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(10/10/17 6:59pm)
5/7
Released September 9/29/2017
Mackenzie Scott AKA TORRES followed the exact same formula for this record, Three Futures as she did on her previous Sprinter; same studio, same producer (PJ Harvey’s longtime producer as well). But she took things a lot further on TF, her overall sound is more cohesive, packaged tighter and more efficiently, The mood Scott has chosen moves through each song beautifully to the next. The beginning of each song is urgent, even if the beat itself is slower, you feel as if you’re having an intense moment with her and you need to pay attention to every word she says, each space between songs is a dramatic pause. She plays on the idea of alternate realities, and alternate personalities throughout the album. Scott is questioning the life she chose, or more appropriately the life she has on this record, and that seems to be the overarching theme on this record.
Right away the beauty of her songwriting and composition of “Tongue Slap Your Brains Out” makes you stop what you’re doing to listen attentively. She grabs you and forces you to feel her comfort or discomfort rather, throughout, but there is something comforting in that. The opening track as aforementioned, is beautiful. A rather quick beat leads into the song and Scott has mentioned she recorded sounds of her walking and used those beats in her entire album, this is especially evident on this track. Something that I’ve grown to count on Scott for in her music is her ability to write for lack of a better, creepy, lyrics. In “Tongue Slap Your Brains Out”, she says
“No feeling like finding a peach cobbler sunning belly-up on the granite
The kind that'll make your tongue slap all your brains out”
That’s probably my favorite verse from the whole album. Something about the almost unsettling image of finding spoiling food in the sun, and making it nostalgic is beautiful.
“Skim” is easily the strongest song on the album, and was also very appropriately the first single released. There are so many elements that make this song so stunning. The intros pitchy static is disturbing at its best. Next are the lyrics that shape the song, “I’m only the skim of what has already been I know every tense in which I cannot exist yet” a thought provoking and almost seductive statement. Torres lays everything out to scare the listener and by doing so makes them feel they need her, which is what she wants. This song in particular also has so many changes and shifts in tone and pace creating its own world, and the guitar riff at the end is everything you would want to hear from a guitar riff.
“Three Futures” and “Righteous Woman” are soft ethereal pieces, and ones that fall into the theme of alternate personalities of the self. In these songs Scott isn't necessarily her best self, perhaps she the worst version of herself. They both somehow manage to self deprecate Scott, she accepts her self-sabotaging nature and chooses to work it as angle, all while still captivating you.
“Helen in the Woods” is a spooky song to say the least. A horror narrative serves as the lyrics and gives the record more of a pulse, a pacing one at that. Scott isn’t afraid to glide between singing and screaming, and as her voice raises, her guitar playing becomes more manic.
Towards the end of the record Scott begins to slow down again and ease out of this hectic realm. “Marble Focus” is another standout track. Five minutes of an atmospheric beat and Scotts more raspy hushed voiced have almost an ASMR effect. There is a two minute long outro of her muffled vocals and a soft stretched out guitar, and a simple beat reminiscent of a heartbeat creating one of the most beautiful instrumental moments on the record. A warm moment to take in and feel this particular reality.
She picks up the pace again and the urgency on “Concrete Ganesha” to keep us on our feet. Guitar distortion on this track shine over something in the likeness of a Gregorian chant. A solid moment.
The eight minute long finale “To Be Given a Body” has a soft hollow force that ebbs and flows all the while intermingling with a stifled beat that sounds like it keeps tripping over itself, in a good way. This song serves as a self reflection of the album, a moment to think about everything you heard and felt, and it is necessary.
(07/25/17 3:00pm)
The lineup at this year's Pitchfork Music Festival was impressive to say the least and important to say the most. Past lineups have been solid, (Sufjan Stevens in 2016 was the greatest thing to happen) but they have been mainly white indie boy bands. This year there were significantly more rap, R&B, and soul artists taking the stages and more importantly more women of color, with Solange headlining on Sunday night.
On Friday the first act I saw was Vince Staples. I had seen him in Indianapolis earlier in the spring this year touring his Primadonna EP and his visuals for that tour were themed around the Wes Anderson film The Life Aquatic. This time around for Big Fish Theory, Staples opted for a minimalistic LCD screen with nothing but the color orange being projected on it. A great set which consisted of tunes from his latest release as well as his EP from last year, and crowd pleaser "norf norf".
Later in the day at the same stage Danny Brown performed his set. The energy at this crowd was wild and Brown played off of the people in the audience throughout running around on the stage and aiming the microphone towards the crowd. He never seemed to tire delivering perfect bars throughout and without a backing track.
Arca, Dirty Projectors, and LCD Soundsystem took over Union Park as well that night. Arca got the crowd going coming onto the stage wearing stiletto heels. LCD Soundsystem lived up to their hype of being great performers with the crowd singing along throughout.
Day 2
Saturday was seen as the "Ladies Day" with Weyes Blood, Cherry Glazerr, Mitski, and Angel Olsen performing. Weyes Blood kicked off the day at the Green Stage in an all blue ensemble, a staple for the artist at this point. Meanwhile, Cherry Glazerr was at the Blue Stage and they gave an energetic performance. After their first song Clementine commanded the crowd "be quiet" and then eased the tension with a story about smuggling in a can of beer in her underwear when she attended the festival as a teenager. After that they continued their solid set and then made way for the next act: Mitski.
