadence and debauchery - and when rightly balanced makes Ibiza an intoxicating and surreal experience.

This is where Defected In The House steps in – consistently reflecting the sound of summer with their latest chapter of what is to be the island’s biggest tracks of the year. Enter Defected In The House Ibiza 09 – Mixed by Copyright.

An intoxicating mix from a DJ duo established as veterans of the dance music scene – with a long history of playing at Pacha. Compiled in two different mixes ‘Dia’ and ‘Noche’ Gavin Mills and Sam Holts have selected some of the best underground and upfront tracks that will make this compilation mix a summer’s key record to have!

They are joined in the mix by one of the most prolific percussionists, Shovell (formerly the percussionist in M People). He seamlessly blends in his live performance over the mix producing a unique sound that’s never been included in previous compilations. Included also in the mix are his own productions with a specially written exclusive track introducing CD2 - “Drums of Beniras”.

‘Dia’ kicks off in a laidback groove that you’d expect to hear while in a horizontal position around the pool. Highlights include Dennis Ferrer’s future anthem “Sifonia Della Notte”, Michael Gray, Danism and Lisa Millet “Say Yes” and of course Harry Choo Choo Romero’s “Cumbia” (Copyright Edit).

‘Noche’ on the other hand steps up the tempo and reflects the vibe that you’d expect to hear as you sweat buckets on the dancefloor in the early hours. Tracks from Julien Jabre “Vicious Circle”(John Dahlback Club Mix), Armand Van Helden “Witch Doktor” (Eddie Thoneick Remix) and David Penn &Rober Gaez “What is House” will definitely get you grooving.

As Sam Holts says “You start from the beats up, get rocking beats – that’s always our foundation”. This compilation mix is most definitely the future sound of summer!

- Smalz

www.defected.com

Purchase at Amazon

LTJ Bukem is an iconic figure in drum & bass for many reasons. He was an integral part of the development of the scene and the culture honing his skills during the days of the London soundsystems and the acid house rave scene. With good friend and fellow drum & bass luminary Fabio, he created Speed, one of the first nights where people could actually hear the music, and inadvertently created a global movement. With his landmark album Logical Progression, Bukem broadened the scope of drum & bass, infusing it with jazz, soul, techno, and ambient sounds, widening its audience and gaining a loyal fanbase that has remained intact for well over a decade. He has played all over the world bringing everyone from hippies to hip-hop heads together in symbiotic bliss. And now he is ready to drop a new masterpiece on his fans with the release of a new Fabriclive mix. Nu-Soul Magazine was able to chat with this drum & bass visionary about the impact of his music and his growth as a human being.

Nu-Soul: You’ve been involved in the scene since the beginning. Even since the soundsystem days. How magical was that whole time for you?
LTJ Bukem: Wow. My first sound system was probably back in 1984. It was a very magical moment for me. It was just people being inspired by the music. It was just something that had to happen.

Nu-Soul: What kind of musical training do you have? Do you play any instruments?
LTJ Bukem: When I was very young I started piano and I played drums.

Nu-Soul: What sort of music were you influenced by as a child or even as a teenager?
LTJ Bukem: I was very influenced by things that my piano teacher brought to me.

Nu-Soul: You and Fabio have been friends for a while? How did you become friends and what led to the creation of Speed?
LTJ Bukem: We met in school and when we started up Speed it was on a Tuesday night. Only 20 people showed up but we kept doing it for a few months. Then one night we just had a queue around the block and it was like that for a few years.

Nu-Soul: Logical Progression is obviously a very influential album. Looking back what do you think was the true impact and what is the lasting legacy of that album?
LTJ Bukem: I think you have to ask the people that it affected. At the time it just sent out a statement of intent that I wanted to represent and I’ve heard so many stories from people around the world about how that album affected them. “We’ve made a baby to your album, ” or mad things like this. It has had a massive impact on people. I just don’t know why that is.

Nu-Soul: Who are some of the artists that your label Good Looking has supported over the years?
LTJ Bukem: I was one of the first guys to play a Photek track. I definitely represented Photek as a DJ and we put out his stuff on Good Looking in the early days. People like Blu Martin, Seba, PFM, Blame, Big Bud, there are so many. When I look back, I think, my goodness, we have helped a lot of people.

