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(11/26/18 7:15pm)
After our Thanksgiving hiatus, WIUX Music Committee is back to deliver new music to keep you from the post-vacation slumps.
Xuan - Have Some Fun
https://open.spotify.com/album/6KbFIxYCTjXkyxFccvrHn2?si=mGDVX-QLTjWEu9HiDKMauQ
It takes a little bit for this album get into its own rhythm. While the album does have a unifying sound - a very beachy, light-hearted and bouncy feel - in certain tracks, especially early on, that becomes a bit bland. It's when this album adds a bit more into that formula - such as the island-y beat of "Last I Heard," or the guitar groove of "Sheila" that this album starts to shine. Towards the end, more rock-like elements begin showing up more frequently, which was a nice touch to add interest to the style. I particularly like "Break this Heart Again" and the final track, "Shut it Down," for this element. Overall, the album is a nice one if you need something happy and fun to get you into a good mood. - Gillian Paxton
Peach Pit - Being So Normal
https://open.spotify.com/album/6xduu32sm4aidoLhaxYkUA?si=u_Ax5OkpTvqmBDcot3AWvg
Being So Normal is a departure from the previously established Peach Pit we know from their earlier releases. However, they still manage to maintain their core sound while immersing themselves in a more somber, almost depressed feeling. They take cues from many other genres and groups on this album, without ever sounding derivative (“Not Me” reminds me of what you'd get if you mixed “Frontline” with “Paralyzer” and some xans). This album is a story of heartbreak, the struggle to get over that girl, the person whose presence sticks with you no matter how hard you try to get rid of it. The tug of war back and forth between dejection and struggle is well represented with an alternation between high energy shredding guitars and slow, heavy hitting, muddled beats. Every track tells a part of a larger story and although a couple of the songs lacked a little luster in comparison with the others, that's hardly a criticism to keep anyone from at least giving this thing a listen. Being So Normal is a melancholy struggle from start to finish. If you're hoping for a happy ending, you'll be sorely disappointed. At first, “Tommy's Party” felt to me like an underwhelming conclusion, but it serves the main thesis of the album very well. It trails off wistfully. The protagonist is more or less where he started, with a long road still ahead of him. For me, “Hot Knifer” is the standout favorite. Neal Smith really bears his heart for all of us to see with his performance. I wholeheartedly recommend this album to anyone for whom the above story of love and struggle sounds familiar... Or anyone who's ever tried to quit smoking - same difference. - Joey Conway
Dire Wolves - Paradisical Mind
https://open.spotify.com/album/69yt8sTDU3nN5aXBhGzoUl?si=EEf1s-XaQni--odG3FGxSQ
This album is absolutely perfect for people who love the sound of an orchestra tuning up for 8 years. Most of the songs have a few good elements, but I think they are muddled behind a wall of other sounds, rhythms, and voices. This is an instrumental album mostly, with monk-like chanting in ‘Just Live Your Life Behind Your Eyes’. Yet, without any musicality building, or general feel that can be associated with the music, that song and many others fall to the wayside of barely listenable. I think that the only real playable song is ‘In and Out of the Den Garten He Goes’ although I wouldn’t recommend it before the witching hour, and 3 shots of absinthe. I fear that I have made it sound too cool, but really it is one of the only songs on the album with some sense of balance and build. - Marisa Bryans
Grapetooth - Grapetooth
https://open.spotify.com/album/305RKijLp4VcdyJs3m0W6J?si=-h5MlQVOQMaYqSXjl6r_BA
Grapetooth’s self-titled, full-length debut was an intriguing listen. The individual elements of how they play their music aren’t what makes their sound necessarily, it’s how they utilize those elements together in their mixings and arrangements. They skillfully shuffle light piano, guitar, synth, and solid beats around like they’re putting together an intricate jigsaw puzzle. It’s a solid first project but it’s not without its missteps truth be told. A lot of this album sounds like half of The Smiths and half of The Violent Femmes broke into Duran Duran’s storage unit and played a show together with all of the shit they stole. That in of itself is not a bad thing. They’re a synth-heavy group, it works as a unique and self-sufficient project. The way the all of those layers work together really makes the album what it is. But honestly, I thought “Imagine On” and “Hangover Sq.” just kind of sound like punched up Smith’s songs; they lack a lot of the complexity that I enjoyed in the rest of this LP.
