This week Ryan Green’s audition dance on Fox’s So You Think You Can Dance? featured a song of mine. This time they wanted something new and original in the vein of a classic Pink Floyd song. I wrote something called “Do You Know”. Ryan Green’s audition became one of the most talked-about parts of the show with his boundary-pushing dancing, and the song got a lot of response with people asking where/who it was, so I fleshed out the rest of it and released it that week:
And here’s the audition piece that got the attention:
I was asked to something a little different for me, which was to redo an oldie Christmas girl group song for the entire opening sequence of Gwen Stefani’s “You Make It Feel Like Christmas” special. They wanted me to uproot it with modern flavor and a bit of urban pump
I recently produced, wrote, and mixed an album that was done exclusively for A List Records, and it just won a 2017 Mark Award for “Best Artist in Hip Hop/Urban”. It combines orchestral power and texture with big hip-hop/urban backbeats and hybrid electronic/real instrument bombast, imagined in a new, dark way for trailers. The project was done under the name Vyln Lyf, which is me and my longtime friend and badass Dylan Berry, who wrote and performed the dark, edgy and poetic raps and vocal hooks on it.
check it here: vylan lyf
I learned a hell of a lot about football while doing this project, and it gave me new appreciation for the sport. Every episode focuses a different NFL team and goes deep into their prep, practice, and more. I did the series theme music as well as a lot of custom music peppered throughout all eight episodes. It works on most smartphones, even if you don’t have goggles.
All episodes are here: https://www.youtube.com/results?search_query=nfl+immersed+vr
Radiohead is high on my list of influences, so it was great to work on a project that Thom Yorke also worked on (he composed the music for the live fashion show). It is an immersive VR experience with Rag & Bone, behind the scenes in the days leading up to New York Fashion Week and on the runway for the Spring/Summer 2017 collection. My music is featured throughout until the runway section at the end. If you watch it on your smartphone you can get the full VR experience.
This was a great short I was asked to score the music for: A tongue-in-cheek hitRecord movie starring Joseph Gordon-Levitt and Anne Hathaway. They wanted a send-up of action/hero movies with a full orchestral score, which was an inspiring and refreshing thing to do. Check it out:
This was a massively cool project to work on, which is presented on the Road To Rio 2016 Olympics bus as it makes its way down to Rio with members of Team USA. The bus will be loaded with these VR videos for Oculus Rift that allow people to experience the training for the Olympics like never before possible.
The music all has a cinematic-meets-electronic-meets-analog/organic sound. As always, Two Bit VR was a super-creative team of badasses to work with.
Here’s a selection of a few of the “folded down” video versions:
Here’s another Oculus Rift project I scored for Two Bit VR and Samsung Gear VR, for their NBA tease. This looks amazing through the Oculus Rift goggles (of course). It’s a D’angelo-styled groove situation. Two Bit VR are amazing to work with, and I’m honored to be a part of their projects.
I can’t post the video due to policy, so if you have the chance, check it out on Gear VR/Oculus Rift.
If you go into one of the big Verizon Destination stores you’ll see a large NFL virtual reality presentation – it’s an amazing experience. You’re literally in the game, 360 degrees. I did the music for this, working with the geniuses at Two Bit VR. The call was for big stadium rock with a modern edge.
“I Want You” is an old school meets slamming new school r&b record I recently co-wrote with JS and B. Steele, and produced with B. Steele. JS is the badass on vocals. I programmed it with B. Steele, am on guitars, bass, some percussion/keyboards, and I mixed it. This is the first release from The Artizonals (www.TheArtizonals.com), which is a new production and independent record company I started with B. Steele and Bleu Bailey.
It’s getting a lot of traction — feels great to put out music we all feel strongly about.
Here’s the audio vid:
And the recent official video on VEVO:
Sugar Fly is a rock ‘n’ soul band that’s like what would happen if Beyonce were fronting Audioslave. Formed in late 2014, Sugar Fly blends the best qualities of dirty riff rock, West Coast funk and Motown soul and injects those sounds with an infusion of modern heavy rock with the charm of scuffed wooden bars, whiskey soaked cigars and bootleg rye.
Blind is their first single, released on AMG Records. It’s a mid-tempo burner with wah pedals, dirty vintage organs, giant analog saw synths, and an air-guitar-worthy guitar lick which all give way to a gospel breakdown that will make you want to put on your Sunday best before returning to the Stax-soul-rigged-to-jumper-cables sound that Tia reigns over. I produced and mixed it (and am playing drums and some of the guitars). Check out the song and video:
I had a blast writing and producing this full-on gospel revival song for the “resurrection” scene of the Justin Bieber Roast. I got to record the #KJLH Gospel Choir and had the badass Austin organ player Bill Mason lay down some real B3.