Nu-Soul: You recently met your biological mother. How important was that event in pushing you forward musically?
LTJ Bukem: That event is bigger than music. It pushed me forward as a man and as an individual. I have had many conversations with other adoptees since I met her and I always say you must go and find your original parents. You must go and do that. Because there are all kinds of states of mind within you lying dormant that you don’t actually realize until maybe a later stage in your life. If you can imagine, before I was even one year old I was adopted into a family that was not my own and so there are so many different things that you don’t know that just aren’t right. And you don’t know why they aren’t right.

I will never forget what my adopted parents have done for me in my life. But you need to know where you come from to understand who you are as a person. And I never really did that until I sat down with my mother and found out. I just realized where I get my things from. So it’s bigger than music. It helped settle me as a person and made me realize who I was and what I had done. It totally just made me at peace. Some people have very different experiences. I was lucky in that respect that it was something we were both looking forward to for 40 years. It was a good experience. It was a loving experience. I just think that as an individual you need to know your roots to be able to face the future.

Nu-Soul: How did your mix with Fabric come about and what can people expect on that?
LTJ Bukem: It came about because I have been a resident at Fabric on the last Friday of every month for the last three years. At the end of last year they said it would be great to have me as one of the artists featured on their Fabriclive mix series. I was honored they asked and of course I accepted. It was perfect timing to represent who I am as a DJ. I just went in with some dubplates and some vinyl and two turntables and I did what I do every weekend. That’s what I wanted people to hear. And also it helped me represent where the label is at musically and what my statement of intent is and where we are headed in the future.

Nu-Soul: At your shows you always bring out an eclectic mix of music listeners. Why do you think that is?
LTJ Bukem: I think it’s because the music I represent spreads far and wide into music lovers consciousness, if that makes any sense. I always notice there are house people, there are jazz and soul people there, there are hip-hop guys there, there are techno guys there. The music I play, I think, it brings out a lot of aspects in music that involves those people so they are interested in hearing their moment, their feeling of music that they are into through what I am doing drum&bass-wise. I think that’s why it brings out all kinds of people, young and old.

Nu-Soul: What’s in the future for you and the label?
LTJ Bukem: For me, it’s definitely hard running a label doing all the things that I do, being A&R and everything. It’s so hard getting in the studio. I want to get the label to a certain point so I can take a few months off and work on this album that I have been wanting to do. And with the label, we’re doing two releases a month and we’re re-releasing the old catalogue. We have a DVD with me playing for 30,000 people. I also have a new mix series called Mellow Yellow which is going to come out in January of next year. I also started the sub-labels as well and they are going to feature music from new artists so we can up their profiles before moving them onto Good Looking. So much stuff!

www.goodlooking.org
myspace.com/therealdannyltjbukem

Purchase LTJ Bukem at Itunes
Purchase LTJ Bukem at Amazon

For some reason everyone seems to hate on the Black Eyed Peas. Yes, they ditched their backpacker sound for a more accessible pop sound and yes, they added funky white girl Fergie in place of neo-soul diva Kim Hill. However, none of this takes away from the fact that Will.I.Am is one of the best producers in the game whether he is creating pop, R&B, or hip-hop (ask his long list of esteemed collaborators which includes Mary J. Blige, Talib Kweli, Chrisette Michele, and Chris Brown), or that Fergie can deliver a potent verse whether singing of fake-rapping. Thankfully BEP have not let the criticism dampen their energy, hence the title of their fifth album The Energy Never Dies or The E.N.D. for short.

Where BEP’s last two albums created a pop-funk sound this new album finds the Peas incorporating the current electro craze into their sound. Before you cry “copycat”, this move isn’t a stretch for the Peas who have been entrenched in Los Angeles underground culture since the 90s, often seen popping and locking at that city’s massive rave parties such as Audiotistic. With The E.N.D. the Peas aren’t just jumping onto a trend, they are reliving their youth, and Will.I.Am seems to be enjoying the ride, fully embracing techno, breaks, electro and house for a high energy excursion through underground beats and pop melodies.