Clay and Chris’ voices work well together in the same, nearly dissonant way the rest of the instrumentation on this album does: violent, soulful highs-obtuse, up close lows. Personally, that’s what makes Grapetooth, Grapetooth for me. Some of these tracks might seem a bit repetitive under a microscope, while others seem meandering. That said, I never ever found myself wondering how long they were or when they were going to be over. Every cut held my attention for its full length. Hallelujah was probably my personal favorite, and although I really liked “Trouble,” when I read it was their first single, I wasn’t surprised. Not because it wasn’t good, but because it doesn’t quite fit with the rest of the album. If I’m allowed to return to the puzzle analogy for a second… “Trouble” is a piece that, while it almost meshes, had to be forced.
All in all, I see a lot of promise, and I’m going to be keeping my eye on Grapetooth for some real bops in the future. I definitely heard potential for some great stuff that wasn’t totally realized. That, in addition with a few of the other hiccups on this album, keep me from really loving it like I wanted to. - Joey Conway
(11/12/18 5:53pm)
Every Monday, the WIUX Music Committee brings you new music to take you out of your music drought! This week features Poppy and Miya Folick.
Minus the Bear - Fair Enough
https://open.spotify.com/album/2DhNO2Bdlbvo4YMhnYSala?si=Ota5995UQH-U7ue6Qk8j7A
Minus the Bear released their new EP, “Fair Enough,” making this the band’s final album after 17 years of performing together. The EP includes four songs: the title track “Fair Enough,” “Viaduct,” “Dinosaur” and “Invisible (Somber Remix).” The songs include a sense of your typical 2000s rock bands, plus a mix of electronic keyboards and sound effects, giving it an easy-going rock sound to listen to. (Also the lead singer sounds kind of like the frontman from the band Hinder which gives me huge throwbacks to scream-singing “Lips of an Angel” when I was seven.) “Fair Enough” is a somewhat depressing song, including lyrics like “I don’t feel love; I can’t feel you anymore,” and could be considered a slow take on a grunge song, giving listeners an experience somewhat like walking into a Hot Topic on a slow business day; however, this song is probably the most important off the EP, since, according to Minus the Bear’s website, it describes how the band lost their sound and decided to separate. - Ally Melnik
Sontalk - SONTALK: ACT I
https://open.spotify.com/album/0cyU9VVWOXUUnsbBal4b1u?si=QWMc0pJdQp6dV5KI5PgvyA
This EP may only be three songs long, but it’s three really damn good songs. Newcomer SONTALK (aka singer/songwriter/do-it-all Joseph LeMay) doesn’t tread terribly new ground with his overall sound, but he does what he does extremely well and manages to still keep it interesting. “I Am a War Machine” is extremely War on Drugs-y, with a little extra distortion and layering. “Hosánna (God, Damn My Soul)” and “Hurt You” are both spaced-out acoustic folk rock that’s very reminiscent of Damien Jurado’s and Jim James/My Morning Jacket’s chiller stuff. The entire EP has a drum-machine driven ethereal vibe to it that really makes all of the tracks pop, no matter how close they sound to his influences/comparisons. The EP title says this is only part 1, so I’m extremely excited to hear any future parts and hear how LeMay continues to expand and flesh out this excellent start. - Mitchell Owens
dem atlAS - Bad Actress
https://open.spotify.com/album/4iKvgZsvPwgrGIJBygr6fa?si=8i_LZNLgQ5W3XDTJzX2pIg
I seriously loved the entire album Bad Actress by deM atlaS. I think I listened to it every single time I was walking to class this week and I forced every single one of my friends to listen to it, too. My favorite by far is "Can It Fall". It's quite a bit slower than the other songs on the album, and I'm too obsessed with it. I also liked Gratitude and Never Belonged. I thought it was really unique how they combined rap with like cool guitar riffs. - Kelly Rentfrow