Mitski was my personal favorite of the entire day. She came out on stage wearing a "She Shreds" t-shirt and then later revealed a navy blue bra top which she paired with orange pants (a nod I'm assuiming to the Beats>Bullets project) and metallic gold platform sandals. She put on an emotional performance. Every time she made eye contact with me (which I think was a lot) I would tear up. She performed "Franci Forever", "Townie", and "First Love/Late Spring" from her previous LP and plenty of songs from Puberty 2 such as "I Bet On Losing Dogs", "Happy", and "Your Best American Girl". She closed out her set thanking the crowd for letting her live out her dream.
Angel Olsen was next on the agenda. Over at the Green Stage Olsen sauntered into the spotlight with a drink in her hand and carried on a conversation with the crowd. In between songs she would continue this dialogue and at one point told the crowd "I wanna be inside you," Olsen was feeling pretty frisky. Her backing band put on a great performance and it was a successful return to Chicago for the singer.
The headliner for this day was A Tribe Called Quest, and consequently so it was probably the most crowded days at the festival. This was a big get for the festival and attracted crowds of all ages. The energy given off by Q-Tip, Ali Muhammad, and Jarobi White was incredible, with a lone microphone set up for the late Phife Dawg. It was an absence felt by the band, and the crowd as well throughout the performance. Something about this set was just so special though, Tribe really delivered and had a good time up there, you could tell. And even in the way back, where I ended up after leaving the press pit, people were dancing, singing along, and enjoying the show.
Day 3
Sunday was a busy day. So many good acts to see. We got to the festival as soon as it opened to catch Kilo Kish's set. She was the first act of the day. I saw her open for fellow Pitchfork performer Vince Staples (a frequent collaborator) in Indianapolis in the spring. I was eager to see her set because even when she was opening she put on such a great performance. She opted for an all red pantsuit ensemble and a simple chair as her props. Kilo performed in some sort of a persona with wide eyes and a blank stare and exaggerated arm movements. Not only was it live music, it was live theater; performance art. She put on a play in some aspect, with different acts in which she is reading a newspaper and carrying a briefcase. She later on takes off her coat, throws the briefcase and stumbles around the stage. It was stunning. She delivered perfect live renditions of her songs not needing a backing track and never needing to catch her breath even with all that running around. A true talent. She closed out her set by simply saying her name is Kilo Kish.
NE-HI, who have visited Bloomington for a WIUX hosted show once, took the stage next. Putting on a fun and easy going-performance the Chicago natives were a much appreciated mood elevator on the last day. Joey Purp also got the crowd hyped up despite it being Sunday with a vibrant stage presence, and water balloons which he threw into the crowd throughout his set. Everyone in the audience loved it and it was an overall solid show.
The heartbreak of the day was the announcement that The Avalanches had to cancel their set due to a personal matter. So many people around me were so visibly upset since they were unable to see this band who so rarely performs live. In swift move Jamila Woods moved her show over to the Green Stage where The Avalanches were supposed to be. Woods put on a fun and pure performance, with people who were probably still bummed about The Avalanches having a great time. Woods has an impressive voice and her backup singers sounded incredible too. At one point Woods brought out two dancers who performed hiplet, a new form of dancing which originated in Chicago.
Finally the time had come for the highlight of the festival; Solange.
I feel as though my recap of this performance will not do any justice and for that I'm sorry, you really had to be there. Her visuals were stunning to say the least. Her color palette was warm, being filled with oranges and reds. A minimalistic set despite the hype, with simple shapes and figures as her props. Solange and her band all wore simple turtlenecks and slacks, all the same shade. They looked sleek. The choreography was so sharp and mesmerizing, it was later revealed Solange was the sole choreographer for everything. Her high notes she hit when she slowed down "Mad" honestly blew me away, I didn't know she could go THAT high. Later on in the show she came down off the stage and sang to a woman in the crowd a foot away from me it was so breathtaking.
It was such a great performance.
This was one of the beset lineups I have seen Pitchfork present, and one that really included and put the spotlight on hip hop artists and specifically women of color. I enjoyed being able to go.
(07/11/17 8:20pm)
The lineup this year at Pitchfork is probably one of the best I’ve seen (last year’s was pretty darn good too). Solange, Cherry Glazerr, Mitski, A Tribe Called Quest, Angel Olsen just to name a few.
These names are pretty well known in the college radio sphere, but here are a few of the artists playing early in the day at Pitchfork you should give a listen to if you haven’t already.
Madame Gandhi
One of the firsts artists playing at the festival is Madame Gandhi. Born Kiran Gandhi, the electronic artist who grew up in New York and India, has made a name for herself as the drummer for M.I.A., and as a political activist. In 2015 she ran the London Marathon while on her period and was free bleeding the entire time. Listen to her EP Voices, and if you’re going to the festival check her out live first thing on Friday.
Priests
The D.C. punk band that have two self-released tapes under their belt, Priests released their first official LP in January through their own label Sister Polygon Records. “Nothing Feels Natural” Pink White House” are songs off the debut you should definitely check out.
Vagabon
Laetitia Tamko, known professionally as Vagabon, is the voice of indie rock. Pitchfork named her newest album Infinite Worlds Best New Music, and she’s shared stages with the likes of Frankie Cosmos and Told Slant. She draws inspiration from her life in Cameroon as well as New York. Listen to “The Embers” now.
Kilo Kish
Reflections in Real Time by Kilo Kish (Lakisha Robinson) was one of the most overlooked albums of 2016. Her music, and especially this album, is deeply introspective and at times sarcastic, in a way where you feel you can relate, but still bop along to it. A multi-medium artists who works with music, paint, textiles, and visuals, Robinson puts on great live performances that have such attention to detail and her aesthetics are so clean and well put together. I saw her live in the spring opening up for Vince Staples, another artist performing at Pitchfork, and it was a phenomenal set. Definitely catch her live if you can.
