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Calendar Girl

February 20, 2007


Save the dates, friends: official FADER party detonator Tiombe Lockhart will be gracing metro area stages not once, but twice this week, first at APT in Manhattan tonight and then again at Annibell in Brooklyn on Saturday. More info after the jump, along with Edwin "Stats" Houghton's Gen F profile on Tiombe from F38.




Tuesday, February, 20 2007

Rude Movement's My Favorite Things @ APT

Featuring Tiombe Lockhart, Tyler Askew, Big Bang, Taylor McFerrin and Hadyn Probe DMS spinning upstairs

419 W 13 Street, New York, New York

Cost : $5 RSVP/$10 door

Saturday, February, 24 2007

Afrokinetic's Brooklyn Bridges @ Sputnik

Featuring Tiombe Lockhart, Evil Dee of Da Beatminerz, and DJ Chris Annibell

262 Taaffe Place (between DeKalb and Willoughby), Brooklyn, New York

Cost : $10


Full Metal Alchemy

Tiombe Lockhart turns platinum into something darker

By Edwin “Stats” Houghton

“‘I Got You’ is dead,” says Tiombe Lockhart of her signature tune with the Platinum Pied Pipers. She quickly adds “I mean, I’m happy for it,” as if she got caught throwing shade on an ex-lover. Since linking with Wajeed and Saadiq of PPP at a Slum Village show in 2003 she has helped define the duo’s soulful, Planet Detroit sound on jazz-inflected pieces like “I Got You”, “Stay With Me” and “Now or Never”. Talking about her new solo material for the forthcoming LP Army OF Love, however, she says “I didn’t want at all for it to be just pretty…even if it’s love songs I want it to have a maniacal or darkened edge.”

The collaboration has evolved from Lockhart writing lyrics over finished PPP tracks to a back & forth conversation with Wajeed—sometimes they co-produce and sometimes they take turns overseeing tracks. “He’s not a producer who’s just like ‘Bitch, sing! Fuckin’ let’s make a hit,’” she says. And it’s just as well, because while her PPP contributions share a bittersweet catchiness, Lockhart doesn’t write hooks or even conventional couplets so much as tone poems, chromatic washes that lead the lyrics up and down the scales in a more exploratory way. As she confidently sings through intricate chord changes, both the flow and her vocal command recall Jill Scott, although on her new material she is clearly taking that approach somewhere else, someplace “dark and epic and not smooth at all,” as she puts it. On “Escape From Stinktown”, she keys funereal chords over what she proudly describes as “a really cheap beat,” a pulsing bass that walks the line between psych-rock and Mizell Brothers electric jazz. Perfect pitch bounces off drum machines worthy of Soft Cell on “Star” (the album’s first 12”), while “The Overtaking” is built from Slum Village step-clap drums, abrasive guitar and white noise loops (crowds? helicopters? birdcalls?) a la the Bomb Squad.


Combined, Tiombe’s moody vocals and Wajeed’s dense sonic layers create the impression of a soundtrack for an unfilmed movie—which it kind of is. After dreaming up the title Army Of Love for pure dramatic effect, Lockhart fleshed it out into a sci-fi allegory that provides the secret back story for the LP. “At the time I was reading a lot of fantasy novels like Raymond E Feist’s Talon Of The Silver Hawk—in the future but it’s like the dark ages. Really bad, nerdy stuff; I read a couple and I was like ‘OK, back to Charles Bukowski.’ But it made a script, a concept that I had to stick to. It got a little deep.”

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