Anyone who has turned on the radio or been to a club as of late, has heard the ubiquitous single “Boom Boom Pow”, a deliciously catchy track with nothing on its mind but booty-shaking. It is the Peas’ most successful single to date, yet ironically it is also the most underground in terms of production. The track is pretty much a breakbeat track straight out of Miami with a trance breakdown, yet somehow in 2009 it is considered pop. Oh, what a difference ten years can make! The rest of the album follows suit with plenty of bass heavy breakbeats (”Ring-A-Ling”), speaker rattling electro (”Rock That Body”), and club anthems (”Party All The Time”).

Don’t expect much in terms of lyrical brilliance. Throughout the album Will.I.Am and company simply talk about dancing, drinking, and having sex with a wink and smile. The most thought provoking line on the album in Fergie’s now famous “I’m so 3000 and 8, you’re so 2000 and late” from “Boom Boom Pow.” But that is not to say the album does not deliver some pleasant surprises. Say what you will but Fergie is the best thing to happen to the Peas. Her Taylor Dayne meets Salt n Pepa delivery often creates the group’s biggest highlights. Throughout the album she is given dramatic buildups and breakdowns to swoon and holler over, delivering anthemic rave moments on tracks like “Missing You” and the pure 80s ear candy of album standout “Meet Me Halfway.”

One of the album’s best tracks, “Imma Be”, almost feels like two. Starting out with Fergie & Will.I.Am boasting over a bump and grind hip-hop groove, the track morphs into a sexy deep house excursion that seems fully authentic. But when the album steers into purely pop territory as on the cheesy second single “What A Feeling” or the grating “Now Generation” things begin to feel forced. The truth is the Black Eyed Peas sound best when channeling their underground sensibilities into high-energy accessible dance tracks but often fall flat when trying to create pop songs that appeal to their fan base. But fortunately on The E.N.D. the Peas stay true to what makes them great. And the party doesn’t seem to be ending anytime soon.

- Norman Mayers

BlackEyedPeas.com
www.myspace.com/blackeyedpeas

Download at Itunes
Download At Amazon
Purchase CD at Amazon

The E.N.D. (Energy Never Dies)

Nu-Soul Magazine and Soul Union return once again with our signature monthly event of Eclectic Soul Fusion. It’s STRICTLY SOCIAL on Wednesday July 15, 2009!

Strictly Social is the physical embodiment of Nu-Soul Magazine, allowing music lovers to witness the convergence of soul and electronica through our carefully selected monthly showcase of cutting edge artists and DJs.

Featuring LIVE Performances from:

CHOKLATE (with full band)

This Seattle-based songstress, who writes all her own music, has already taken the breath away from many listeners around the world. Choklate infuses her sultry alto voice with hard, progressive beats and very real lyrics—sparking many different kinds of emotions. “All of the music that I make is from my soul,” Choklate genuinely confirms. With her second album, To Whom It May Concern, Choklate continues to make progressive soul that speaks with truth.

Read the Choklate interview
Read the To Whom It May Concern review
www.myspace.com/listen2chok

ELLE B

www.myspace.com/mselleb

MCCLAIN SULLIVAN

www.myspace.com/mcclainsullivan

Resident DJs Destroyer & Myxzlplix will be spinning a selection of future soul, organic hip-hop and electronic beats!
www.myspace.com/djdestroyer
www.myspace.com/djmyxzlplix

SHOW BEGINS AT 10:30PM

In the B Room - SOUL GOOD, soulful drum&bass hosted by Jayvon & Atlantic Connection

Admission is $10
$5 before 10:30 with an RSVP to events@nu-soulmag.com with the subject Strictly Social July
Must be received by 6pm night of show
Get your presales for $5

Strictly Social
Wednesday April 15, 2009
9pm-2am
21+
Little Temple
4519 Santa Monica Blvd
Los Angeles, CA 90029
www.littletemple.com

www.myspace.com/lastrictlysocial

Flyer design by myxmedia (myxmedia@gmail.com)

If Janet Jackson had grown up on the streets of West London, she might sound something like Deborah Jordan. The vocalist and songwriter, who some may recall from replife’s standout track “Pangea”, seems influenced by Miss Jackson’s whispering vocals and delicate productions from her 90s phase, yet she sings with a layer of depth and emotion that Ms. Jackson has never aspired to. The Light is a masterful debut that easily channels gossamer electronic soul and broken beat rhythms into a pop gem.

