May 02

RAW – POND at Ed Castle – Review

POND Interview, Album and Album Launch Review

Words by Lucy Campbell
Photographs by Genevieve Brandenburg

The first time I set eyes on POND it’s as a nervous support act for cult heroes The Flaming Lips at Thebarton Theatre. They were kind of quasi psych, all big matted afros and 70s hippie schtick with a waif like singer that called himself Paisley, half-heartedly pulling Jagger ‘78 moves when the feeling overwhelmed him. Despite said moves, there was something missing in their set, and though the sight of freak-in-residence Wayne Coyne nodding appreciatively from the wings and Lips instrumentalist Steven Drozd sitting cross legged on stage thumping the floor and rocking back and forth excited the audience, it was clear that POND had a long way to go before their psych freak-outs took a shape of their own. It wasn’t until weeks after the gig that I discovered two core members were of Tame Impala, and POND had barely had a chance to breathe (or rehearse) under the monolith of Tame Impala’s rise to grubby underground stardom.

So when I had the chance to cover their Adelaide album launch I was curious. I’d heard they had a sincerely intense US tour in the meantime, and now were a tight live band baptized under fire in a thirty date run in the States, returning home in ragged celebration of a job well done.

I phone interviewed guitarist Joe Orion the day before the show, and it went like this:

Hey man, how’s it going?

Joe Orion: Really well, thanks.

How’s the tour going?

JO: Yeah pretty good. We’ve been getting pretty loose and rocking out pretty hard.

The first time I saw POND, you were supporting The Flaming Lips.

JO: The Adelaide show?

Yeah, that’s right.

JO: I just want to say that I didn’t mean to diss Adelaide that time.

Well, I was gonna pull you up on it…
JO: I felt so bad afterward. I hope everybody forgot about it once the Lips took the stage.

How was playing with the Lips?

JO: It was amazing because they’re my favourite band to listen to. I started off around listening to At War With The Mystics and worked my way either side of that. It’s just like, dream come true for me. First time I met Wayne Coyne on that tour he came up to me and grabbed my hand and he was like, ‘what is this man, a hair contest?’

Tell us about your new album ‘Beard Wives and Denim.’ Where did the title come from?

JO: We’re following the rock cliché kinda pattern where you do your super huge album, which never happened for us but meant to be ‘Frond‘, and then you ride into success developing coke addictions and then all of a sudden you’re like, ‘I need to get back to my roots.’

Kinda like the George Harrison with beard moment?

JO: Yeah, totally. So you grow beards, wear Canadian tuxedos and bring your wives our to the bush. But none of us can really grow beards except for our new drummer. I attempt but I don’t really get anything, I’m still a little patchy. But that’s the idea where bands get back to their roots and get all wholesome, even though it [Beard Wives Denim] doesn’t sounds remotely like a wholesome country album.

Yeah, you guys recorded it in the wilderness somewhere, right?

JO: We went down to a friend of ours’ farm, this one room shack in this big old property with cows goin’ round and just locked ourselves down there for ten days and belted out the album. We had so much fun doing it. We did it all live, and we’d get to twelve takes of a song and be like, ‘oh we’re so close,’ so we’d pump out a couple songs a day until we’d get the right take and move on.

Ten days doesn’t seem like a long time. How do you write songs? It sounds like the jam them out.

JO: We recorded that album a long time ago, like 2010, and at that time me, Nick [Allbrook, vocals] and Jay [Watson, guitar] had all the songs, just chords and the lyrics and when it came time to record we’d go through it once or twice and it would start developing itself and so at the end of take ten there’s like, a five minute freak-out jam in the middle of it. We did kinda jam out the album, but we still came to the table with bones of the songs.

This is your fourth album, and to be honest I hadn’t heard of you until you supported the Lips. But I’ve a lot more since. POND have been flying under the radar, to some extent in the shadow of Tame Impala, but do you think the band is finding its feet now?

JO: In all honesty we’ve hated being referred to as the side project of Tame Impala. All the other albums we’ve made don’t sound anything like Tame Impala, POND are like stoned acid fuelled operas with guitars. We’re developing our sound now because we have more of a solid lineup. Everybody has their place.

Does the band ever have difficulty separating ideas for Tame and ideas for POND?

JO: Kevin [Parker, vocalist in Tame Impala] writes pretty much all the songs and parts and records them in Tame Impala so it’s not like there’s any conflict of melodies. It’s never like, ‘is this going to be Tame, or is this going to be Pond?’ It’s always just, ‘this is POND.’ The only thing we have to deal with is press calling us Tame Impala’s side project and when Tame Impala go on tour. But it‘s the boys [Allbrook and Watson’s] song writing outlets as well.

