Riot Artists APAP Showcase

Mo' Beat Mondays Presents

Riot Artists APAP Showcase

Battle of Santiago, DakhaBrakha, Maarja Nuut, Emel Mathlouthi, CAMBALACHE, Nickodemus

Monday, January 18th, 2016

Doors: 6:00 pm / Show: 7:00 pm

Tickets at the Door

This event is 21 and over

Tickets available at the door.  $12 Day of Show or Free with APAP Badge

21+ Event

Battle of Santiago
Battle of Santiago
The Battle of Santiago: Call it a sound clash with a victorious outcome. This Toronto-based instrumental ensemble comprises seemingly disparate musical elements. Out of potential conflict, however, comes a bracingly refreshing new sound that is quickly turning ears.

Group founder and creative catalyst Michael Owen explains "Within The Battle of Santiago (TBOS) we have a Latino section and a Canadian section. Everyone comes with such a variety of experiences. That can create something of a battle within the group, I think that kind of energy or tension creates a really good environment. You can feel the push and pull."

This instrumental lineup of The Battle of Santiago helps account for its unique sound. The drummer-less percussion provides a solid yet subtle sonic foundation, upon which the other instruments weave their magic, intersecting with each other in fascinating fashion. The result is music that is simultaneously rhythmic, ambient and atmospheric, a tricky combination that TBOS achieves with graceful ease. "I believe we've developed a sound I haven't heard before and that makes it interesting. That's the whole reason I'm doing this," explains Owen.

This style is eloquently showcased on Full Colour, the debut full-length The Battle of Santiago album making converts at campus radio, Full Colour was released under The Battle of Santiago moniker on Owen's new independent label, Made With Pencil Crayons, charting nationally hitting #14 on the 2012 Top 20 College radio charts for international music.

The Battle of Santiago has also quickly earned a reputation as a dynamic and exhilarating band live, one that uses video and lighting to striking effect. In partnership with artist/designer Patricio Davila, the group integrates digital visual art, live musical performance and audience interaction, creating an organic audio / visual installation designed to stimulate the senses in vivid fashion. "I've always presented multi-media performances with my bands, and the sound of The Battle of Santiago really lends itself to that environment," says Owen.

Showcasing at Ontario Council of Folk Festivals conference, Mundial Montreal, Canadian Music Week, and Le Festival Musique Multi Montreal and thrilled audiences at Yonge & Dundas Square for the Small World Music Festival and helped fuel public interest, and in July 2012, TBOS had a successful tour of British Columbia. A second full-length album, Followed by Thousands, was readied on a March 5th, 2013 debuting at #4 on the International music charts in Canada, evidence that the band is on a real creative roll.

The Battle of Santiago are not sonic purists. Owen readily acknowledges that "I'm not a world or Latin music guy. I've always produced rather ambient experimental music. I'm still learning about rhythms and styles, but I have learned so much from Reimundo. He has really opened my eyes to the fact that I don't need a drummer. I'd always been focused on the typical rock band setup."

In turn, Owen has encouraged the percussionists in The Battle of Santiago to step outside of their comfort zones in the way they approach the compositions. It is this sense of creative musical exploration within the group that helps set it apart. Each member of The Battle of Santiago has considerable sonic input. "I can always make music by myself, but I get better music if I make it with other people," Owen explains. "If I'm telling people what to do, it rather defeats the purpose of having them involved. I want to use their individual styles and sound on what we're doing." The freedom given each musician to express themselves through improvisational creativity allows the arrangement of each composition to evolve organically.

Defining the TBOS sound is a slippery task, but Owen's preferred phrase, Afro-Cuban Post-Rock, best encapsulates its essence. "We're not doing Latin rock like Santana, we're not doing orthodox post-rock because we've got these Latin rhythms, and it's not traditional Afro-Cuban either," he says.

