Growing like wildfire under the canopy of live electronica and experimental world fusion music, the acclaimed musical trio Beats Antique launch their fall tour to finish out 2012 in support of their upcoming Contraption Vol. 2, a new cinematic, orchestral, and seductively bass heavy EP.
As the trio masterfully merges modern technology, live instrumentation, brass bands, string quartets, glitch, and dubstep, Beats Antique’s highly anticipated new album explores another octave of musings first begun in 2009 with Contraption Vol. 1. Three years and eight new original compositions later, Contraption Vol. 2 – arrived on Tuesday 9.18.12 – to round out the collection.
With a stage performance containing more sensory indulgences than the most lavish genie’s lair, Beats Antique indulge their fans to a raw, animalistic musical events that blur the lines between the provocative, the spiritual, and the artistic while still maintaining allegiance to the muses of class and beauty. The tour, “Animale Mechanique”, covered 35 locations in North America and ended with a 36th once-in-a lifetime show in front of The Pyramids in Egypt on the Winter Solstice.
Having already enchanted audiences at Coachella, Lollapalooza, Bonnaroo, Red Rocks and beyond, Beats Antique’s live performances blend electro-coustic breakbeats set to a Bollywood bass-circus stage show, with the sophistication of top hats receding to a sea of animal masks and wild feather headdresses. Their ability to blur the line between artist and audience even before the curtain rises creates a total escape both through live performance and the album experience that leaves critics and fans reeling alike.
Consider “Allure,” the opening track on Contraption Vol. 2 – you are instantly transformed into a Moroccan special agent awaiting your next assignment from the haunches of a camel. And truth in the music is told as the acoustic and electronic indulge in one another until they can’t be told apart. This is best observed after listening to — and not initially realizing the purely stark acoustics of “Crooked Muse” featuring LYNX effortlessly leaving behind electronic production entirely.
Listening to any of the four past albums and several EP’s over the last five years, a deeper earthen anthropology begins to reveal itself. The journey that led to Beats Antique was a winding and twisted path from the West Coast and eclectic underground of San Francisco’s performance art scene, to the ancient trade routes of the silk road. In this modern incarnation, the musical alliance of producers David Satori and Tommy Cappel is inspired and emphasized by their collaborative partnership with world-renowned belly dance performer and music producer Zoe Jakes.
David Satori studied at California Institute of the Arts and Tommy Cappel studied at Berkeley School of Music before they ventured to locations such as Bali, West Africa, and Serbia. With extensive backgrounds in multicultural music production, and the passports to prove it, Satori and Cappel command the spectrum of live and digital instrumentation with skills born from Traditional Folk to Hip Hop and old school Jazz.
Zoe Jakes adds a third dimension as the diverse and disciplinary dance counterpart to Beats Antique’s sound. Jakes has worked with two major dance troupes, including Miles Copeland’s Bellydance Superstars and Rachel Brice’s Indigo Belly Dance Company, and is a student of ballet and contemporary techniques.
Beats Antique is best imagined as an innovative creature built from the cumulative heritage of the world’s music chasing its tail. However vivid that image, when a marching band groove crashes into bluesy folk chords only to be accompanied by electronic beats and Middle Eastern melodies, you’ll still be surprised and taken to a place you hadn’t previously known existed.