(04/09/17 3:47pm)
The term “auteur” comes from the French film world in reference to directors who were the main creative eye for the pieces they put out. Directors dubbed auteurs were more respected and seen as artists, as opposed to other directors just doing it for the paycheck. Recently it has been applied to music, as it describes one singular artist who in charge of all of the creative work they are involved in. They control the aesthetic, the production, the way it's marketed, and of course the way it's composed. In the music world this term has been used to describe the likes of Brian Wilson of the Beach Boys, and more recently, Kanye West, since in recent years there has been a focus on the producer and a merging of worlds between entertainment and art. West does all of these things and more.
In this day and age, (and unfortunately how it has seemed for a while--with saturated music festivals, indulgent televised award ceremonies, and fanboys sharing their “very important” opinions on the internet) that the male artist is the end-all-be-all of creating new and exciting music. But even with this played out boys game still in effect, (i.e. the list of musical platforms above) female artists are the ones receiving this kind of praise from fans, publications, and other artists even if the lineups of festivals haven’t caught up yet. Women are creating music that sounds like nothing that's ever been done before and not only that, they are curating everything about their art; from writing, choreographing, directing, editing, and designing everything about the product they want to put out into the world, as an extension of not only their music, but as an extension of themselves.
Female musicians are now the driving force for the art and music world like never before, detailing each new project in eras--a term recently used to describe an album’s aesthetic for that time. They are going above and beyond the usual “put out a single, album, and tour” formula that many male musicians are still following (probably because they are still able to do exceptionally well with just that *sigh*) but no matter, the women in the music at the forefront of the industry right now are insanely talented, intelligent, and captivating. They are all we really need.
Lets take a look at Grimes. Claire Boucher is the 27 year old DIY Canadian who started singing for her beats production project solely because she couldn’t find someone to do the vocals. She has created her own world where her music can exist and thrive. Known for her trippy synth-pop and almost cartoonish style of music and aesthetics, Boucher opts for shiny and dreamy layered beats and bright visuals when it comes to her albums and album art respectively. With tracks as loud and catchy as what you would hear on Top 40 radio, there’s so much to the backend of these songs, and it is only Boucher. When most people hear an almost flawless pop song with a stunning female vocal performance, there can be the misconception that there is an it’s-whatever-I-just-layed-down-these-beats-and-we-went-from-there male producer who curated everything including the vocals. But Boucher doesn’t have time for that, producing everything herself, composing everything herself, and putting out work that is just as good if not better than what most male producers share on Top 40 radio.
When it comes to the actual body of work she’s created, there’s even more to look at than just her impressive job title of a one-woman produced band. Her albums are atmospheric tales told through electronically composed arrangements. With this, Boucher is able to create a setting--an artificially-made soundscape. Being a true auteur, Boucher is in even more control of her project Grimes than what has already been detailed. Boucher writes, directs, and edits her own music videos. She puts out even more enjoyable and tangible extensions of herself and her art to be consumed. Arguably one of the best songs she’s ever written and one of the best music videos (ever?) she’s ever directed is “Kill V Maim”--an exciting pop extravaganza, an ambitious auditory experience that’s hard to confine to just one genre. “By sounding a little like everything you've ever heard, the whole sounds like nothing you've ever heard." When you hear a Grimes song you know it’s her. That avant-garde, discombobulating, circuit board of a composition that you hear on a Grimes record may be a unique sound, but it's so much more than that. Behind the albums of Boucher, Visions, and Art Angels are stories she wants to tell.
“I want people to feel, if they’re buying something, like I put my heart and soul into it and I improved myself as a person and a writer.”
FKA Twigs has created a unique product in herself. Her aesthetic is very raw and futuristic, but it's still reminiscent of the 90s and Aaliyah. The release of her first record, LP1, was met with immense critical acclaim and rightly so. Standout tracks from that album include, “Two Weeks,” “Video Girl,” and “Pendulum.” The latter is an especially beautiful track. A pop record at its core, the songs grasp at elements of gospel with her vocal performance, and ambient with the layered pattering of the background melodies. Other music of Twigs falls under the umbrella of avant-garde, with that term being a huge understatement. Flowing from R&B to punk, and back swiftly to pop, listening to her music, you can truly appreciate and understand her genius immediately. Twigs has said, “I am not restricted by any musical genre. I like to experiment with sounds…” Twigs is an auteur in every sense of the word. She writes her own music, choreographs her own dances, directs her own music videos, and embarks on non-musical projects most would deem overly ambitious.
Last fall, Twigs released a film to accompany her EP, M3LL155X (pronounced Melissa) that she directed and took viewers through a stunning visual journey only she could come up with. This project introduced her to us as not only a singer, but as a storyteller. More recently she hosted a free dance workshop in Baltimore to teach her own choreography and search for new dancers. A little while after that, Twigs revealed her newest project, Rooms. The singer hosted the exhibition in a building with 12 rooms, each inspired by signs of the Zodiac and she performed an interpretive dance narrative for her character “Diamas." I had the privilege of being able to see FKA Twigs perform live this summer at Pitchfork Music Festival, and Twigs took it upon herself to give her performance a narrative as well, complete with different sets and character development, almost like a ballet: a performative museum exhibit. It was like nothing I’d ever seen before. Classifying Twigs as a singer feels almost lazy, there’s so much more to what she creates, there’s so much more for an audience to dissect.
