Music
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Boombazi have performed one of the more difficult music magic tricks: they've managed to create a funk-heavy sound that isn't at all dated and actually moves the genre forward. Perhaps it's because they're not afraid to get "freaky with myself to an old Ohio Players album cover," as lead rapper Justin Hogan admits during a classic spoken-word segue between the first two tracks on the band's new self-titled album, something that could have easily come off the Pulp Fiction soundtrack but is 100 percent original.
"The funk comes to those who refuse to wait," we're told, "who grab life by the nose hair and yank, and tug." After more than half a decade of entertaining just about anybody's who's ever hit the Old Port and releasing tHe Uncertainty Principle in 2003, they have here released a statement that they're the sort of band that goes around yanking and tugging (sorry, couldn't resist). With a mix of upstroke-laden ska-rock, hip hop, metal, and, yes, funk, Boombazi have carved out an aggressive and sometimes dirty vibe that's both infectious and inspiring. Oh, and have you seen the cover of the Ohio Players' Honey? They clearly have good taste, too.
Theirs is a big band sound, equally full in the headphones and on stage. While guests here like Will Holland, DJ shAdezilla, and Ryan Zoidis are effectively employed, they are merely accents to an accomplished and tight group of musicians led by the rhythm section of drummer Benbazi, percussionist Greg Happe, and bassist Nick Leen. Boombazi have rhythm in spades, and it frees the soloists, notably single-named guitarist Luke and trumpeter Adam Trull, to experiment freely. The trumpet is everywhere here, but shines especially in "Na Say It," a subdued and Sublime track that echoes the trumpet, lending a psychedelic feel through an all-instrumental tune you can really stop to savor. It occurs to me that someone should compile the best local instrumental tracks released by bands that aren't normally all instrumental and you'd have yourself a phenomenal party disc.
Not that Boombazi need any help with the partying. There are no shortage of inventive ways to reference sex ("When it comes to sex/Trojan X when I undress") and drugs (a falsetto response that runs, from what I can tell, "She's only 16/She's doing mescaline," though I suppose that could be a salad reference), but it doesn't come with mean-spiritedness of some commercial hip-hop. Let's just say they've got open minds.
Because of the contrast between Hogan's relatively tenor rap and the low sing-song of Luke's vocals, you might be reminded of Jurassic 5 from time to time, and Boombazi do sometimes show the same flair for political writing the 5 highlighted in 2002's Power in Numbers. While the revolution they speak of in the chorus of "37 Exeter" seems to mostly be a musical one, the following "TV Dinner" delivers a stinging indictment of our country's reality-TV culture, possibly the most singularly vapid mainstream cultural movement in history, the place where art has gone to die. Chaotic and fast-moving to reference an attention-span that shrinks by the minute, Hogan chastens us — "Shame on all for callin' this reality" — and then our leaders: "Forget about the war/Ignite the brain rot." Listen here for the woodblocks that help the trumpet get all Latin.
..> ..>
It's followed quickly by the rolling thunder of "Headed Home," a fairly straight radio-rock track in the chorus, ska in the verses, that features the introduction of Mello (Labseven), with "finish like a fine wine, ready to rhyme." The electric guitar solo late in the song wouldn't be out of place on a Cheap Trick album. Every genre meld and instrument addition is handled fluidly here and throughout the album, thanks to Holland, engineer at Chillhouse Studios in Boston, and the mastering by Toby Mountain at Northeastern Digital leaves a sheen, but retains at least a touch of grit.
Is it music that rocks on a "New Axis"? Yeah, it's pretty solidly unique. That Boombazi find a home on Jambase.com is instructive of the band's crossover appeal, even if they're not down with a certain city in Arizona: "Fuck a sold-out Phoenix, we rock for hip-hop." Maybe now the band that have always seemed to covet an underground status are ready to take on the larger audience they deserve.
http://thephoenix.com/article_ektid48619.aspx - Sam Pfeifle, Portland Phoenix
Boombazi have performed one of the more difficult music magic tricks: they've managed to create a funk-heavy sound that isn't at all dated and actually moves the genre forward. Perhaps it's because they're not afraid to get "freaky with myself to an old Ohio Players album cover," as lead rapper Justin Hogan admits during a classic spoken-word segue between the first two tracks on the band's new self-titled album, something that could have easily come off the Pulp Fiction soundtrack but is 100 percent original.
