with Special Guest Hanni El Khatib
The Budos Band
with Special Guest Hanni El Khatib
|Price:||$18 Advance GA / $22 Day Of Show GA / $30 Reserved|
“Afro-beat, soul-jazz, and funk instrumental ensemble.” – AllMusicBuy Tickets
Genre: Afrobeat, Funk, Jazz
ALL AGES: 18+ w/ valid photo ID, under 18 must be accompanied by parent or guardian.
Reserved seating is available for $30 and guarantees a seat in the reserved section. If necessary groups will be paired together at tables. Seating is based on time of purchase and the configuration of groups.
When it came time to title their new album, one decision was easy: “This isn’t The Budos Band IV,” proclaims drummer Brian Profilio. “This isn’t just more of the same.” The Budos Band embarked on an experimental journey since the release of The Budos Band III in 2010, seeking inspiration from sources far and wide.
While wizards use books of spells and alchemy to mix their masterful potions, the Budos employ heavy doses of continent-spanning psychedelic rock to beckon the occult and conjure the supernatural. Hence the title of the band’s fourth album: Burnt Offering.
“We made a conscious decision to embark on a new sound,” explains baritone saxophone player Jared Tankel. The heavy, trippy side the group unveiled on The Budos Band III reaches full flower on new tunes like “Aphasia,” “Trouble in the Sticks” and particularly the title track “Burnt Offering.” “We were messing around with an old Binson Echorec at practice one night and this loop emerged,” recalls bassist Dan Foder. The droning fuzz guitar is a call to the gods from below and encapsulates the band’s sonic progression perfectly. “This record is fuzzy, buzzy and raw, and more obviously psychedelic,” adds Profilio.
Like a cratedigger’s classic from a parallel universe, “Tomahawk” melds heavy, distorted guitar riffs with bright blasts of brass and bubbling drums. An eerie, ceremonial vibe awakens the slumbering giant “Into The Fog” and prods it to life.
Driven by melodies, rhythms, and changes that animate muscle and bone to move, yet compel the ear to lean in closer, these full-bodied instrumentals push Budos’ music deeper into new territory.
All lingering traces of touchstones of yore—be they Fela Kuti, Dyke and the Blazers, or Black Sabbath—have been wholly absorbed and filtered through the Budos Band’s ever-evolving aesthetic. “We sound nothing like our first record anymore,” confirms Profilio. Anyone content to just slap the old “Staten Island Afro-soul” tag on Burnt Offering and move on clearly didn’t listen to the music first.
The group composed more than two dozen songs in the course of making Burnt Offering, yet only recorded fifteen, further distilling its essence to ten classic cuts for the full-length release. If a new tune failed to capture the rambunctious energy of their live show, if it revised familiar territory or obvious influences, it got cut. Budos was determined to break new ground. “If any band says that’s easy to do, they’re fooling themselves—and not writing good enough songs,” insists Brenneck.
In order to reach the apex of the mountain, the band had to come together like never before. Always a brotherhood, the time spent writing and recording Burnt Offerings saw changes that many bands would have run from, but for the Budos presented opportunities to hone their craft. “Making this record reaffirmed that we work together really well,” says Profilio.
Burnt Offering breaks from Budos’ earlier records in another significant regard: this is their first album without an outside producer. “We had arrived at a different place sonically and needed see it through completely ourselves,” says Tankel. They still praise Daptone mastermind Gabriel Roth, who worked alongside Brenneck co-producing their first three records, but parting ways at this juncture made sense.
“We know exactly where we’re at,” says Profilio. “We didn’t want to have to explain ourselves if we were in pursuit of a specific sound or vibe.”
“We made the demo that got us picked up by Daptone in my parents’ basement when I was eighteen years old,” Brenneck recalls. “This album is a continuation of that, fifteen years later … with a lot more records under our belts.”
After all that time, Budos has become more than a band—it’s a brotherhood. “This is a real family band,” says Brenneck. “Guys who’ve been making music for a long time, and friendships that run completely parallel to the music.” They still rehearse religiously almost every week, even if some of those rehearsals encompass just as much drinking, socializing, and listening to music as actual practice.
That camaraderie doesn’t evaporate when they put their instruments down. On tour, they hit a brewery or pub for lunch en masse before sound check whenever possible, and like to stir up trouble. There are dust-ups and reconciliations. All that kinship comes to a head when they hit the stage. “We’ve seen some things out there that most bands don’t get a glimpse of these days,” suggests Tankel. “All of that craziness just brings us closer together. We couldn’t shake each other if we tried.”
And capturing the intensity of Budos’ electrifying shows on wax, making the grooves vibrate with excitement, was one of the biggest challenges of Burnt Offering. “We record live to tape, with minimal effects,” Brenneck says. Nowhere to hide, then. The band insisted that each song push the envelope. No room for filler.
The Budos have traveled far and wide—playing across four continents—since the band’s inception. A lifetime of world tours and weekly rehearsals went into the making of Burnt Offering, and the journey is far from over. As long as there are new audiences to thrill and sonic frontiers to explore, they’ll forge ahead. “We haven’t fulfilled our mission,” concludes Profilio. “We’re still very hungry.”
Hanni El Khatib’s first idea for his Savage Times project was to do something he’d never done before. Instead, he ended up doing … well, everything he’d never done before. He’d be playing new instruments, writing in unfamiliar new ways, opening himself up to an unrelenting stream of ideas and dedicating himself totally to pure musical instinct—and then releasing songs instantly to the public, without waiting to tour or assemble an album or anything.
At the end of 2015, he’d walked into the studio with his guitar and a few lines of lyrics, hoping to sketch out a track or two just to stay busy, but that very first day he walked out with two finished songs and the inspiration to create something raw in real time, recording and releasing songs (and even videos!) direct to the public as soon as tape stopped rolling: “Everything was really as I did it,” he says. “It was meant to be an experiment in how I could write and record and release something as quickly as possible. I didn’t wanna make an album—I wanted to put songs out every week. It’s personal for me.”
Hanni El Khatib started Savage Times last December, after the Bataclan attacks forced the cancellation of a planned Paris performance. With unexpected time on his hands—and unexpected ideas on his mind—he’d scheduled open-ended studio time at Crystal Antlers frontman-turned-producer Jonny Bell’s Jazzcats studio. Each day, he’d take the hour-long drive through L.A.’s industrial corridor to Long Beach, sketching out riffs and lyrics as he drove. (The Suicide-meets-Italo-disco burner “Born Brown” came suddenly while in traffic, and he started screaming the words as loud as he could so his voice would be the perfect amount of wrecked.)
If he felt like making an solo electric guitar song, he’d do it—like the one-take from-the-heart “Miracle.” If he wanted to compose on piano for the first time ever, he would, and that’s how he ended up with the shimmering soul-searching “Gun Clap Hero.” And if he wanted to resurrect old-school studio pro techniques like charting music for a string section or hiring a trio of singers for backup vocals, he’d do that, too. For seven months and fifty songs, he’d work with Bell to capture, strengthen and grow that morning’s burst of inspiration, celebrating at Long Beach’s oldest bar—or with the studio’s resident cats and chicken—once the fifteen-hour work day was done. For a grand finale, he wrote and cut the scorching “Mondo and His Make-Up,” a nod to the supercharged guitar-garage he made his name on, and after some precise editing, the Savage Times experiment was done.
And the result? 21 best-of-the-sessions songs, destined for vinyl release as a 10” box set, as well as the kind of creative revelations that only happen when you quit looking around and start looking ahead. Originally, he’d hoped to explode the lingering idea that he was simply a blues-rock guitar player, left over from his first single and his work with the Black Keys’ Dan Auerbach: that’s why Savage Times touches everything from garage rock to punk to disco, hip-hop and even some unexpected solo-guitar self-portraiture. But on the way, he also exploded his own idea of what he could do—even maybe who he was, or would be. Savage Times was an experiment, but an experience, too.
“I realized that if I want, I can play everything,” he says. “Or if I don’t wanna play guitar or make a straight-forward rock song, I don’t have to, and it’ll still sound like me. It opened my eyes to how I can sound like myself over whatever backdrop I want. That’s not important. What’s holding it together is my point of view as a musician. What surprised me is how self-sufficient I can be. You realize you don’t need all the things people tell you that you need to make great records. You need good gear and good people—that’s it! And you don’t need much more.”