The self-taught guitar prodigy and “first guitar hero of the 21st century,” St. Vincent, AKA Annie Clark, has broken down so many gender and genre barriers by creating music she deemed as dance music you can play at a funeral. No other artist can play the guitar and utilize its full musical ability quite like her (watch her 4AD Session for “Surgeon”). The arrangements of her music are astoundingly complex and detailed, and her vocals add a tangible softness to her sound. Songs of St. Vincent can be simple and beautiful like “Marry Me” or hypnotizing and almost abrasive like “Marrow” or baroque and dreamy like “Birth in Reverse." Clark is a complete product of her own talent. She writes, composes, and plays all of the music on her records; an auteur.
More recently during her lives performances she now takes on a persona; wide-eyed and almost deranged she stumbles around the stage, climbs barricades, throws herself into the crowd numerous times, she has created a mood for her live music. She now opts for choreography during her shows to add to the aesthetic with intricate, silly movements that fit the tone of her repertoire. Not wanting to be confined to just one thing, she has embarked on other projects including a collaboration album with David Byrne of the Talking Heads, headlining a festival for David Lynch, and directing a horror film--she has found other outlets for her artistic capabilities. Her guitar playing is so transcendental that David Grohl of Nirvana has asked specifically for her to perform with the last remaining members of the band for their induction into the Rock and Roll Hall of Fame. The Grammy-award winner has also designed her own guitar made specifically to fit the form of the female body. Her vast musical landscape is different with every album, but each has St. Vincent's signature guitar shredding that only she can compose.
“I just try to focus on those things, and do that really well. I try everyday to meet my own standards, which I set impossibly high”
(03/31/17 3:29am)
6/7
Released 03/10/17
Tennis seem to be the experts of shimmering, slightly hazy indie pop. Every time you hear a Tennis song you are transported to a very carefully crafted world as seen by Patrick RIley and Alaina Moore.
Titled Yours Conditionally, the album has many themes of love and monogamy, or more accurately tongue-in-cheek comments about them. The entire album encapsulates a thread of thought by the protagonist of this so-called love story. A woman wanting more from herself, and asking even more from her partner, and becoming bored with love quite often. A very sarcastic take on things.
The first track on the album, "In the Morning I'll Be Better," was the duo's second single. It is a beautiful song with Moore's true vocal ability on display with her harmonies sprinkled throughout. This song does a great job setting up the storyline of this blasé female persona. She is attempting to court someone with promises of a better life with her, and even with their hesitations to commit, in the morning everything will be better including her.
Following her through to "My Emotions Are Blinding," this woman has begun convincing her partner she'll give him everything he wants and that her divine nature as a female gives her this power over them, and that her love is binding. Tennis have really grasped at this 70s disco sound and ran with it, especially in this song. With a pre-chorus constructed in the same vein as ABBA's "Lay All Your Love On Me," Moore is able to take you to a certain world that seems as glamorous and as dramatic as the 1970s.
Later on in this storyline is, "Ladies Don't Play Guitar," the first single released in preparation for the new album. Probably one of the most catchy songs on the album, Moore's voice goes in her typical high note ethereal direction, but for the verses she opts for a low, almost coo, trying to entice the listener, and the object of her desire--creating a mood of urgency. This woman is telling her new partner that she'll be whatever they want her to be. All of this comes across rather campy, furthering the image of a siren just looking for love out of boredom.
The best song on the album, and the one that serves as a prime example of Moore's writing ability is "Modern Woman." Serving as the stories climax/plot twist perhaps, the protagonist in the song turns to her friend Kate, explaining to her she hasn't been herself lately. She expresses feelings of regret and desire for affection. A good 3/4 of the songs is the same lyrics repeated over and over again, but that's what I feel best conveys the emotion of the song.
"I think I might have made it real
I think I might have made it so real
I think I might have made it real, honey"
Instrumentally, Yours Conditionally relies heavily on the acoustic guitar. This might be rather unimpressive with another pretty established indie band, but it works in their favor completely. Riley's compositions are simple and sexy. One of the best moments in regards to this on the album is the opening for "Ladies Don't Play Guitar," a simple stroke of the guitar and some light percussion really carry the mood of that track, and the rest of the album in my opinion.
Tennis have carefully curated their image and sound and on their latest effort it seems they have it down pat. Dreamy synth pop reminiscent of 1970s disco era, but with a melancholy undertone only the millennial age can understand.
(03/21/17 11:37pm)
5/7
Released 03/10/17
Not a favorite of critics but a favorite of music lovers in general, Charli XCX and her most recent EP Vroom Vroom took listeners on a fun ride of loud metallic synths and somewhat scary house bass. The title track "Vroom Vroom" presented Charli in a new light, veering away from fun colorful pop with bite, to more moody and sleek R&B. It has been nearly a year since Charli had released any new sort of collection of songs, aside from "After the Afterparty" her collaboration with fellow millennial darling Lil Yachty.
Charli made an announcement on Instagram Live (which I had the privilege of catching) that she was going to be dropping new music very soon. I really didn't expect it to be as soon as the next month.
Number 1 Angel is a great pop record that seems to fit in to the sonic aesthetic Charli has created for herself; plenty of fun loud tunes, intense and noisy beats, and wonderfully angsty lyrics about love and partying. A more bright auditory experience than the former Vroom Vroom, but a darker experience lyrically. Charli explained to the Fader that her next project was going to be more about "crying into the champagne than drinking it" and listening to songs like "3 AM (Pull Up)," "Blame It On You" and "Emotional" we hear her speak about toxic relationships in a rather indulgent sense, laying it all out on the floor to cry but then overpowering those emotions with fast and exciting instrumentals.