Miya Folick - Premonitions
https://open.spotify.com/album/3nWDfV4stC2VQopcuHjJmO?si=aAtyd037ST2Ng78CCPiNmQ
The beat moves you along as you sink deeper into your armchair at home; a fire roars; there are parties happening, but you aren’t going to go because you’ve got Premonitions by Miya Folick blaring and you don’t need anything else. This album is amazing and honestly, I could recommend any song from it. However, my top picks would be “Leave the Party”, “Freak Out”, and “Deadbody”. These feature Miya’s lower vocals, some upbeat ragers, and wonderful lyrics. The vocals are the standout piece to this work. Miya’s voice is incredible in songs like Cost Your Love; raspy and lower in the beginning, her falsetto breaks through as she sings that she can’t do this anymore. The reverb used in the lower sections reflects the same kind of sound as a bathroom sink would; given the piece the personal anguish that it portrays. Towards the end of the album, the breathless voice of Miya leaves us much in the same way; gasping and totally amazed that we just had the best 34 minutes of our life. - Marisa Bryans
Poppy - Am I A Girl?
https://open.spotify.com/album/5QCXxPUwoOtxeZQmve6w2u?si=PlnsKlEHTRy6-IbV75-zqA
"Am I a Girl?", the new album dropped by internet pop star/ weird art project Poppy, departs significantly from her earlier work. The usually bright, stereotypically synthpop stylings have been replaced by more rock, metal, and electronic influences as Poppy's android character goes through an internal conflict as she begins to relate and align more with the flawed humans around her. Despite the genre changes, though, the characteristic Poppy weirdness and commentary on the entertainment industry still persists.
This gives rise to gems like "X," a surprisingly magical combination of soft 70s pop and full-out Babymetal-style screaming and heavy guitar. Or "Play Destroy," which features Grimes and sounds exactly like it was pulled from the tracklist of "Artangels." For those more interested in Poppy's former pop influences, the incredibly catchy and cleverly-written "Aristocrat" is another favorite. - Gillian Paxton
The Greeting Committee - This Is It
https://open.spotify.com/album/35H7mR1u6XET8YKvezYUkB?si=N5QBWo9pQNabcY_W_LVahw
The KC native’s first full-length effort is not that bad, but given their past work, it is a bit of a disappointment. The pacing feels off at times, many of the songs build without a satisfying conclusion, and the stellar bass and guitar that made their previous records so good are often buried by additional instrumentation that feels unnecessary. Overall, the album feels overproduced, the crazy youthful energy the band previously exuded feels reigned in throughout. However, as I started with, it isn’t a bad album. Lead singer, Addie Sartino’s vocals are incredibly strong throughout and lyrically, she has developed to tell more complex and fleshed out stories. Additionally, thematically, the album will strike a chord with many listeners, masterfully capturing the more complex emotions that come from being at a more mature stage in their life. The piano work is fantastic, especially in their songs “More” and “Pull it together”.In conclusion, the Greeting Committee put together a great first album, however, they may have lost some of the charm and energy that made them such an up and coming band to watch in the past. Had I been ignorant to their previous work, I’d say this is a promising album from a young band, at times feeling overcrowded, but none the less promising 7/10. - Patrick Spanier
(11/05/18 11:34pm)
Every Monday, the WIUX Music Committee will pick some fresh tunes to liven up your playlists! This week's feature includes Boy Pablo and Laura Jane Anderson.