"The funk comes to those who refuse to wait," we're told, "who grab life by the nose hair and yank, and tug." After more than half a decade of entertaining just about anybody's who's ever hit the Old Port and releasing tHe Uncertainty Principle in 2003, they have here released a statement that they're the sort of band that goes around yanking and tugging (sorry, couldn't resist). With a mix of upstroke-laden ska-rock, hip hop, metal, and, yes, funk, Boombazi have carved out an aggressive and sometimes dirty vibe that's both infectious and inspiring. Oh, and have you seen the cover of the Ohio Players' Honey? They clearly have good taste, too.
Theirs is a big band sound, equally full in the headphones and on stage. While guests here like Will Holland, DJ shAdezilla, and Ryan Zoidis are effectively employed, they are merely accents to an accomplished and tight group of musicians led by the rhythm section of drummer Benbazi, percussionist Greg Happe, and bassist Nick Leen. Boombazi have rhythm in spades, and it frees the soloists, notably single-named guitarist Luke and trumpeter Adam Trull, to experiment freely. The trumpet is everywhere here, but shines especially in "Na Say It," a subdued and Sublime track that echoes the trumpet, lending a psychedelic feel through an all-instrumental tune you can really stop to savor. It occurs to me that someone should compile the best local instrumental tracks released by bands that aren't normally all instrumental and you'd have yourself a phenomenal party disc.
Not that Boombazi need any help with the partying. There are no shortage of inventive ways to reference sex ("When it comes to sex/Trojan X when I undress") and drugs (a falsetto response that runs, from what I can tell, "She's only 16/She's doing mescaline," though I suppose that could be a salad reference), but it doesn't come with mean-spiritedness of some commercial hip-hop. Let's just say they've got open minds.
Because of the contrast between Hogan's relatively tenor rap and the low sing-song of Luke's vocals, you might be reminded of Jurassic 5 from time to time, and Boombazi do sometimes show the same flair for political writing the 5 highlighted in 2002's Power in Numbers. While the revolution they speak of in the chorus of "37 Exeter" seems to mostly be a musical one, the following "TV Dinner" delivers a stinging indictment of our country's reality-TV culture, possibly the most singularly vapid mainstream cultural movement in history, the place where art has gone to die. Chaotic and fast-moving to reference an attention-span that shrinks by the minute, Hogan chastens us — "Shame on all for callin' this reality" — and then our leaders: "Forget about the war/Ignite the brain rot." Listen here for the woodblocks that help the trumpet get all Latin.
..> ..>
It's followed quickly by the rolling thunder of "Headed Home," a fairly straight radio-rock track in the chorus, ska in the verses, that features the introduction of Mello (Labseven), with "finish like a fine wine, ready to rhyme." The electric guitar solo late in the song wouldn't be out of place on a Cheap Trick album. Every genre meld and instrument addition is handled fluidly here and throughout the album, thanks to Holland, engineer at Chillhouse Studios in Boston, and the mastering by Toby Mountain at Northeastern Digital leaves a sheen, but retains at least a touch of grit.
Is it music that rocks on a "New Axis"? Yeah, it's pretty solidly unique. That Boombazi find a home on Jambase.com is instructive of the band's crossover appeal, even if they're not down with a certain city in Arizona: "Fuck a sold-out Phoenix, we rock for hip-hop." Maybe now the band that have always seemed to covet an underground status are ready to take on the larger audience they deserve.
http://thephoenix.com/article_ektid48619.aspx - Sam Pfeifle, Portland Phoenix
I'm almost ashamed to admit that I know who Boombazi is but have never heard a single note from them. They've been working it hard for a while here in the scene. I can tell you this much, there is a tremendous amount of talent in this band. This album had superb production but most importantly, great song writing. I could tell from the first song that I was about to be rocked hard. After hearing "The Uncertainty Principle" I do believe that I have to get out to a show as soon as possible.