So it seems like this is everybody’s outlet for letting go of it all?

JO: That’s right. Everybody else has got these side projects going but the best songs always get put into POND. Everybody’s got different tastes in the band, y’know everybody gets to hold the pencil while you draw the picture so it comes out all fucked up and POND-ey.

You guys played SXSW this year didn’t you?

JO: SWSW blew my mind. There were just so many people that we experienced in the streets and so many freaks running around there, it was awesome.

What were your impressions of the US?

JO: I loved it! I thought America was amazing. I wanna go back myself and buy a van and just drive around and meet people. ‘Cos everyone is so nice there. We got back to Sydney and went to a bar and all the bar staff were just hating on us. Sour puss on their faces and just like, not really chatty but in America everyone’s wanting to earn their tips and genuinely happy to talk to you. I wouldn’t say we’re paying for their conversation, but…

So after you’ve wrapped up this tour, what’s next for the band?

JO: Well, we’re going to the UK for four weeks. We got a couple festivals and they’re all over the place. Germany, Luxembourg, Britain…

So you’ll pick up some music vibes while you’re over there?

JO: Definitely. I’ll bring my record case and pick up some krautrock records while I’m there.

In America I got some great records and I can’t wait to get home and play them.

Speaking of records, when’s the next POND record coming out? Will there be less of a gap between recording and releasing this time?

JO: Well, if the world is just, definitely. That was ridiculous, two years [between making the record and releasing it] is just stupid. We were bogged down with contractual issues, so this time we’ve got it sorted so if anybody tries to dick us around we’ll just release it on the internet. We’re over it, you know. It sucks having an album waiting around and you can’t progress or anything.

Album & Launch Review

Beard, Wives and Denim is a sprawling cataclysm of loose, frenetic psychedelic freak-outs made by Perth collective POND. Ripping power chords heralds opener ‘Fantastic Explosion of Time’ followed by reverb drenched ‘When It Explodes,’ followed by a bunch of spacey songs that sound not indifferent to one another, until we reach the only real verse-chorus song of the record, ’You Broke My Cool.’ Despite such setbacks it’s all pretty enjoyable and carefree and rather charming. It was clearly made with gusto, waves of psychedelica blending with garage and jams that disappear into distortion and white noise.

Watching them live, the band take a while to get into the groove. A packed Ed Castle is receptive, warmed up by the vaguely absurd Mondo Phase Band and super serious prog-sters Like Leaves. When POND hit the stage, everybody’s a bit drunk and feeling like a sardine in the tiny band room. The band fly through a bunch of recent songs, highlights including ‘You Broke My Cool,’ and the distinctly Pink Floyd-esque ’Eye Pattern Blindness.’ POND seem to have picked up some tips from veteran DIY duct-tape aficionados The Flaming Lips, taping a multi-coloured light to front man Nick Allbrook’s flute (yes, flute!). There’s a sense of the silly with both Allbrook and POND, self-consciously hip titles like ‘Sorry I Was Under The Sky’ and ‘Dig Brother’ are throwbacks to another, Woodstock Age. The androgynously vague Allbrook slithers self-consciously on stage, conjuring tripped out shadow puppets and druggy incomprehensible singing that sits so low in the mix it takes a while to realise it’s even happening. The rest of the band are all flailing long hair and brutally loud guitars, and they’ve found their feet in the months intervening our last meeting.

Rather like the album, POND’s live show is all about having fun, letting go and succumbing to the pseudo-spiritualism of the Bigger Groove. They might be a teeny bit long-winded and oddly self-conscious but ultimately it’s ripping nostalgia with the right amount of self-awareness to satisfy the cynics.

May 02

SHORTS Film Festival – Tuesday Night Reviews

By Rupert Hogan Turner

I rushed (late again) into the fourth night of the Shorts film festival, keen for another movie length set of short films.

There were some definite stand outs from the crowd; ‘Secret Life of Objects’, ‘Betty’s Tap Catz’ and ‘L’Artiste!’.

‘Secret Life of Objects’, similar to Toy Story, followed the tale of objects when people aren’t around. This time it followed the tale of an almost empty toilet roll. The tale is riveting, clever and hilarious.