The production value on Number 1 Angel compared to Vroom Vroom is pretty similar, with plenty of layering and looping, but its also a bit more mature.That being said, Vroom Vroom was a great piece of avant-pop and produced such bangers as "Trophy." The lyrics on Number 1 Angel and the instruments go together a lot more than on her previous EP.
Introduction track "Dreamer" is an all around fantastic pop song, along with a lot of her other work, it sounds very futuristic. Charli brought on a lot of guest appearances on this album such as CupcakKe and ABRA, and on the aforementioned "Dreamer" she featured Starrah and Raye. The track is a fun slower paced tune but is packed heavy with bass and again talks about the fun car obsessed lifestyle we have grown to love about her. Moving on to the next song (which is one of the best songs on the album) "3 AM (Pull Up)," we are taken out of the mindset of luxurious cars and an almost hypnotizing instrumental to a shimmering and vivacious outpouring of heartbreak. It is very avant-garde but I could see this being her most radio friendly song on the mixtape. It's catchy, it has extremely relatable lyrics people can belt out in their cars, and it has a nice verse from MØ.
Another great track is "ILY2": the song starts off soft and slowly in the style of "Boom Clap" but her lyricism in this production is much more profound and empowering, again very much in line with the theme of crying into champagne. The chorus bares words that actually made me do a double take, it was something that I could relate to but never even thought of.
"I don’t talk a lot, talk a lot
So you should listen up, I mean it when I say
I’m not afraid, it’s okay"
The other standout track is "White Roses". A slowed down track teeming with themes of futuristic sex love sounds. A clap and distant tinny clinks create a cold feeling but the lyrics juxtapose this with romantic and intimate invitations.
A fantastic effort from the new expert of avant-pop. Not her best work ("Vroom Vroom") but still very very good.
(03/07/17 3:14am)
6/7
Released 02/03/2017
Process is the debut studio album from Sampha. His feature on Solange’s A Seat At The Table track, “Don’t Touch My Hair” was a sort of an informal introduction to the British singer for the masses. He’s worked as a producer for other artists such as Drake and FKA twigs. As for his own solo work he has released two EPs: Sundanza in 2010 and Dual in 2013. The latter was a more stripped down emotional exploration that got his thoughts across, but were rather unpolished. On Process Sampha truly delivers on the production value. Sampha himself produced all the tracks and then recruited Rodaidh McDonald and Matt Colton to master the project.
It’s easy to hear how much effort was put into these tracks. The introductory song, “Plastic 100° C,” begins with Sampha’s signature piano playing along with some NASA-esque audio. As his voice enters the track, a more heavy, atmospheric melody comes into the background along with a muddled drum beat. These traits continue through as Sampha’s voice carries you along the story. All of these sounds together blend effortlessly--a testament to the production capabilities of Sampha.
The next track, “Blood On Me,” is for me, the standout track of the album. Synth beats introduce the song as Sampha begins to breathe heavily and recite his lyrics. His voice gets more urgent and louder and becomes layered with a backing beat before breaking into the chorus. “Blood On Me” is an expansive track that creates a sense of anxiety as you listen, but Sampha evokes something new in you that you might not have ever experienced.
Throughout the rest of the album you get this feeling, a sense of urgency, and this is due to Sampha’s impressive vocal range, being able to go low in a whisper or high in a scream.
Other tracks are little treats for the listener, as if they are an inside look into who he is, especially “(No One Knows Me) Like the Piano,” a simple singer songwriter tune, and a love song at its core, to Sampha’s preferred instrument.
Throughout the album, you are taken on an ethereal ride through Sampha’s world, which seems to be largely comprised of his bedroom. Another stand out track is “Reverse Faults.” This is a track that finally takes you somewhere else with the singer. A look at his past mistakes, “Reverse Faults” is an honest tune most people can relate to, and it will probably hit you hard.
Sampha’s Process is an exciting work of art. It’s an invitation into his world of bedroom recording and it is an exploration of what goes through his mind when he makes music.
(02/23/17 3:16am)
In this installment of FAS, PR Director Annie Skertic discusses The Smashing Pumpkins' 1993 album, Siamese Dream. Check it out below!
[embed]https://www.youtube.com/watch?v=DFE_Q0eSPac[/embed]
(12/07/16 7:45pm)
In the second installment of our video series, Favorite Albums Sessions, Web Content Director Mary Luncsford discusses her love of The Avett Brothers' 2007 release, Emotionalism.
[embed]https://www.youtube.com/watch?v=VnUUPjS9Osg&feature=youtu.be[/embed]
(11/17/16 5:11am)
I know these are trying times for all of us, and things seem to be going down the drain, but music has always been able to express thoughts and feelings we aren't able to on our own.
These are the songs that have been playing as my soundtrack this past week--explaining my mood better than I can in words.
Hope you can find solidarity in them too.
1.Borders-M.I.A.
https://play.spotify.com/track/0cVeP9t3QChKYHKNGWfPnD
"Borders (What's up with that?)
Politics (What's up with that?)
Police shots (What's up with that?)"
2. Savages-Marina and the Diamonds
https://play.spotify.com/track/3YjH3TIf5SOpFlnqlRdNAE
"All the hate coming out from a generation
Who got everything, and nothing guided by temptation
Were we born to abuse, shoot a gun and run
Or has something deep inside of us come undone?"
3. The Mall & Misery-Broken Bells
https://play.spotify.com/track/2ZgJ3fxDrGSi3VKe84YDAe
"Does one want to
Get more used to?
The mall and misery (the mall and the misery)
The dead mouths it costs to be alive"
4. Cold War-Janelle Monáe
https://play.spotify.com/track/5al9is1AQnaI3lTi20DUG6
"Bring wings to the weak and bring grace to the strong
May all evil stumble as it flies in the world
All the tribes comes and the mighty will crumble
We must brave this night and have faith in love"
5. Mad-Solange
https://play.spotify.com/track/22DHmfJa31hKpc2Lg0gVBV
"Why you always gotta be, why you always gotta be so mad? (Be mad, be mad, be mad)
I got a lot to be mad about"
6. Dystopia (The Earth Is On Fire)-YACHT
https://play.spotify.com/track/4v6fYRcGzDldWZ8pveHnHD
"We are hungry, we are all tired.
Our tongues they are all on fire.
The walls that we build are higher, higher, higher, higher."
7. Disparate Youth-Santigold
https://play.spotify.com/track/0t2QiRkpag0fAgs9zuCPlH
"Don't look ahead, there's stormy weather
Another roadblock in our way
But if we go, we go together
Our hands are tied here if we stay"
8. Freedun-M.I.A. featuring ZAYN
https://play.spotify.com/track/6AawG8z80kmCNAwQjsISI8
"It grew bigger than a politician
Yeah, history is just a competition
Do you wanna sign my petition?
It's for the people with dedication
Some people f*** it up, take vacations
Refugees learn about patience"
9. Million Dollar Loan-Death Cab for Cutie
https://play.spotify.com/track/1GYBuQqnafHhf1HFU6jqud
"You'll reap what you've sown
From a million dollar loan
Call your father on the phone
And get that million dollar loan"
10. Straight Outta Vagina-Pussy Riot
https://play.spotify.com/track/0GwYhv2Si7XRby7vFvVIQW
"Don't act like you don't notice
Girls run it like U.S. Open
Throw a fit right now (right now)
Put up a fist right now (right now)"
11. Many Moons-Janelle Monáe
https://open.spotify.com/track/4WehxcnPTxouLdfQhqANb3
"Broken dreams, no sunshine, endless crimes, we long for freedom (for freedom)
You're free but in your mind, your freedom's in a bind"
(11/10/16 10:08pm)
I know our future looks bleak, but we need to enjoy Barack Obama as our president while we still can.
President Obama has been one hell of a Commander in Chief, I think we can all agree to that (four more years?). He inherited one of the worst recessions our country has seen and got us out of it, he created millions of jobs within his first term, eighteen million Americans now have health insurance, we have less military in war zones than we did twelve years ago, and of course gay marriage was legalized.
Aside from his successes he has been one of the coolest Presidents too, having some close friends in the music industry, like Beyoncé and Jay-Z, and having some stellar music taste (he enjoys Courtney Barnett, Janelle Monáe, and Prince).
So in order to celebrate this amazing President while we still can, here is a playlist of songs about our beloved Obama.
Young Jeezy feat. Nas - "My President"
will.i.am - "Yes We Can"
Joel Ortiz - "Letter to Obama" (Feat. Dante Hawkins)
Ti$a - "Vote Obama"
Nas-"Black President"
Jadakiss feat. Common, Styles P & Nas - 'Why (Remix)
Common-"The People"
https://www.youtube.com/watch?v=O9sABRosdNg
https://www.youtube.com/watch?v=jjXyqcx-mYY
https://www.youtube.com/watch?v=qJDKBeMK4Kw
https://www.youtube.com/watch?v=EbjBHkKiS4c
https://www.youtube.com/watch?v=4PHo-Hmjruw
https://www.youtube.com/watch?v=nXhbSmL3Liw
https://www.youtube.com/watch?v=S7B2VgRShew
(11/10/16 9:23pm)
In this new video series, members of the WIUX community share their favorite albums. In our first episode, Special Events director, Mike Higgins raves about The Beatles' iconic Abbey Road.
[embed]https://www.youtube.com/watch?v=zDzLKObh65c[/embed]
(11/08/16 1:09am)
It has been a busy time for Solange Knowles. After releasing her newest LP A Seat at the Table, her first release after four years, Solange has been busy getting back into performing and promoting her new record.
This weekend she had the honor of performing her two hits "Cranes in the Sky" and "Don't Touch My Hair" on Saturday Night Live. This was Solange's first time ever on the late night staple, and it's fair to say she set the bar pretty high.
The first song she performed was "Cranes in the Sky". Not only was her voice on this track soothing, but her visuals were stunning. Solange opted for an all-white wardrobe for herself and her back up band and donned a braided hair piece resembling a halo embellished with Swarovski crystals.
Later in the night for her second time on the stage she performed "Don't Touch My Hair" with help from Sampha. This time, fittingly, she wore her hair in it's natural state and rocked a white jumpsuit. Given the song's more upbeat tempo, Solange had a little more fun on this track breaking out in a dance session alongside Sampha that even her backup singers and band took part of. It seemed like a really fun moment for everyone involved, and of course Solange's voice delivered throughout the entire performance.
Earlier today Rick Ross released a remix of "Cranes in the Sky" following suit of other artists who have done so such as Common. It's hard not to relate to the song's emotive message and so these musicians couldn't help but add their take on it. In his remix, Ross adds a verse to the beginning of the track He adds more drums to the introduction then proceeds with his lyrics.
"Cancun I got pictures back in '98/Hustling the streets is really give or take/Ross I put her up on hot yoga/ Wheatgrass, shot of ginger, pot smoker"
https://www.youtube.com/watch?v=iknfm9in_9M
An all around good remix I'd recommend listening to. Hopefully Solange keeps the performances and the remixes coming.
(11/04/16 2:06am)
5/7
Lady Gaga’s Joanne is the artist's first studio album in three years (not counting her collaboration with Tony Bennett, Cheek to Cheek). As an avid listener and die-hard fan since I first heard “Just Dance” back in 2008, I was eager to hear this album since, well, 2013 after the release of Artpop. Not that I didn’t like Artpop--it’s full of great sleazy pop music but it wasn’t what I had become accustomed to after listening to The Fame Monster and her greatest piece of work so far Born This Way. BTW is the epitome of what I think of as Lady Gaga’s “sound." It’s dark-trashy-synth-gothic-metal pop and it's perfect.
Keeping on track with the newest release Joanne, I was kind of hesitant. I came to terms with the fact that I wasn’t going to get another Born This Way (at least not this time--Gaga has said working on American Horror Story has made her rediscover her love of the art of darkness so fingers crossed).
It became evident Gaga was going toward a more folk-rock vibe this time around when announcements of collaborations with Florence Welch and Father John Misty were made, and I was alright with that. She also had the help of Tame Impala’s Kevin Parker and Mark Ronson, so I started to worry about it less because at least it would be in capable hands.
When I first listened to the album all the way through, I was not impressed; that is, until I heard the track, “Dancin’ in Circles." This song is so sonically different from the rest, opting for a more reggae vibe that is reminiscent of a No Doubt track. Her voice seems to be channeling Gwen Stefani with a more high-pitched coo reciting the lyrics. Upon second listen, I was able to appreciate the other tracks after I identified “Dancin’ in Circles” as the standout track. I wonder why her team didn’t choose it as one of the promotional singles but that’s for another time.
Another crowd-pleaser appears to be “Diamond Heart,” the opening track. It sounds kind of like a Bruce Springsteen song. “Young, wild, American / looking to be something,” she starts off singing in a pretty low register, keeping pace with the drums which are the only backing sound at this point, but her voice quickly becomes more jazzy as she raises her voice matching the guitar that comes in. “A-YO” is more obviously country-inspired, but I don’t hate it. In fact, I really like this song. The two things that can always salvage a Lady Gaga song are her lyrics and her voice. I find the lyrics to this song particularly charming and her voice is impressive on this track. She has such an impressive range--she's able to go from a soft whisper to her distinctive, loud theater-trained voice. My one qualm with this song is the title/use of the title. I don’t feel like the phrase “a-yo” is very authentic to Gaga’s persona, but that’s just me.
In regards to the album’s lead single (and lovechild of Kevin Parker and Mark Ronson), “Perfect Illusion,” there were some mixed reviews. When I heard it for the first time I really dug the production and instrumentals of it. It seemed more in line with the sonic world of BTW, and I found most of the lyrics pretty damn good; however one particular couplet of lyrics bothers me so much: “I don't need eyes to see / I felt you touchin' me / High like amphetamine / Maybe you're just a dream.” This is the woman who wrote “Bad Romance,” come on. Aside from that intro-to-songwriting collection of words, I think the song is a great piece of work and influence from Kevin Parker is very evident towards the end of the songs as things begin to build up similarly to “Let It Happen.”
Tracks “Joanne,” “John Wayne,” and “Million Reasons” are the more folky songs on the album and they all hold up. She demonstrates great songwriting skills on all of them and her voice is as angelic as ever--especially in “Million Reasons.”
“Sinner’s Prayer” is fantastic track. The song takes the listener on a journey through a fictional southern family’s personal drama like an episode of Dallas. There are cinematic transitions throughout the track, adding to the dramatic over-the-top world created. It’s a great song. “Come to Mama,” “Hey Girl,” and “Angel Down” are more mellow tracks after the theatricality of “Perfect Illusion” and “Sinner’s Prayer." “Hey Girl” features Florence Welch and it’s a groovy, synth, Prince-sounding tune about female friendship. You can pretty much picture Welch and Gaga on a stage holding glasses of wine, wandering around and pointing at each other periodically. This song sounds more like a Kevin Parker song than “Perfect Illusion." That’s a very good thing. The highlight of the song is during the slow down when the two women sing together softly, “Help me hold my hair back / Walk me home 'cause I can't find a cab / And we dance down the Bowery / Held hands like we were 17 again / And then it's 4 a.m. / The sun is creepin' up again / Don't you leave me / Oh, darling don't you leave me.” This song is so lovely with its subject matter. There needs to be more songs about the beauty of female friendships as opposed to heteronormative love.
Another standout track from Joanne is “Grigio Girls.” This song has such a good melody and her voice is as light as air. Another song about comradery among women, she details the story of her and other girls crying and bonding over bottles of pinot grigio--something to which a lot of us can relate. The chorus is so catchy and the lyrics are beautiful, especially with Gaga using her full voice to belt it out. “All the Pinot / Pinot Grigio girls / Pour your heart out / Watch your blues turn gold / All the Pinot / Pinot Grigio girls / Keep it real cold / 'Cause it's a fired-up world.”