Aphex Twin - Collapse EP
https://open.spotify.com/album/3SbGxJVC8fHv41RFKCGIl3?si=AiluJs33T9OSwdLPEt082Q
The final track "pthex" is aphex twin mashing up ambient progressions and over a pretty rapid snare hits mixed with arcade game – like synths bouncing off of each other. However, the break down pads at 2:30 are really nice and although it doesn’t last very long is a great loop. A lot of these tracks are SO complex that just listening once or twice really doesn’t do the production credit since there really is so much work beyond the initial mix occurring. - KJ Stewart
Cloud Nothings - Last Burning Building
https://open.spotify.com/album/0naReP78PmA4IKPVWcxiFW?si=nhyjsVBNR6WL6INo0-mKTA
This album is pretty good, maybe a little too much screaming, but still good nonetheless. I would recommend putting the songs “Leave Him Now,” “Offer an End,” “The Echo of the World,” and “Another Way of Life” - Ally Melnik
Elvis Costello - Look Now
https://open.spotify.com/album/7dvbHsQbTs5RqE9iRgXHCC?si=qYSX1HrkRX6giGOEOi_2EQ
Given the cultural significance of the Arctic Monkey’s it is almost impossible not to compare Turner to Costello especially given the similarities present in their 2018 releases. While they both started writing fast lyrically commentaries, both the AM’s “Tranquility Based Hotel and Casino” as well as Costello’s “Look Now” show jaded, genera blending, and reflective music from their unique perspective of people who gave up everything for the industry as they look back and question both their careers and lives. - Patrick Spanier
Various Artists - Bohemian Rhapsody (Original Soundtrack)
https://open.spotify.com/album/3BHe7LbW5yRjyqXNJ3A6mW?si=xF1T7b4PSHKd-FA4b8A13g
The album provides refreshing new versions of iconic songs while also fielding five previously unreleased tracks from Queen’s Live Aid concert. The highlight of the album is “We Will Rock You” which combines a studio and live version to create an exciting new sound. - Maxwell Glenn
Boy Pablo - Soy Pablo
https://open.spotify.com/album/1lESM5Y1VAvrCLEgLmyfOw?si=CGRgb3zcTRK_RVkAhuycJQ
The guitar riff is the most hard hitting on the album. The distortion caught me a little off guard, but the alternation between distorted and non distorted Pablo really works. The verses feel like they fall just a tiny bit short of the highs I wanted them to hit but then thats kind of Pablo. The ending crescendo might feel drawn out to some people but I kind of wish I'd seen just a tad more of that from the rest of the album to be honest. I do wish it didn't end on a goddamn fade out though. Kind of an anti-climactic end to an otherwise outstanding album finish. - Joey Conway
Laura Jane Anderson - Lonesome No More
https://open.spotify.com/album/3iBbcxIv0i5dYt1OCLDHf1?si=S1eYnZBDRv6qLYhP5PnPGg
Laura Jane Anderson has an incredible voice, and she seems to be very happy to use it and experiment with musical sounds around it. This album ranges from blues-y ukulele numbers to electro-rock to some R&B-tinged synthpop. All of the songs on the album work well, but I don’t think they all exactly work well together. Some of the songs in the middle of the (very short) album feel pretty similar and blend together, and some (like the uke blues opener) just feel very out of place with the rest of the tracks. It’s not a perfect debut album, but it’s still one that’s got insane amounts of promise. I’m very excited to see where she goes with her sound in the future. - Mitchell Owens
Collen Green - Casey's Tape/Harmontown Loops
https://open.spotify.com/album/686zZtmpPOOF1YNtgxjuMy?si=c9blPaucSG6KM-_PiqFDsA
This album mixes garage punk guitar and lyrics with a softer vocalist, who’s vibe fits far more into an indie pop groove. This mixture mirrors the stylings of bands like Diet Cig, though Colleen Green’s voice never reaches a gritty point, instead choosing to remain soft and pleasing to listen to throughout the album. This contrasted greatly with the distorted guitar, wonderful drums, and altogether weighted and heavy sound in songs like ‘Lighter’ where there a no vocals, and it feels very much like a jam session in your neighbor’s garage. However, this sound does not limit Colleen from also introducing some pop elements that cater to the recent nostalgia for 80’s stylings. The electric stylings and echoey vocals in ‘I wanna be Ignored’ call back to that era and would be a great song to pump into a club after midnight. - Marisa Bryans