Frankie J got an official nomination for Best Latin Pop Album for this year’s Grammy Awards. I co-produced (with Benny Steele) and mixed three tracks on the album (Faith, Hope, y Amor), including the current single Impossible. The other tracks are A Nadie Mas Que Ti, and No Te Olvidarás De Mi.
This was a cool surprise for a completely independent album: Kenny Wesley and I are being considered for quite a few 2014 Grammy nominations, including the following:
Producer of the Year – Stereo Lif (The Real Thing)
Album of the year – The Real Thing
Song of the Year – Won’t Let It Go (Kenny Wesley)
Record of the Year – Taffy feat. Kid Koala
Best New Artist – Kenny Wesley
Best R & B Song – Missing U (Kenny Wesley)
Best Engineered Album – The Real Thing
It’s an incredibly difficult path competing with the money that major labels have in the Grammys, but to even be considered is an honor!
James Day, a well known indie neo-soul artist/producer, asked me to do a Daft-Punk-On-Steroids remix of his popular track R.S.V.P. (the original has been at the top of some notable soul/dance charts across the world in recent weeks, and features Donnie from Motown), which was a total blast. Here’s the full-length club version:
Recently did all the awards categories for this SpikeTV annual program, which range from Tarentino-style grime to string quartets to hip hop stank to action movie spank.
I recently co-produced and mixed, with Benny Steele, four tracks for the new Frankie J album (three on the current version are: Impossible, A Nadie Más Que Ti, and No Te Olvidarás De Mi), on Universal Records. I’m also on all the guitars and bass on those tracks. The day after its release it shot to #1 on the iTunes Latin charts, and reached #4 on the Billboard Latin Chart. I had a total blast doing it and am excited to see this much success so early on with its release. The next single is probably going to be Impossible, which is one of the songs that we produced and mixed. ¡Exelente!
Album link: https://itunes.apple.com/us/album/faith-hope-y-amor/id648053246?uo=4
I’ve done a total of six custom song for auditions on this season of So You Think You Can Dance?
Here’s one I did for Daniela Bustillos’s audition. The song is called “In The Undertow”, and the full version is available on iTunes, Amazon, Spotify, etc.
An absolutely killer project which I was asked to do the music for their Kickstarter campaign, and will continue to develop with. It’s with renowned modern artists and designers Eric Gradman and Brent Bushnell. They wanted Danny Elfman meets a dark electronic circus, and that’s what they got!
STEAM Intro video – short from Brent Bushnell on Vimeo.
This has been a labor of love for the past year or so, and the album is at last done. Kenny is a young, madly talented modern soul cat with the kind of insanely amazing voice that we haven’t heard in a long time. The music is what would happen if the likes of Sly and the Family Stone and Stevie Wonder met up with Seal, Cee-lo Green, and even a bit of Radiohead, in a bustling New York City alley. I produced, mixed, and co-wrote/wrote it, and it’s a game-changing situation that I’m incredibly proud of, with guests like Kid Koala, Wayna, and Butterscotch. It’s available everywhere, from iTunes to Spotify to Amazon.
Here are a few tracks to whet your appetite with:
> the window (lifschey, wesley) > feels good (lifschey, wesley) > won’t let it go featured on So You Think You Can …
I’ve been cranking on some new electronic tracks in the styles of Trap, Electro, and Downtempo for Ultra Records.
Here are a few:
Check out this sampling of some Black Keys and Dead Weather-style tracks I’ve been doing for the Discovery Channel show “Reclamation Army”.
This is a great project that I’ve been working on with new-comer Maesa Pullman on vocals and long-time friend and collaborator Shira Myrow, along with amazing guests like Chris Bruce (Seal, Me’shell N’degeocello). Check out these tracks so far, soon to be finished and released on a 5-song EP…
Holy Roller (Myrow, Pullman, Lifschey)
Hit and Run (Myrow, Pullman, Lifschey)
Complete with a live orchestra and big custom sound sources, this music is all over the new network, featured for The Lakers, The Galaxy, the Deported channel, and the Access Sportsnet nightly show. I composed the network themes with Dylan Berry.
Here’s a promo for the channel.
And here’s a version of the full Laker’s elongated theme: