Tag Archives: Soul

(She’s Got) Power: Tasha’s Soulful Ethos of Black Love and Liberation


Tasha. Photo by Zachary Belcher.

Tasha Viets-Van Lear, who records music simply as Tasha, believes unapologetic black love is crucial for black liberation. An activist with BYP100 as well as a musician, Tasha weaves the political with the personal, promoting inner power. Her music focuses on love as a force against societal institutions that would prefer black people hate themselves and their skin. The poetic, thoughtful “Divine Love,” the title track from her 2016 EP, sets forth her ethos with warmth and passion: “I want a song that’s gonna tell me I can love myself/ But not for the purpose of being better at loving someone else/ Got all this light around me/But I can’t see it through this haze of my own insecurity/ This fear in me that I can’t glow from the inside out/But naturally, see, I got moonlight spilling from my mouth.”

Tasha’s a regular on the Chicago scene, playing often, sometimes with a full band—a powerhouse group of talented musicians whose members also play alongside Jamila Woods, Noname, Ric Wilson, Kaina, and more. While she hasn’t released anything since last year’s Divine Love EP, there’s a lot more in the works—music videos, a new website, and new music. Right now, she’s concentrating on building a robust foundation before releasing anything new.

We sat down with Tasha over tea at her Chicago home and talked about her processes, self-actualization, anger and joy, community and activism, journaling, and her music.

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Album of the Day: Tanika Charles, “Soul Run”

Soul Run, the debut LP from Canada’s rising soul star Tanika Charles, is ostensibly a breakup album. But these songs are so exuberant, and Charles’ voice is so defiant and confident, that it hardly registers that way. Charles’ 2010 EP What! What? What!? demonstrated that the Edmonton singer wasn’t content to stay within the parameters of retro soul—the G-funk-influenced “Parkdale,” in particular, demonstrated her eagerness to cover fresh ground—and Soul Run continues that imaginative streak, yet often in subtler ways.

Charles constructed these songs with a series of producers, including the Drake collaborator Slakah the Beatchild, and as a result Soul Run presents itself as a grab-bag of surprises. The short “Intro,” with its modulated voices and effects, provides a thrilling launch pad into the thumping title track, while “Two Steps” leans on an unexpected and glimmering Afrobeat guitar riff. Both “Endless Chain” and “Money” evoke vintage Muscle Shoals recordings, but with an emphasis on precise and booming percussion that keeps them fresh and modern.

These varied styles give Charles different contexts to experiment with her vocal gymnastics. Throughout the album, she pays homage to legends like Aretha Franklin and Etta James—on “Sweet Memories,” she does an uncanny take on the Jackson 5’s shrill howls—but she’s got a sense of spunk that’s all her own. From start to finish, Soul Run serves up one kiss-off after another to Charles’ ex. At one point she insists that she “don’t need a man to walk me home,” and by the album’s conclusion she declares, definitively, “I won’t be back.” But because she manages to channel her angst in a way that sounds more playful than bitter or mournful, Tanika Charles makes it clear that she’s moving forward. We can’t help but want to follow along.

Max Savage Levenson

On the Come Up in Music City: Rising Rap and Soul in Nashville

Rising Rap and Soul in Nashville

Jota Ese, Saaneah, & Kyshona Armstrong. Illustrations by Brandon Celi.

Though it’s historically well-known for its country music scene, Nashville, Tennessee isn’t just the town of honky-tonks and the Grand Ole Opry. With indie labels like Infinity Cat and Nervous Nelly Records providing a showcase for punk and rock, and with Americana and folk lining the rosters of Jack White’s Third Man Records and Dualtone, Nashville these days is truly Music City, writ large. Pop aficionados can also find a place here, as well as anyone interested in hip-hop and R&B. It’s those last two genres that have seen the biggest growth lately, as former residents of LA and NYC flock to the city, and established locals can finally find both collaborators and an audience to help support their craft.

Growing up with gospel music in the church, DeRobert Adams, of the G.E.D. Soul Records band DeRobert & The Half-Truths, moved to Nashville’s sister city Murfreesboro in 2000, home of MTSU, where he joined his first band. He’s been making music ever since. G.E.D. Soul has been one of the hardest-working labels in Nashville for the last decade, producing, recording, and distributing funk, soul, and R&B tracks, mostly via the label’s Poor Man Studios in north Nashville. Boasting what the label calls an “analog aesthetic,” the records feel like lost gems dug out of a dusty stack of retired jukebox 45s. Label owner Nicholas DeVan says “Country is still the main attraction, but there’s always been an enormous amount of non-country music being recorded and performed here. I would say that we are seeing a different type of person being in the music scene here, lots of LA folks and musicians from other cities. I feel like Nashville has always been a destination for musicians that need a more low key city than LA or New York; people come here to lose the big city vibe.”

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Chicano Batman on What Freedom Means

Chicano Batman

Chicano Batman by Josue Rivas

Freedom is Free, the latest piece of retro R&B heaven from L.A. troubadours Chicano Batman, is full of heart, soul, and fire. It’s their most reflective release to date, a simmering collection of vintage-organ-laced tunes that renounce modern-day oppression while rejoicing in all things freedom.

Conjuring the supple bass grooves of Curtis Mayfield’s Superfly, the romantic atmospherics of Spanish caballero Camilo Sesto, the spirit of Motown, and the strangeness of tropicalia, Freedom is Free is a multifaceted marvel. The funky “The Taker Story” references Daniel Quinn’s heady book Ishmael (“We’ve been enacting the story for 12,000 years/The one that says that man must follow no natural law”), while the title is a deep dive into the idea of mental slavery. “La Jura” is an eerie ode to resistance that borrows the steel riffs of Santo & Johnny’s “Sleepwalk,” to critique systematic violence with heartfelt empathy.

We talked with frontman Bardo Martinez about contemporary dystopias, what freedom means, and the uniqueness of growing up Chicano.

(For more with Chicano Batman, tune into the February 25th edition of the Bandcamp Weekly)

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The Rock ‘n’ Soul of Olivier St. Louis 

Oliver St Louis

D.C.-born, Berlin-based singer/producer Olivier St. Louis (formerly Olivier Daysoul) has made a name for himself through his collaborations with renowned electronic music producers like Onra and Hudson Mohawke, as well as through his role as a member of Oddisee’s tight live band, Good Company. In that context his latest, Ever Since The Fall, represents something of a stylistic departure.. Packed with dark, electrifying tones, and St. Louis’s bold, sanctified vocals, Ever Since the Fall is a majestic collection of polished, elegant guitar rock that’s deeply informed by the blues. During rehearsals in preparation for his U.S. tour with Oddisee, we spoke with St. Louis about his newest project and the art of infusing new songs with the spirit of old traditions.

So, could you give a little insight into your background and how you got into music?

Sure. My mother’s Haitian and my father’s Cameroonian. I was born and raised in Washington D.C until the age of 10. Then, I spent the rest of my formative years—up to the age of 18—studying in England at a boarding school. Although I came from a family that prided itself on education first, there was a great appreciation for music. We have a few opera singers and some classically-trained pianists in the family. Although it was mostly classical, there [was sometimes] soul, jazz, and funk often playing in the background at home. My mother was a big fan of Anita Baker, Marvin Gaye, and The Brothers Johnson. So I was influenced by music very early on. I didn’t really consider music as a career, however until I was at university. A random meeting with someone on the bus, while en route to returning a mic to record some demos, introduced me to a whole music scene in D.C. that I wasn’t entirely aware of at the time. Everything branched off from there.

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