Galactic ← THE MATRIX of FABULOUS DISCOVERY

Galactic's creative world can be reached by matrix vectors IN via the following artists ⇊ and explorable categories:

1 Funk
1 New Orleans

THE MATRIX is a concatenated system of vectored pathways in which artists can curate other artists in multiple aspects. It was developed in Brazil in order to provide worldwide access to Brazilian musicians by including them in a small world (~6 degrees) network in which ALL artists are in close reach of artists (and others) everywhere.

VECTORS OUT to RECOMMENDED OTHERS ⇶ 7

☀ VECTORS OUT are by THE MATRIX

Who I Am & Where I Live:

Name: Galactic
City: New Orleans
Country: United States

My Life

Biographical: Galactic’s first new studio album in more than three years, ALREADY READY ALREADY – released on their own Tchuop-Zilla Records – sees the renowned New Orleans based instrumental outfit taking a distinctly contemporary approach towards their own progressive sound, interpolating modern rhythms and electronic instrumentation within the house-shaking framework of the Crescent City’s funk pop ‘n’ roll. Produced by the band’s Robert Mercurio and Ben Ellman, the new LP finds Galactic once again enlisting a diverse array of vocal collaborators to assist in their musical exploration, each of whom lend lyrical flavor and individualistic personality to the band’s multi-faceted sonic grooves. Bookended by a high powered pair of trademark Galactic instrumentals that give the album its title, ALREADY READY ALREADY. The album is a short, sharp blast of undeniable creative muscle, from the stripped down kick/snap verses of “Going Straight Crazy,” featuring New Orleans singer (and YouTube sensation) Princess Shaw, to punk cabaret artist Boyfriend’s quirky speed-rap on the breakneck “Dance At My Funeral.” As ever, Galactic’s omnivorous musical interests make easy classification utterly impossible – ALREADY READY ALREADY is as all encompassing and universal as the band’s moniker established long ago.

“I’ve never been able to put a label on what we do,” Ellman says. “I could say it’s funk or I could say it’s R&B or jazz or whatever else, but really, it’s all of that.”

“It’s not that we’re always trying to push boundaries,” says Mercurio, “but we definitely take influence from our hometown and try to do something new with it. We tour all around the world and we’re exposed to tons of elements that filter their way into our consciousness and come out through our music.”

Though their hearts are always in New Orleans, Galactic spends virtually all its life on the road, leaving limited timeframes in which to record. Whenever time allowed, the group holed up at their studio headquarters, Number C, where they were free to experiment and develop new ideas.

“Having our own studio allows to not be on some schedule,” Ellman says, “where we have to have material, save up some money, book the studio, and that’s the time we have to make a record. It’s a completely different process, where we can always be working on music.”

Over time, the tracks revealed themselves as either instrumentals (like the slippery, dub-inflected “Goose Grease”) or vocal songs. The band, so well woven into their city’s ever-changing music scene, began to thumb through their little black book in search of collaborators.

“Our community is so rich with talent,” Ellman says. “We’re just lucky to be in a situation where we can make phone calls, then someone comes to the studio, we kick it, start working on things. It’s all really organic.”

Galactic brought in a diverse array of predominantly young female singers, each of whom brings their own disparate musical tastes and cultural flavor. Working with artists lesser known on the national stage but beloved in their own community enables Galactic to evince a kind of sonic truth about their hometown, putting its multi-faceted underground to the fore.

“Trust me, I loved having Macy Gray and Mavis Staples on our last record,” Mercurio says. “It was an honor to work with them. But there’s something fun about making music with someone not everybody has heard of and end up getting a great reaction to it. There are no preconceived thoughts as to what the song should be like because the listener doesn’t know the artist as well.”

That being said, a number of the voices heard on ALREADY READY ALREADY are Galactic veterans: “Touch Get Cut” features the band’s touring vocalist, Erica Falls, while “Clap Your Hands” is sung by Ms. Charm Taylor, previously featured on 2015’s acclaimed INTO THE DEEP. The lilting “Everlasting Light” teams Galactic with frequent collaborator, The Revivalists’ David Shaw, alongside Nahko of Nahko & Medicine For The People – the only non-New Orleans resident among the features.

