Produced by Bosco Mann and TNT at Daptone Records’ “House of Soul Studios” in Bushwick, Brooklyn, The Budos Band’s third full-length studio effort was conceived during...
Produced by Bosco Mann and TNT at Daptone Records’ “House of Soul Studios” in Bushwick, Brooklyn, The Budos Band’s third full-length studio effort was conceived during weekly, beer-fueled Staten Island writing sessions – as well as more than 150 live gigs over the last two years – and recorded during a 48 hour period in January 2010.
Since the release of their critically acclaimed The Budos Band II (2007), Staten Island’s sole afro-funk collective has been keeping busy. The Budos have toured Europe, the U. S. West Coast, Midwest, New Orleans, Miami, Northeast, and Canada. A mix of club dates, festivals, and the occasional high-profile private event has placed the band in front of a wide range of listeners. One two-week span at the end of the summer of 2008 saw them play jazz clubs in France, pubs in Belgium, the large Lowlands Festival in Holland, and Mark Ronson’s birthday party at a private estate outside of London.
“Heading into the studio for Budos III, I really thought we were going to make the first psychedelic, doom-rock record ever recorded at Daptone,” recounts longtime Budos de facto front man and baritone saxophonist, Jared Tankel, “but somehow it ended up sounding like a Budos record.”
Stacked with tight rhythms, blistering breakbeats, blaring horns and, yes, perhaps even a tinge of psychedelic doom-rock, The Budos have been able to take their sound around the world and make a danceable mess of festival-goers from Montreal and Vancouver to Bumbershoot and High Sierra, as well as hold their own on stage with a diverse array of artists, from the Flaming Lips to Santigold, Maceo Parker to Les Claypool, Meshell Ndegeocello to Sharon Jones & the Dap-Kings. The unique and signature sound of The Budos has become a favorite for music supervisors to use in TV, film and video games, as well as producers who have sampled The Budos on numerous hip-hop tracks.
If the menacing album art, which features a cobra primed for the attack, is any indication of the music itself, we can expect an all out assault of the senses, with a tendency towards the venomous and psychedelic. “The end result,” as Pitchfork states, “is something so hip it could kill you in large doses—in the right doses it just plain kills.”