Documentaries don’t always work, they can come off looking like cheap advertisements or videos that put year 10s to sleep in science class. The documentaries in this year’s festival however are terrific and ‘Betty’s Tap Catz’ is no exception. Betty is an elderly dance teacher in Queensland who has started a trend; a dance school for people aged 70+. Rarely, documentaries are on topics which are interesting but completely over looked, I think that’s what makes this movie so special.

Finally, ‘L’Artiste!’ is a film following the greatest mime to ever live, and one of his best performances. Although a great deal was ruined before the movie was properly shown. (The movie shown before the actual short films, made of splices of entrant movies, showed two of the key scenes from the film) The ending was still unexpected, the concept novel and the humour clear. Well shot, acted and edited a true delight bestowed upon the audience.

The festival continues until this Saturday the 5th of May, I urge you to head along and catch a flick.

May 01

RAW – Burlesque Preview – Bring Back the Showgirl – This Friday & Saturday

Bring Back the Showgirl
Infusing Old-School Glamour with the Burlesque Revival

Bring Back the Showgirl infuses the art of the traditional showgirl with the beauty of the new-wave big burlesque into one glittery, glamorous and sexy show. Showcasing award-winning Australian performers, Bring Back the Showgirl is reminiscent of the tradition of old Hollywood and Parisian clubs.

Producer and current Miss Burlesque WORLD, Cassandra Jane, started performing in 1999 and soon rose to become one of the most prominent showgirls in Australia.

“When I first started in 1999 we would be working in up to 15 venues a week and would perform with big-name adult entertainers such as Cassie Tyler and Gorgie Girl. Yes, they were adult entertainers or ‘strippers’, but their style was all about elaborate costumes, presentation, glamour, choreography and class. This craft has been lost over the past 10 years, as the showgirl has gone from being sexy to sexual. Bring Back the Showgirl is bringing the SHOW back into the girl.”

Bring Back the Showgirl started off as a fundraiser in 2011 to raise funds to help Cassandra Jane make her 13-year dream of winning the Miss Nude Australia pageant come true. Which, incidentally she did.

Back-up dancers, big props and big costumes – Bring Back the Showgirl stars Cassandra Jane, Miss Burlesque Victoria 2012 Strawberry Siren, international teaseur Bella De Jac and guest artists including world-renowned burlesque revival performer Gypsy Wood and Miss Burlesque NSW 2011 Danica Lee. A show not to be missed!

Tour dates: 7 shows around Australia with a US tour to be announced shortly.

Adelaide: May 4  & May 5 Star Theatre – 8pm

Tickets: From $35-$55 http://bringbacktheshowgirl.com/tickets/

Apr 30

SHORTS Film Festival – Night 2 (Sunday)

Night 2 of this year’s SHORTS Film Festival contained 12 films including two from the UK.

In the first half, the Victorian, Like It Was Yesterday was the stand out. The tale of a young man finding ways to communicate again with his father afflicted by dementia through old photos discovered that carried detailed notes and letters on their backs was a fresh and moving exploration of this increasing issue in society. The D’Souza family production team involved skilfully stayed clear of layering on unnecessary additional sentimentality through careful use of their climax scene.

WA entrant, Jackhammer may get marks for technical production effort but many fewer for their story. The depiction of how law schools operate and the conflict developed between legal and moral obligations was simply silly bordering on crass at times. Tegan the Vegan was a delightful ACT animation except that it unfortunately failed to go beyond being a ruse for a short ‘shy boy meets odd girl’ tale. Magpie, filmed from high up on an office tower was commendable for it seeming being done with one continuous shot, but again the story after a promising start sort of petered out when perhaps something with a little more farce may have made it more rewarding. Then, Showing The Ropes, from Tasmania contained probably the best acting of the session with its depiction of medieval hanging, but again the story kind went nowhere by the finish.

After the break, The Burnt Cork (NSW) may have been covered thick in the soot of indigenous political correctness in its depiction of the wicked white world and the stolen generation but stripped back it was simply dopey and completely lacking in credibility. And while Kevin is… was a nice take on our consumer and technology driven world full of excitable acting, the two best films came late in the piece. Restare Uniti was the tale of Italian men and boys incarcerated during the Second World War and its impact on those interned and their mothers, wives and sisters left behind to fend for themselves for four long years. Frank Fazio, as the young man at the centre of his ethnicity battles, probably deserves recognition as the best actor of this evening’s set.

Finally, The Winking Boy (Vic) was a funny and clever tale of a supposedly invalid inpatient at a hospital using his hidden mobility and an abundance of cunning to get the nurses he wanted to do as he pleased and woe betide any who dared get in his way.