As for working with Nahko, Ellman says, “We just liked his vocal.” “Being from New Orleans isn’t a prerequisite for working with us. You never want to be restricted, it’s whatever serves the song best.”

Galactic is, likely even at this very moment, on the road as usual, with Erica Falls putting her own stamp on ALREADY READY ALREADY’s songs as they manifest new shapes through live performance. As if their perpetual tour schedule weren’t enough, Galactic announce the band’s purchase and future stewardship of New Orleans’ legendary Tipitina’s nightclub.

“We’re so incredibly honored to be tasked as the current caretakers of such a historic venue,” says Ellman. “My connection with the club started way before I was lucky enough to take the stage. My first job in New Orleans was at Tipitina’s as a cook in the (now defunct) kitchen. The importance of respecting what Tip’s means for musicians and the city of New Orleans is not lost on us. We’re excited for the future of the club and look forward to all the amazing music and good times ahead.”

With that in mind, it turns out that, despite the lack of released work, the past three years have in fact been remarkably prolific for Galactic. The sessions that yielded ALREADY READY ALREADY will generate still another LP due later in 2019, one which Ellman describes as “possibly more of a throwback thing” but will almost certainly morph into something altogether new and wonderful via Galactic’s evolutionary musical vision.

“There’s no telling what those songs will sound like when we’re through,” Mercurio says. “Once we get in there and start twisting them, see what perks up our ears, stuff can definitely take a left turn. That’s kind of the story of Galactic right there – we’re constantly taking left turns. I wonder what it would be like if we took a right…?”

The Matrix is 100% algorithm free. It is built on H.I. (human intelligence) rather than A.I. Absolutely zero FB/Cambridge Analytical-style espionage.

You can link from your webpage to your matrixpage using this downloadable image (an explanation of what our logo means is here):

If You Can't Stand the Heat

Brazil is not a European nation. It's not a North American nation. It's not an East Asian nation. It straddles -- jungle and desert and dense urban centers -- both the equator and the Tropic of Capricorn. It absorbed over ten times the number of African slaves taken to the United States of America, and much of its aboriginal population was absorbed into the general population-at-large. Its people have lived under oligarchy, plutocracy, dictatorships and massive corruption, with elements of these still strongly entrenched today.

But!

Brazil has buzz...not the shallow buzz of a fashionable moment...but the deep buzz of a population which in spite of -- or perhaps because of -- the tough slog through life they've been allotted by humanity's dregs-in-fine-linen, have chosen not to simply pull themselves along but to lift their voices in song and their bodies in dance...to eat well and converse well and much and to wring the joy out of the day-to-day happenings and small pleasures of life which are so often set aside or ignored in the European, North American, and East Asian nations.

For this Brazil has a genius perhaps unparalleled in all other countries and societies, a genius which thrives alongside peeling paint and holes in the streets and roads, under bad organization by the powers-that-be, both civil and governmental, under a constant rain of societal indignities...

Which is all to say that if you don't know Brazil and you're expecting any semblance of order, progress and light, you will certainly find the light! And the buzz of a people who for generations have responded to privation at many different levels by somehow rising above it all.

THE MATRIX BEGAN IN BAHIA, GROUND ZERO FOR BRAZIL'S SUN-CARONA-VIBRANT CULTURE

⇒ ...rooted in a region called the Recôncavo, analogous in Brazil to the Mississippi Delta in the United States.

IT REACHES FROM BRAZIL TO CUBA TO BROOKLYN TO BERLIN TO TOKYO TO TIMBUKTU

⇒ To wherever people want to take it...

IT IS THE NEXT-STEP EVOLUTION OF A SPECIALTY RECORD SHOP

⇒ ...opened in Salvador to showcase magisterial musicians almost completely unknown to the world...many of them living in poverty or close to it and unable to avail themselves of traditional (and costly) means of publicizing. With David Dye of World Café below, for broadcast on U.S. National Public Radio.