"Dub Flow" does what a first track should do, set the stage for irresistible groove. "Reggae Joint" has got it going on with that equator back line then makes a smooth transition into "Classic." Track four dubbed "4-Dz" mixes the elements that make this band awesome, like hip-hop and funk to name a couple. Don't ask me why, but "Deepen Cider" gave me a flashback of Fly Spinach Fly. Track six called "In Front of Your Mom" had me with that perfect display of a bass player and drummer really melding. "Mindset" had a city feel to it, and thus far the lyrics have shown great meter and depth. "Gettin' Nice" was a lowrider easing up to a stop sign. Track nine, "Bob Dylan's Grandmother" would bring a dance floor down.
"Interlude" shows off the technicality of Boombazi, sweet changes, guitar mastery and one vision. The eleventh track entitled "Bitch Be Cool" was speedy riffs performed by all yet done with class and taste. "Evil" could be pictured in an elite jazz club, smoky with red velvet everywhere. "Doc Brown" had a strut that would turn heads, induce grins and make legs become pendulums. Track fourteen called "Ill Weather" had a very cool horn riff, but hell, there were great horns on the whole album. "Freaky" immediately got to it, like the running of the bulls in Spain. The last track called "SMGDSSW" again displays a lot of discipline and concentrated talent.
Boombazi is as follows: Ben Sawyer/ drums, Nick Leen/ bass, Justin Hogan/ vocals, Greg Happe/ Djembe, Luke Gardner/ guitar and Wes Smith on trumpet. This album was produced and written by Boombazi. It was recorded at The Buttery in Concord New Hampshire. Engineering and mixing were done by C.T. O'Donnell for Melodian Productions. It was mastered by Toby Mountain at Northeastern Digital in Southboro, MA. This album kicked some major ass in my book. Though I've never seen them live, I know that these guys know how to rock the house. ~visit boombazi.com~
- It Magazine
The Uncertainty Principle
Boombazi
One of the most frustrating and confining aspects to our musical culture is the continued pursuit of placing labels on music. Rock, Hip-Hop, Rhythm and Blues; for every different variation in style and delivery, there in turn must be a new term to unnecessarily place upon that type of melody. Music can never be just music, it has to be some sort of music. When bands like Boombazi arrive, it just makes the designation process seem all the more meaningless.
There cannot be an encompassing genre that would justify the sound that Boombazi produces on their latest album, The Uncertainty Principle. There are the obvious indications upon first listen that because lead vocalist Justin Hogan spits out his rhymes in tight rapping verses that the group is a Hip-Hop outfit. However, the music
varies so often from time to time, that by calling Boombazi a Hip-Hop group would be a great disservice to the band.
Reggae, Ska, Rock ‘n’ Roll, Hip-Hop, and Funk (which seems to be the most proficient style of music on this album) are incorporated into Boombazi’s eclectic outfit of songs. The tracks can range from music featuring blazing horns, like in “Classic,” to tight rasta riffs on the cut, “Reggae Joint.” “Dub Flow,” the opening song on the album, and “4 Dz’” are classic funk tunes, sounding just like they came from Maceo Parker’s basement. Inter looped into almost all the tracks is a blaring, lighting-quick, Rock guitar coming from Luke Gardner that reminds the listener that Boombazi’s sound cannot be pigeonholed.
Boombazi are at their peak when the music is the focus and the vocals remain secondary (which is the case on most of the songs on the album), but that doesn’t take away from Justin Hogan’s clever, energetic lyrics. Dealing mostly with shout out verses for the praises of funk, Hogan has a middle-of-the-road vocal delivery, with none of his vocal tracks being too memorable. But when he chews out rhymes like, “Strategy flippin words like reciprocals/ Styles slick and sharp at the end like icicles,” it doesn’t matter what his voice sounds like. Boombazi’s exceptional musical composition and unique style make Hogan’s vocals simply the icing on the cake.
As long as there is music, there will be labels that accompany it. However, if more bands like Boombazi come around, those labels will quickly become obsolete.
- Will Resiman
The Uncertainty Principle
Boombazi
One of the most frustrating and confining aspects to our musical culture is the continued pursuit of placing labels on music. Rock, Hip-Hop, Rhythm and Blues; for every different variation in style and delivery, there in turn must be a new term to unnecessarily place upon that type of melody. Music can never be just music, it has to be some sort of music. When bands like Boombazi arrive, it just makes the designation process seem all the more meaningless.