As always an interesting mix of styles, stories and production valaues with no doubt plenty of contrary views to these expressed possible, making the prospects for the rest of the week delicious.

Apr 30

SHORTS Film Festival – Til 5 May

By Rupert Hogan Turner

Young and old, media and consumer arrived at the Norwood Concert hall for the opening of the 2012 SHORTS Film Festival on Saturday. The hall was marvellously decorated, combining contemporary designs with the classic European style theatre.

Initially there were a few speeches discussing the festivals humble beginnings, followed by an official opening by founding patron David Lightfoot.

David introduced the first movie, ‘Goodbye Mr Snuggles’ a classic short film by Jonathon Hopkins, released in 2006. It opened with a beautiful wide shot of the British countryside, where two elderly gentlemen were heading to a day painting in the fields. Their day of relaxation and tranquillity turns sour when a gun toting clown appears. The use of contrast and a twist of the unexpected make this a truly classic short film.

Following this came ‘The Devil and the Deep Blue Sea’ one of the South Australian entrants. This was the only animation of the night and the quality was apparent.  Proud as I was to see a South Australian director and film, I was left with an empty feeling after this film. I felt that it fell short; it somehow wasn’t in its element. Perhaps I didn’t fully understand it. Was there a metaphor here too deep for my shallow understanding?

Compounding this feeling of inadequacy, ‘Love at First Sight’ followed and blew me away. Combining school boy dreamy eyed love with an ‘it’s never too late mentality’, ‘Love at First Sight’ was light hearted, funny but left you with a bitter taste in your mouth. I don’t want to give too much away, but be wary of happy ever after endings.

‘Choking Hazard’ took place in a restaurant where a piece of bone had interrupted an otherwise lovely dinner. It was the definition of a short film, the shortest of the night (just over two minutes) it had defined characters, plot and storyline. Quick, witty and informative, ‘Choking Hazard’ was at this point my favourite.

New South Wales film ‘Peekaboo’ steered from the beaten comedic path. Relying on instinctive human compassion, we follow a mother who loses her daughter in a multi-story car park. The fear is real, the suspense is fantastic. A thriller of this quality is rare even in Hollywood blockbusters.

Next we had (in my eyes) the winner of the evening. ‘Shanghai Love Market’ is tale of a park in Shanghai where parents of unwed children can go and attempt to find their offspring the perfect match. Loveable and hateable characters play off against a stunning backdrop of the Shanghai skyline. An amazing international entrant and definitely this punter’s tip for festival winner.

I had high hopes for ‘Runway’, creation of Victorian Tony Ferrieri. At twenty minutes it was by far the longest, this allowed time for character and plot development, which was done to a t. The tale of a boy who was scared of curves and had love only for straight lines was bizarre enough to hook interest; however, the ending felt rushed and almost thrown together in order to get a quick laugh and an easy exit.

‘Bunny’ was the serious side the opening night needed, a harrowing tale of police brutality and rights abuses. This story hits home, it brings to light issues that still haunt Australia. ‘Bunny’ is the sombre history lesson that Australians need to start coming to terms with.

‘Appy Ever After’ opens with the classic “Honey, I’m going to be late, I have to work” but what follows is doused with quirkiness. True love is realised, lost and rediscovered in this movie, with hilarious results. A definite stand out and a great way to end the festival.

As if the quality of the films wasn’t enough, the atmosphere and networking potential are clear draw factors to this year’s SHORTS festival. It has easily worked itself into a staple position in the Adelaide cultural scene.

Apr 30

RAW – Sidney Nolan – The Gallipoli Series – Samstag Art Museum Til 1 June – 4.5K

Sidney Nolan – The Gallipoli Series – Samstag Museum of Art

Amidst the phenomenal capacity of our media to find yet new war stories for Anzac Day and the maintenance of strong support by young and old for the occasion, this year citizens of Adelaide have another way to get involved in the awful memories of valour and loss of that campaign. The Samstag Art Museum is hosting a portion (about one third or 80 works) of Sidney Nolan’s Gallipoli series til 1st June.

‘He is neither dead nor alive. He is kind of stopped by war’

Two years ago, the Samstag at this time hosted works by Australia’s first war artist, George Lambert, who was sent to Turkey by the Government a few years after the end of WWI to cover the scene. Those we noted then were remarkably apolitical yet moving as they catalogued where the fighting took place (the fearsome terrain and the like) and how battles played out.