PRE-BRAZIL — IN NEW YORK CITY — WE "RESCUED" UNPAID ROYALTIES FOR PERFORMERS & COMPOSERS INCLUDING:

⇒ Aretha Franklin, Barbra Streisand, Led Zeppelin, Philip Glass, Mongo Santamaria, Airto Moreira, Gilberto Gil, Astrud Gilberto, Jim Hall, Taj Mahal, Robb Royer of Bread, Speedo & the Cadillacs, and many more! With Speedo's (Earl Carroll) amazing story (kid singing on the streetcorners of Harlem to doo-wop fame to working as a beloved school janitor) I learned (as Quincy Jones had figured out decades before) that greatness and fame are completely independent. The wave repeated here in Brazil with Raimundo Sodré, who went from zero to national fame and back to zero.

HENCE THE (so far world's only) SMALL WORLD CURATION NETWORK...

⇒ A wave of Exu's cyberwand opening pathways allowing ANY ARTIST — FAMOUS OR NOT — in ANY FIELD — in ANY PLACE in the world — to potentially be reached by ANYBODY from ANYWHERE (Exu -- eh-SHOO -- is the Afro-Brazilian deity responsible for opening pathways).

BY WHAT WIZARDRY?

⇒ We've all heard of six degrees of separation, more properly called a small world network. Within six or so steps we can move through a chain of people knowing other people to just about anybody on the planet.

SIMPLY CHANGE "KNOW" TO "RECOMMEND"

⇒ In exactly the same way — although the number of steps might vary — we can move through chains of ARTISTS CURATING ARTISTS to to just about any artist on the planet.

LIKE THIS...

⇒ From Quincy Jones we access one of his protégés, stellar young Cuban pianist Alfredo Rodriguez. From Alfredo Rodriguez we access a fabulous multinstrumentalist Alfredo plays with, Munir Hossn. Two more steps and we've reached the above-mentioned Raimundo Sodré, formerly virtually unreachable in Bahia...

Raimundo Sodré & His Music from Northeastern Brazil

Dengo

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Sina de Cantador - Raimundo Sodré (6,557 plays)
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Magnetismo - Raimundo Sodré (6,236 plays)
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Sacando a Cana - Raimundo Sodré (5,881 plays)
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Mêrêrê - Raimundo Sodré (5,404 plays)
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A Massa - Raimundo Sodré (4,959 plays)
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Jardim do Amor - Raimundo Sodré (4,632 plays)
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Debaixo do Céu - Raimundo Sodré (4,113 plays)
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Desejo de Amar - Raimundo Sodré (3,824 plays)
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Oração pra Yá Oxum - Raimundo Sodré (3,703 plays)
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Yá África - Raimundo Sodré (3,474 plays)
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Meu Rio, Cadê o Papel - Raimundo Sodré (3,149 plays)
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Casa de Trois - Raimundo Sodré (2,869 plays)
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Mulher é Laço que Prende o Coração do Va... (2,532 plays)

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DICTATED SILENCE

⇒ Sodré's meteoric major-label career was crushed by the Brazilian dictatorship years ago and he was forced to flee Brazil under threat of death...into a 19 year exile. He became almost impossible to find and hear, even after returning to Brazil.

MUSIC FALLS LIKE RAIN

⇒ But now lines of everbranching interlinked recommendations rise from Bahia to form a (small world) network rounding the planet like the arboreal canopy of a vast Amazonian rainforest. When the dictatorship ground Sodré into the dust, they unwittingly planted a seed.

IS THE MATRIX AN ALTERNATE REALITY?

⇒ Only if your reality has been defined by corporate mass media. The original meaning of "matrix" is "source", from "mater", Latin for "mother". We're real mothers for ya!

DOES THE MATRIX WATCH YOU?

⇒ Zero surreptitious tracking, data mining and data brokerage per Cambridge Analytica, Facebook, et al.