Jordan is definitely entrenched in the broken beat culture of London as evidenced by productions from Atjazz and Simbad. The uptempo tracks are ripe for bouncy club nights and Bugz in the Attic DJ sets. She summons fellow Brit Lisa Stansfield on the bruk track “Let Go” and fellow scenester Bembe Segue on the catchy “Future Calling”. But Deborah really shines when she slows down the tempo and focuses on ethereal nu-soul anthems. Tracks like first single “Nothing Lasts”, the replife assisted “Home”, and the bumping “Want It Back” capture just the right amount of soulful bliss and electronic edge. The production is always inspiring and gorgeous and the album only falters slightly in the middle section where the enregy seems to have been removed. But when she references Janet on tracks like the sensual “Breathe” with its complex yet subdued rhythms and flowing vocals and the utterly gorgeous “You Could Be Here” she hits the sweet spot, creating her own sound that is equal parts pop orgasm and underground utopia.

- Norman Mayers

www.myspace.com/deborahjordanmusic

Purchase

Deborah Jordan

Pennsylvania native Jay Haze may not be well known to mainstream music outlets stateside, but his latest effort, fabric 47, is strong enough to propel the techno visionary into heavy rotation on Top-40 stations throughout the country. Armed with heavy bass lines and hooks, Haze’s fourth full-length CD is easily his most creative work to date. The project effortlessly blends elements of hip-hop, jazz, blues and poetry into a techno-infused mix that will rock a party from the United States to an all night rave across the Pond.

The diverse project begins with ‘Awakening’, a track that sets a mellow tone for the CD and allows Haze to show his musical influences outside of techno, with a soulful sample that gives the listeners a taste of the flavor that makes his music so interesting. fabric47 picks up speed with ‘An Hour to Fly’ featuring Little Dirty Ghetto Bastard, and ‘Phreaky Motherf’er’ featuring Mr. 69, pleasing true techno lovers with up-tempo beats and catchy melodies, and leaving listeners wanting more.

Despite the abundance of up-tempo tracks, fabric47 moves along and attempts to establish Haze’s political views. ‘Freedom’ and ‘When the Revolution Comes’ featuring the Last Poets, are down-tempo tracks that represent political struggle across the globe. No stranger to personal struggle himself, Haze will donate 95% of all proceeds from the album to charities that are working to liberate the people of The Democratic Republic of Congo.

Haze’s free spirit is evident in his music. Not bound by labels or genres, his latest effort is sure to build upon his success. And after one listen to fabric47, you too will become a believer in the phenomenon that is Jay Haze.

-Joshua Jones

www.jayhaze.com

Purchase at Amazon

Choklate’s sophomore album To Whom It May Concern is a breath of fresh air. The Seattle singer/songwriter returns to the scene with an album that is even more accomplished and assured than her debut. While Choklate utilizes neo-soul as the framework for her sound, what sets her apart if her compelling lyrics and the gritty feel of the productions. This is music that is instantly recognizable yet has a fresh and unique vibe.

To Whom It May Concern is an album that can be played from beginning to end thanks to a varied set of tracks that moves from beat-centric hip-hop flavored soul to sultry ballads. It all blends together for a seamless experience. Production by Vitamin D and Jake One adds a healthy dose of progressive beats to the proceedings. Tracks like the title track and “Hunny’s Runnin” sizzle with furious percussion and chunky drums. In fact, the whole project has a head-nodding effect on the listener, thanks to a focus on mid to uptempo grooves. But what makes the whole project work is the synthesis of the production and lyrical content. Choklate’s words rarely settle on tired cliches of love, instead focusing on self reflection, politics, humility and her place in the world. The title track plays like a cover letter with lines like “To whom it may concern, I’m a good girl, I’m a hard worker, I’m still learning, I’m not perfect.” While on “6.8 Billion” she remains humble stating “There are more than 6.8 billion people in the world. You’ve got a ways to go before somebody really knows who you are.” She chronicles the pitfalls of two-timing on “One’A Y’all” and laments the problems with being politically correct on “Pretty”. On the funky finger snapping “No Answer” Choklate ponders many interesting questions such as “Can I love black people? Can I ask us to love us back?”

Rarely does an artist combine such intelligent and though provoking lyrics with such musical bliss. If you are not hip to Choklate, take note. This album will have to singing along and rocking your body for weeks to come.

- Norman Mayers

www.myspace.com/listen2chok

choklatemusic.com

Purchase CD at Amazon

Miss Kitten & the Hacker’s classic track “Frank Sinatra” is one of the most deliciously subversive tracks of the last ten years, making Miss Kitten an underground icon and ushering in the electroclash movement of the early 2000s. Kitten’s sexy deadpan delivery and the Hacker’s deep electro grooves became the template for the 80s influenced trend of the last decade and since that time both have gone onto separate careers as both DJs and artists. With Two, Miss Kitten & the Hacker are back together but don’t expect a retread of their debut First Album. The duo ditch the cold metallic funk of their debut for a warmer, sexier, and altogether more emotional sophomore release.

Never fear, Miss Kitten fans; the dark diva of electro has not gone soft on you! Two is still packed with enough techno delights to satisfy the diehards. Album standout “Pppo” is pure Miss Kitten with its rolling synths, clattering percussion and decadent refrain of “People. Pleasure. Objects. Power.” But many of the album’s best tracks combine an 80s techno sound and emotional pop vocals with astounding results. Songs like “Party In My Head”, “1000 Dreams”, and “Electronic City” contain catchy hooks over dramatic productions that sway and soar with layers of complex instrumentation.

Miss Kitten does more singing here than one might expect, and while it is still in her signature style, she sounds more vulnerable than of First Album. No where is this more apparent than on “Emotional Interlude” a striking masterpiece that juxtaposes Miss Kitten’s melancholy vocal over a Kraftwerk inspired breakbeat and airy effects. The track, along with most of the album, remembers to pay tribute to the euro dance traditions that came before while still remaining firmly in the present. With Two the truth is clear: In the world of electro-disco Miss Kitten & the Hacker still reign supreme.

- Sean Garnett

www.myspace.com/mkthmusic

Download at Itunes
Download at Amazon
Purchase CD at Amazon

Nu-Soul Magazine and Soul Union are proud to present another evening of eclectic soul fusion with Strictly Social on Wednesday June 17, 2009.

Strictly Social is the physical embodiment of Nu-Soul Magazine, allowing music lovers to witness the convergence of soul and electronica through our carefully selected monthly showcase of cutting edge artists and DJs.

Featuring live Performances from:

PETER HADAR

A confident blend of electronica, soul, and hip-hop, the prolific Peter Hadar has released two well-received full lengths and one EP through his own Cool Weirdo label in just two short years. Honing his skills by singing backup for artists such as Eric Roberson and Carl Thomas, Hadar has gone on to cement his status as one of the soul scene’s most dynamic and electrifying performers. Peter has been heralded by magazines and websites such as Vibe.com, Essence, Urb, and Nu-Soul as the new face of modern R&B.

www.myspace.com/peterhadar
Download Peter’s new EP for FREE

HAVANA

Southern California’s soulful singer-songwriter Havana has a lot in common with the flava-filled Caribbean island’s fresh liberation. On her 2005 debut she worked with an assortment of talented producers such as Nicolay, Symbolic One and Waajeed selling an impressive 18,000 units (physical & digital) to date. Her upcoming new album Entervention, which features production by producers like Trackademicks, GB (Sound in Color), Brook D’Leau (J*Davey) and Beat$treets, celebrates the coming to grips of Havana’s hard upbringing with her life, using music to express her experiences and family issues, but never forgetting to have fun along the way.

www.myspace.com/havana

MIZ METRO (Unlimited Listening session and Performance)

Miz Metro has graced over 60 stages from New York to London, engaging audiences with her quirky stage presence and well crafted songs. “Her powerful, controlled voice blends with and rises above the music to bring her message of social change,” explains ClubPlanet.com. With her frank lyrics and unconventional soulful pop sound Miz Metro is often compared to Lily Allen, Fiona Apple, Amy Winehouse and Gwen Stefani. Influenced by these artists along with Lauren Hill, Etta James, Billie Holiday, Santogold and many others, she draws influence in music ranging from ragtime to hip hop. Come early for a special listening session of her debut album UNLIMITED.

www.myspace.com/mizmetro
Download Miz Metro’s Hip-Hop Howl Mixtape

SHOW BEGINS AT 10:30PM

Residents DJ Destroyer and Myxzlplix will be holding it down

In the B Room: Soul Good
Soulful Drum&Bass hosted by JAYVON and ATLANTIC CONNECTION

$5 before 10:30pm with rsvp to events@nu-soulmag.com with the subject Strictly Social June (must be received by 6pm night of show)
$10 otherwise

Strictly Social
Wednesday June 17, 2009
9pm-2am
21+
Little Temple
4519 Santa Monica Blvd
Los Angeles, CA 90029
www.littletemple.com
www.myspace.com/lastrictlysocial

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Ciara will never be considered high art, but this is probably her strength. You pretty much know what you are getting with her: sexy club jams influenced by the likes of Janet Jackson and Aaliyah. With her third album, Fantasy Ride, Ciara builds on the sounds and styles of her first two releases with mostly successful results. Like Janet, Ciara doesn’t have the strongest voice in the world but she makes up for it with her sexy delivery and intensely choreographed performances. While Ciara may be known mostly for her crunk&B style of heavy bass beats, on Fantasy Ride she expands on the slow groove grind of her previous hit “Promise” from her album The Evolution to diversify her sound.

The best tracks on Fantasy Ride are surprisingly some of the slower ones. The opening groove of “Ciara To The Stage” utilizes all the elements that made “Promise” such a great track. Slow grinding bass and undulating electronic effects mix with Ciara’s sultry vocals for a hands down winner. Even more striking is the suggestive “Like A Surgeon” in which Ciara compares her skills in the bedroom to that of a surgeon over a pounding dubstep influenced beat. The first half of the album works for the most part. “High Price” featuring Ludacris is classic Ciara with its speaker rattling 808s, but Ciara injects an opera style vocal which brings a new element to an otherwise cliche sound. Danja lays his hands on the funky “Turntables” featuring Chris Brown and the Gamble & Huff sampling “Never Ever” will definitely grow on you after a few listens thanks to its time tested hook. Surprisingly the Justin Timberlake future funk collaboration “Love Sex Magic” is the only track in the first half that ultimately falls flat. The track pretty much sounds like a leftover from Justin’s album that it no way makes use of Ciara’s strengths as a club queen.

The second half of the album is less successful with a few more throwaway club joints including a very noisy Missy Elliott collab, but Ciara redeems herself with some more pop friendly cuts towards the end. The Dream shares his magic on the gorgeous “Keep Dancin’ On Me”, a midtempo track that shimmers with joy and longing. While Ciara will always have those who discount her music as fluffy pop, she has managed to create a solid career with a sound that utilizes cutting edge production and plenty of catchy hooks. With Fantasy Ride she continues to find her groove while still experimenting with her sound. While the album has many highs and its fair share of lows, it is definitely worth a listen.

- Norman Mayers

www.ciaraworld.com
www.myspace.com/ciara

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Ciara - Fantasy Ride

Grammy winning artist Chrisette Michele stormed onto the scene with her jazzy throwback vocals and confident songwriting on her debut, I Am. After selling 500,000 copies the pressure was on to deliver a comparable followup. The resulting album, Epiphany, succeeds at showcasing Michele’s growing talent as an impressive vocalist and compelling writer but as a whole doesn’t have the same excitement of her debut.

This is not to say that Epiphany is a failure in any sense of the word. While the album is rather diverse, easily swimming from radio-friendly ballads and 60s pop influenced jams, the bouncy effervescent jazzy hip-hop flavor that made I Am so interesting is noticeably missing. Epiphany leans more towards the adult contemporary sound that was also a strong component of I Am. This allows her to show off her considerable vocal range especially on tracks like “Blame It On Me”, “All I Ever Think About”, and the big ballad “I’m Okay.” Michele recruited Ne-Yo to assist and this results in some of the album’s standouts such as the declaration of independence “Epiphany (I’m Leaving)” and the uptempo “What You Do”. These two tracks come close to the flavor of I Am’s more hip-hop oriented tracks but they leave the listener wanting more. However, Chrisette is right at home channelling her inner Amy Winehouse on the 60s flavored “Mr. Right”. The finger snapping groove works comfortably with the singer’s husky tones to producer the album’s strongest track.