Nolan’s works, started 40 years on and completed in the late 1970’s and free from the duty bound commission of recording it all, cut to the chase, layering on the emotion and driving home impact well beyond even what a photographer in situ may have recorded.

For Nolan, the Gallipoli campaign was fought by innocent but heroic young men. “I found the place on top of the hill where the Anzac and Turkish trenches had been only yards apart…  I visualised the young, fresh faces of the boys from the bush, knowing nothing of war or of faraway places, all individuals and suddenly all the same – united and uniform in the dignity of the common destiny” he wrote in 1956.

Inspired by images in Greek mythology, especially the siege of Troy, Nolan’s diggers are often engaged naked but for their slouch hats; their environment is stark, often dark and foreboding , their faces, and particularly their eyes, possessed of shock and distance, in one young soldier’s case ‘he is neither dead nor alive. He is kind of stopped by war’ wrote Nolan. The depictions of bodies exploding under shell fire, the lines of troops mown down at The Nek and the like are done not in some heroic hue but muddy browns, blood reds and the stark white backgrounds of panicked minds.

'Gallipoli' Right Hand Panel - 1963 - Sidney Nolan

His large diptych, Gallipoli, is especially moving; hazy dark figures both lost in the fog of battle and also releasing themselves in the waters on the beach notwithstanding enemy shells going off around them. And as part of the foreboding feel of the work, there are faces, clear as day, looking out at the viewer – are they the ‘young and innocent’ just arrived at the front or the spirits from those already lost? The work’s poignancy is rounded off by the portrayal of his father attempting to rescue his (Sidney’s) brother from drowning, an event that happened on his way home from battle, devastated his father for the rest of his life and in whose memory the entire Nolan collection was dedicated to the Australian War Memorial.

Though not well known, this is a significant collection from an artist which beyond the AGSA we don’t see much new of in Adelaide. War may not one’s favourite topic but the brilliance of this artist to take you there in so many ways is astounding and most rewarding.

For More Details go to the Samstag Exhibition Web Page by clicking here.

Apr 28

THE KILLGIRLS ARE HEADED FOR THE UK

By Calen Vanstone

Adelaide electro-rockers THE KILLGIRLS are set to make their first trip overseas as a band to take part in a variety of shows, including the famed Great Escape Festival, which is a unique experience that will help show the local boys off to the kinds of people who have helped launch the careers of THE TEMPER TRAP, THE WOMBATS & CRYSTAL CASTLES to name a few!

However, the boys need your help! They’ve already had a successful Pozible (online fundraising) campaign, and next up they are a holding a quiz night at the West Adelaide Football Club TONIGHT (if keen, get in contact with the band to book a table) as well as a fundraiser gig at ROCKET BAR on May 4th supported by THE SUN & THE SKY & THE MONSTER SOCIETY OF EVIL!

(details here… facebook.com/events/405731889445964/)

So get along to either, or both, of the fundraising nights to help a talented local act secure a well-deserved chance in the UK!

For more info go to https://www.facebook.com/thekillgirls

Apr 28

SANTIGOLD’S new album ‘MASTER OF MY MAKE BELIEVE’ OUT NOW

SANTIGOLD ‘MASTER OF MY MAKE BELIEVE’

NME’s ‘Queen of All Pop 2008’, Santigold, is back with the release of her eagerly anticipated follow up to her self-titled debut. Master of My Make Believe is being hyped as one of the most anticipated albums of 2012 and is lead by first single Disparate Youth.

Santigold has collaborated with many artists such as GZA, Mark Ronson and Kayne West, and in 2008 she recorded a song with NERD’s Pharrel Williams and The Strokes Julian Casablancas for Converse. In recent times, she has appeared on the Beastie Boys album ‘Hot Sauce Committee Part two’ and was featured on the trackDon’t Play No Game That I Can’t Win.


Apr 27

Dance – Katrina Lazaroff’s Involuntary – 1-5 May at Space – Preview

Katrina Lazaroff’s Involuntary – Virtual loss of mind flexed in captivating Involuntary work

With no signs of the advanced technology glut slowing down, emerging South Australian dance theatre and education company, One Point 618 encourages audiences to laugh at the ‘automatic’ and ‘unconscious’ characteristics of 21st Century behaviour in world premiere production, Involuntary at the Space Theatre from 1 to 5 May.

Involuntary challenges the intense pressure to conform to the evolution of the modern world. While there are lots of pluses with technology at our fingertips, Involuntary investigates the flipside of evolution’s accelerated pace and the coercion that clouds our decision making. Watch this company of stunning dancers as they interpret the impact, the emotion and the inherent comedy of technological change.

Directed and choreographed by Katrina Lazaroff, Involuntary looks at how society is preoccupied by the pressures of life, consumerism and regulation. The work aims to stimulate audiences to question their values by proposing light-hearted and confronting views of our engagement with reality.

Involuntary boasts a formidable ensemble of exceptional arts professionals including seasoned dancers Tim Rodgers, Ninian Donald, Veronica Shum and Jessica Statton, video and lighting by Nic Mollison, sound design by Sascha Budimski and a collaborative set design effort from Nic Mollison, Richard Seidel and Katrina Lazaroff.

South Australia’s One Point 618, founded by Katrina Lazaroff, fosters creativity and artistic excellence in dance and education. Working within the genres of contemporary dance, theatre, popular dance styles, music, design and technology, the company delivers innovative and accessible performances for all ages. The company previously presented the stunning dance work Pomona Road at Adelaide Festival Centre, which received critical acclaim.

Director and Choreographer Katrina Lazaroff says: “Automatic, without conscious control, against one’s will, reactive – these all come to mind when I think Involuntary. Through humour and irony the work will look at how we are all prone to being persuaded to make choices we do not believe in or understand. We are all becoming so busy by the pressures of life, we often avoid questioning the implications of our social behaviour.”

Involuntary was developed through Adelaide Festival Centre’s inSPACE program, which supports the development and presentation of the very best contemporary performance by independent artists.
Adelaide Festival Centre CEO and Artistic Director Douglas Gautier says:

“Involuntary is yet another example of Katrina’s exceptional abilities to bring together dynamic performers in exciting choreography, married with the effective execution of set, lighting and sound to delve into topical matters,”
“We are extremely fortunate to have someone as talented as Katrina remain an integral part of SA’s dance and education community. Her commitment to consistently delivering high qualities of innovative, contemporary and relevant works, resonates with audiences on many levels,” he says.

In addition to the performances, Adelaide Festival Centre’s GreenRoom youth arts membership program in partnership with centrED presents a Dance Masterclass with Director and Choreographer Katrina Lazaroff on Wednesday 2 May, 1-3pm, Space Theatre. To register call 8216 8594 or email thegreenroom@adelaidefestivalcentre.com.au

What: Katrina Lazaroff’s Involuntary
Venue: Space Theatre
When: 1 & 2 May 7pm, 3 & 4 May 12pm & 8pm, 5 May 8pm, 2 May includes post-show Q&A
Cost: Adult $35, Concession $26, Student $25, GreenRoom $20, Groups 6+ $30, Season Subscription Adult $30, Season Subscription Concession $23 Suitable: 14+ years
Bookings: BASS 131 246 or www.bass.net.au

*** WIN TICKETS ***

Kryztoff has a double pass to giveaway to next Tuesday night’s (1st May) performance at 7pm. To enter, just let us at win@kryztoff.com the name of the director of Involuntary by midnight tonight (Friday).

Apr 26

B.O.B. releases ‘STRANGE CLOUDS’ TOMORROW!

B.o.B ‘STRANGE CLOUDS’

As one of hip-hop’s most inventive and exciting young artists, B.o.B has quickly drawn a bounty of rapturous critical applause. B.o.B has had a number of hit singles, shared stages with Asher Roth, Kid Cudi and has supported Lupe Fiasco on a huge sell out US tour.

B.o.B’s sophomore album Strange Clouds will be released on April 27 and features production from the likes of Dr. Luke, Jim Jonsin, Ryan Tedder, Salaam Remi and even B.o.B himself, with collaborations including Andre 3000 on ‘Play The Guitar,’ and Lil Wayne on the album’s title track, ‘Strange Clouds.’ This is the follow-up to B.o.B’s critically-acclaimed, ‘B.o.B PRESENTS: THE ADVENTURES OF BOBBY RAY,’ which earned an outstanding five Grammy nominations including ‘Best Rap Album.’

First single Strange Clouds which features hip hop superstar Lil Wayne was a hit around the world peaking #7 on the US Billboard charts, while second single Play The Guitar features Outkast founding member and hip-hop superstar Andre 3000. The third and latest single So Good was filmed in Buenos Aires, Argentina and can be viewed here – http://www.youtube.com/watch?v=IoBP24I2lwA