There cannot be an encompassing genre that would justify the sound that Boombazi produces on their latest album, The Uncertainty Principle. There are the obvious indications upon first listen that because lead vocalist Justin Hogan spits out his rhymes in tight rapping verses that the group is a Hip-Hop outfit. However, the music
varies so often from time to time, that by calling Boombazi a Hip-Hop group would be a great disservice to the band.
Reggae, Ska, Rock ‘n’ Roll, Hip-Hop, and Funk (which seems to be the most proficient style of music on this album) are incorporated into Boombazi’s eclectic outfit of songs. The tracks can range from music featuring blazing horns, like in “Classic,” to tight rasta riffs on the cut, “Reggae Joint.” “Dub Flow,” the opening song on the album, and “4 Dz’” are classic funk tunes, sounding just like they came from Maceo Parker’s basement. Inter looped into almost all the tracks is a blaring, lighting-quick, Rock guitar coming from Luke Gardner that reminds the listener that Boombazi’s sound cannot be pigeonholed.
Boombazi are at their peak when the music is the focus and the vocals remain secondary (which is the case on most of the songs on the album), but that doesn’t take away from Justin Hogan’s clever, energetic lyrics. Dealing mostly with shout out verses for the praises of funk, Hogan has a middle-of-the-road vocal delivery, with none of his vocal tracks being too memorable. But when he chews out rhymes like, “Strategy flippin words like reciprocals/ Styles slick and sharp at the end like icicles,” it doesn’t matter what his voice sounds like. Boombazi’s exceptional musical composition and unique style make Hogan’s vocals simply the icing on the cake.
As long as there is music, there will be labels that accompany it. However, if more bands like Boombazi come around, those labels will quickly become obsolete.
- Will Resiman
Discography
"The Uncertainty Principle" Debut LP, 2003
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"Whatch you drinkin?" radio jingle for Stone Coast Brewery Beer 420 IPA, 2004
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"Boombazi" Self titled LP released 2007
Photos
Bio
Boombazi is a dynamic Funk Rock band from Portland, Maine. Their cohesive hybrid of Rock, Funk, Reggae and Soul bristles with earthshaking energy and is fueled at the core by great song writing. Reminiscent of the early records of Rage Against the Machine and the Red Hot Chili Peppers, Boombazi creates a familiar vibe that is instantly agreeable but maintains an explosive energy that is entirely their own.
The group was formed in 1999 and has gained a reputation throughout New England for their original booty shaking sound and aggressive live shows. The Boombazi lineup includes the soulful vocal stylings of Mello the Verbal Wonder and machine gun raps by JJ King. Both are members of Portland Maine's beloved Hip Hop crew, Lab Seven. Guitar is played by Nate Soule, blended with tight drum and bass by Nick and Benbazi.
Boombazi has shared the stage with major acts including: The Pharcyde, Sizzla, John Brown's Body, Reel Big Fish, Ra, Drums and Tuba, Seether, Next Tribe, Seepeoples, Paranoid Social Club and Gruvis Malt. Boombazi was selected to play main stage at the Adirondack Forrest Festival in 2005, The Apple Crisp Festival in 2004, The Vermont Alternative Energy Festival in 2003, and Bumstock in 2001.
In 2003, after three years of shows on the East Coast, Boombazi released its debut record, The Uncertainty Principle. It is a massive 16 song effort that exquisitely blends sounds of rock, punk, reggae, hip hop, and funk. Shortly after the release of The Uncertainty Principle, Boombazi recorded a radio jingle, "Whatcha you drinkin," for The Stone Coast Brewery beer 420IPA. This tune was played incessantly on the radio during the Red Sox campaign to Reverse The Curse and win the world series in 2004.
In 2005, the band recorded at Chillhouse Studios in Boston with Will Holland, best known for his work with the Pixies, Dead Can Dance, and the Seepeoples. After spending almost two years in the studio, they released their second record. The self-titled album features a variety of guest players including the gifted saxophonist, Ryan Zoidis, who is best known for his soulful playing with Rustic Overtones, Soul Live, and Lettuce. The record blasts through original arrangements of funk, rock, dub and hip hop. Sam Pfeifle of the Portland Phoenix boasts, "Boombazi have performed one of the more difficult music magic tricks: they've managed to create a funk-heavy sound that isn't at all dated and actually moves the genre forward.'
Boombazi is currently on tour in support of their newly released record.
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