Refusing to limit themselves to the parameters of one style does have its dangers, Owen acknowledges. "The world music types say it's not rootsy or folkie enough, the jazz crowd say it's too loud, and the rock guys say it's too world. We get beat up from all sides. Although Owen does look at it positively, our first release hit the World, Jazz and Top 30 college radio charts here in Canada. That really showed us we're doing something different." The group is now focused on upon recording and producing new material for their third full-length album set for release in 2014.
DakhaBrakha is music quartet from Kiev, Ukraine. Reflecting fundamental elements of sound and soul, Ukrainian “ethno chaos” band DakhaBrakha creates a world of unexpected new music.
DakhaBrakha was created in 2004 at the Kyiv Center of Contemporary Art “DAKH” by the avant-garde theatre director – Vladyslav Troitskyi – and given the name that means “give/take” in the old Ukrainian language. Theatre work has left its mark on the band performances – their shows are always staged with a strong visual element.
After experimenting with Ukrainian folk music, the band has added rhythms of the surrounding world into their music, thus creating the bright, unique and unforgettable sound of DakhaBrakha. They strive to help open up the potential of Ukrainian melodies and to bring it to the hearts and consciousness of the younger generation in Ukraine and the rest of the world as well.
Accompanied by Indian, Arabic, African, Russian and Australian traditional instrumentation, the quartet’s astonishingly powerful and uncompromising vocal range creates a trans-national sound rooted in Ukrainian culture. At the crossroads of Ukrainian folklore and theatre, their musical spectrum is at first intimate then riotous, plumbing the depths of contemporary roots and rhythms, inspiring “cultural and artistic liberation”.
In March 2010, DakhaBrakha won the prestigious Grand Prix prize named after S.Kuriokhin, in the sphere of contemporary art, and confirmed its place in the culture once again. In March 2011 DakhaBrakha was discovered by Australian Womadelaide and began their ascent in the international music scene. They have since played more than 300 concerts and performances and have taken part in major international festivals throughout Eastern and Western Europe, Russia, Asia, Australia, and North America. DakhaBrakha has also collaborated with such international musicians as: Port Mone (By), Kimmo Pohjonen Cluster (Fi), Karl Frierson (DePhazz) (Ge), Steve Cooney (IRL), Inna Zhelannaya (Ru), Kievbass (UA), Djam (UA-Iran), and David Ingibaryan (Hu).
Maarja Nuut
Maarja Nuut
Maarja Nuut is a fiddler and singer from Northern Estonia. Her music combines traditional dance tunes, songs, and stories with live electronics, creating a space where classical minimalism and experimental music meet the village musical traditions of pre-war Europe.
In the spring of 2013, Maarja released her debut album “Soolo”, which—in addition to many glowing reviews—also received a surprise Twitter shoutout from Duran Duran frontman Simon LeBon. Having received 2015’s Tallinn Music Week Prize and showcased at Womex 2014, Maarja Nuut has managed to successfully attract the attention of the international music industry. A mere two days after performing at Womex, she was invited to give concerts in the United States by Carlos Tortolero, the main organizer of the Chicago World Music Festival. More concerts soon followed, including performances at the Kennedy Center, CUNY’s Elebash Hall, and the Toronto Small World Music Festival. In addition to her recent debut US Tour, Maarja has also performed in Hungary, Poland, Switzerland, Finland, Sweden, Italy, UK and France.
Having studied classical violin at the Estonian Academy of Music and Theatre and completed her Masters degree at the Royal College of Music in Stockholm, she is as much a traditional musician with a classical background, as she is a contemporary, classical composer, who gathers inspiration from Estonian traditional music. While her work is often compared to composers such as Arvo Pärt, Philip Glass, and La Monte Young; Matador Records‘ Director of Publicity and Artist Liaison notes that “Maarja Nuut is someone that can bring Estonian folk to an international audience. (…) I can see a contemporary indie audience for her as well: for example, fans of Bon Iver, Andrew Bird, and Sigur Ros.”
Emel Mathlouthi
Emel Mathlouthi
Tunisian vocalist, songwriter, and guitarist Emel Mathlouthi captivates hearts and minds with her intimate, lyrical style, fierce rock beats, and throbbing trip-hop and oriental influences. Mathlouthi tells the story of HER Tunisia: the dark years as a young rebel and dissenter; the strife of being a female musician; her artistic and ideological struggle after her songs were banned from the radio and TV; and the dual love and suffering that came from longing for home while living in a free country.
Emel began her artistic career at the age of 8 in Ibn Sina, a suburb of Tunis. At age 25, oppressed by the Tunisian government because of her music, she moved to France to pursue her career as a singer, and then in 2014 she took another step in her career and moved to New York City. She has been said to evoke the urgency of American folk singer, Joan Baez, with the devotion of a chanter of ancient sacred music and the presence of a soul diva. She has given concerts in Saudi Arabia and all over the Middle East, as well as Europe and North America.
Her passion and courage is evident in her deeply confessional music and powerful presence. Her song Kelmti Horra (My Word is Free) was taken up by the Arab Spring revolutionaries and sung on the streets of Tunis. Her arrangements include electronically sampled sounds of the Arab Spring street protests, speeches from the deposed Tunisian president, and the announcement of resignation from Egypt’s former President Hosni Mubarak. But regardless of the words, her voice itself evokes a yearning for freedom and change. She has quickly become a voice of the revolution and a shining musical light for the future.
Cambalache, meaning exchange, is a Chicano-Jarocho group based in East Los Angeles. Founded in 2007 and led by César Castro (sonero, maestro and luthier from Veracruz, Mexico), Cambalache plays and promotes traditional son jarocho through performance, music workshops, and educational demonstrations. In the spirit of the fandango, a traditional celebration of music and dance, Cambalache engages its audience through participatory performances.
In 2010, Cambalache organized an important fundraiser for victims of Hurricane Karl in Veracruz, thus strengthening decades of social and cultural exchange of the Chicano-Jarocho network. Cambalache’s educational mission involves demonstrations from elementary school to universities, museums and music festivals. The music of Cambalache was featured on August 7, 2011 on NPR’s All Things Considered stating, “Son Jarocho has been popular in Los Angeles, going back to the 1950s with Ritchie Valens, then Los Lobos. Today, it’s a part of the regular soundtrack of Latino music in East L.A.”
New York City-based DJ/producer Nickodemus made a name for himself as the resident DJ of the long-running Turntables on the Hudson club night, and he also released numerous productions over the years, most notably the full-length albums Endangered Species (2006), Sun People (2009) & Moon People (2012). As a producer, Nickodemus produces music from all parts of the World, but all rooted in Club Music from his upbringings in NYC. His highlights include the songs "Cleopatra in New York" & "Mariposa" featuring Carol C (Si Se), "Mi Swing es Tropical" by Nickodemus & Quantic feat Tempo, "Sun Children" featuring The Real Live Show & "Free Souls" as well as Remixes for Nina Simone, Billy Holiday, Bob Marley, Mr Scruff feat Alice Russell, Thievery Corporation, Astor Piazzolla, Miguel Migs, Quantic & many more. Expect a dabce-floor journey around the globe full of funky rhythms!
Venue Information:
Brooklyn Bowl
61 Wythe Avenue
Brooklyn, NY, 11249

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