Chrisette Michele is an extremely talented artist and she isn’t going anywhere anytime soon. While her sophomore effort finds her growing considerably in many ways it still would have been nice if she had left a little more funk in the equation.

- Sean Garnett

www.myspace.com/chrisettemichele

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Paul Dateh is more a musical act than a literary one. If one were to categorize the array of compositions found in his self-titled album, “Be More” would encapsulate this. Dateh is a deliberate counterpart to soulful hip-hop violinist Miri Ben-Airi, with a lyrical cadence similar to that of Jason Mraz. His ability to integrate classical training with modern progressions makes this album a promising debut. Songs like “Untitled” and “Celtic Blues” highlight his purposeful arrangements as a violinist, while “Who Knew” is a sweet track that incorporates contemporary elements synonymous with doo-wop. Not much different than what you might expect to hear at a live performance, the album exudes an almost unpolished and improvisational tone.

However, lyrical content appears to be of secondary importance to Dateh. His lyrics behave more as a compliment to the instrumentals than the other way around; playing as background noise rather than the focal point from which he conveys his sound. Though his range is somewhat limited, he is able to deliver, demonstrating a fluidity that captures the listeners attention. And yet, something is always amiss, so close but never strong enough to bridge that intangible divide; perpetually teetering between frustrating and unremarkable. Occasionally good, but never great.

There are many moments where one might spend waiting for the right elements to connect, while endlessly falling short of uncovering anything substantive. Songs like ‘Whatever I Choose To Do’, and ‘Goes Around’ are lackluster and one dimensional. His track, ‘Strong’, though in many ways provocative, is rarely colored with genuine expression. Whether because of the simplicity of it’s content, or his inability to truly emote, Dateh appears visibly removed, never allowing the listener to delve into what he’s really about.

Nevertheless, it would be wrong to suggest that Dateh is anything but a notable artist. ‘Without You Here’ is the album’s most promising song, and in many ways his saving grace. It’s beautiful composition showcases Dateh’s abilities as both a musician and a song writer, and at best, establishes him as an up-and-coming artist.

For all of it’s faults there is something here for everyone. Though Dateh identifies as a hip-hop violinist, the album does not appear to reflect many of the elements that individualizes itself as a hip-hop album. Contemporary soul and pop, yes; hip-hop, no. And yet, his ability to incorporate a multitude of genres into his developing sound, opens himself to a world of possibilities. For many artists lyrical content is the foundation of great music. It coalesces the experience from artist to individual, transcending psychological and emotional barriers. Such a skill cannot be taught, and for it is innate part of the human condition. Once Dateh can connect those essential dots and place as much emphasis on his words as he does with his sound, only then will be begin to come into his own.

-Elizabeth Ubides (courtesy LA Music Project)

PaulDateh.com

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Sensually convincing is one of the first things that come to mind when describing Eclectica; the same might go for the songstress Zaki Ibrahim. In “Computer Girl” you can hear sounds that feel like you’re floating on a cloud and an undercurrent of the Vancouver native’s blood, stemming from South Africa and Scottish/English roots. Don’t get too comfortable with “Computer Girl,” because “You Choose” will make you nod your head and will give Esthero fans exactly what they needed to fall in love with someone comparable. Sade fans will be dumbfounded with “Connected.” The tone, Ibrahim’s soothing calm, and that familiar guitar that awakens and stirs your inner soul are the songs composition. So far the songstress averages a perfect score.

“Connected” is the type of song that you will listen to for days on end, play in your iPod on repeat (even for those of you who have never used the feature), and walk around 34th street in NYC during rush hour feeling like you’re floating on cloud 9. Soon Eclectica gives its audience a wake-up call. Ibrahim wasn’t making an album without a concept here: “Grow Again” comes with solid lyrics, vocals, and electric soul. Ibrahim offers an Amel Larrieuxesque interlude on that track, followed by the French/English “Lost in You.” There is no doubt that Ibrahim is talented.

It’s rare to go on and on about an album without mentioning any shortcomings. Eclectica has only one- the album is too short. Thank goodness a full-length album is in the works. One word of advice: let the album play and you’ll be sitting on Zaki Ibrahim’s magical cloud called (Episodes in Purple) Eclectica, fully satisfied.

- Regine Zamor

www.myspace.com/zakiibrahim

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