All in all, it's no Born This Way, but I think for the direction Gaga wanted to go with for this album, it's well executed and well produced. Gaga’s songwriting is emotional and raw, and her voice is so impressive--taking each song above and beyond. I think she had to get an album like this out of her system, and its pretty darn good. Do yourself a favor and listen to “Dancin’ In Circles” if you haven’t already.
(10/04/16 8:19pm)
Released 9/30/2016
6/7
It’s been four years since Solange released dream-like extended play, True, which was an immediate critical success and propelled her image of soulful synth pop star even further. Songs from that EP such as, “Losing You” and “Lovers in the Parking Lot,” evoke so many different layers of emotion and deeper subject matter than those on her previous LP Sol-Angel and the Hadley St Dreams which were a little more radio-friendly.
Her transition from 2012’s True to 2016’s A Seat at the Table is effortless and consistent. It continues the same kind of slow tempo soft-sounding synth pop of the former but pushes even more boundaries.
The subject matter is completely different. Instead of detailing romance, Solange paints a picture of her life, and the struggles of being a black woman. Songs like “F.U.B.U” and “Don’t Touch My Hair” are more up front about their declaration of black pride. I particularly appreciate the lyrical content of “F.U.B.U” for the way it announces that this music (and other aspects of culture) are for the black community and by the black community. Her ability to express aspects of her life through her songwriting is very important and can sometimes go unmentioned in other artists' music. In “Mad” she explains the anger and patronizing she experiences which is the concept behind the album, but ironically express how she is tired of doing so.
“I ran into this girl, I said ‘I’m tired of explaining.’
Man, this shit is draining
But I’m not really allowed to be mad”
The album takes you on an entire journey and a personal story that Solange wants to share with listeners. She uses interludes, which some might not really enjoy, but I appreciated them because it takes an album from a track list of songs into a work of art. The words spoken during these interludes are very moving and I recommend not skipping over them. Solange chose to include them for a reason.
Other songs further her message, but also just sound amazing. The entire album is a mood-lifter and it's the perfect soundtrack for a good time. Songs that really encapsulate this are “Junie” and “Rise.” A Seat at the Table’s characteristics include funk, gospel, synth pop, all with an ethereal feel and dreamy vibe that is specific to Solange.
Not to mention the features on this album are insane.
Solange has BJ The Chicago Kid, Kelly Rowland, and Lil Wayne just to name a few.
A Seat at the Table sonically continues where True left off, not causing too much of a shock for listeners, but she's definitely matured. I appreciate the efforts she makes on this album, and I hope it reaches a lot of young listeners.
https://open.spotify.com/album/3Yko2SxDk4hc6fncIBQlcM
(05/14/15 9:30pm)
Can't make it some festivals this summer? No worries, WIUX will be here all summer with recaps from someone of the coolest, most innovative and fun festivals throughout the summer. C.J. Lamborn and Jared Peterson were in Atlanta the weekend after finals ended to enjoy Atlanta's Shaky Knees festival. Here's what they saw and heard.
Shaky Knees Fest Day 1:
When we arrived on the festival grounds of Central Park in Atlanta at 12:30 p.m. the crowd had already arrived and had taken their seats in line under the trees lining the park to escape the sun.
Once we were inside the festival, the crowd that had seemed tired and depressed in line, immediately livened up and people were cheering and clapping because they had made it in finally.
Our first stop was the Peachtree Stage where Surfer Blood was performing. The Florida based band had the first slot and yet were able to attract a pretty large crowd. And a loyal one at that since the crowd was singing along to almost every song. When the band started playing their first hit “Floating Vibes” the crowd erupted in applause and hollering, as that was the song they were all waiting for.
After our time at the Peachtree Stage we migrated over to next stage over to see Haerts at the Piedmont Stage. I had not known much about much about the pop band but I heard they were worth checking out. I’m glad I did because lead singer Nini Fabi is absolutely amazing. Not only was her voice extremely impressive, but her stage presence was unquestionable. She commanded the stage with a confidence of someone with years of experience performing live, and her outfit was also pretty darn cute.
After that I went around asking people who they were looking forward to the most, and surprisingly a majority of the responses were Mac Demarco. I’m not saying I don’t think Mac Demarco is good or popular, it just surprised me most people didn’t say The Strokes or The Pixies.
While asking people their opinions I was approached by a fellow college radio blogger for Georgia State University, Donte. He informed us of his university’s blog Students In The City, so I just wanted to give a little shout out to him and WRAS.
I then returned to the Peachtree Stage to see English rock band The Kooks. The crowd for the rockers was rather large, obviously, and they were eager. People were sharing opinions (as well as other things) and the vibe in the air was great! Luke Pritchard, the lead singer, didn’t hold back when it came to using his sex appeal shaking his hips, winking and pointing at the crowd, and leaning forward with his microphone. When “Bad Habit” started playing festival goers began to sing the hook along with them and Pritchard motioned to the crowd to keep going. They then transitioned into one of their older song “Ooh La” and everyone swooned.
Following The Kooks were acts such as Mac DeMarco and TV On The Radio. Both shows were stellar and drew big crowds.
Another show I was able to catch was The Pixies. I managed to get third or fourth row for this show and was not disappointed. The band played crowd pleasers such as “This Monkey’s Gone to Heaven” “Where Is My Mind?” and “Here Comes Your Man” The crowd never stopped singing along, moshing, and crowd surfing, I personally obtained a few bruises from the show.
Right after The Pixies a girl I had just met grabbed my hand and managed to pull me pretty deep in the crowd to see The Strokes. They probably attracted the largest crowd over the entire weekend at the festival. It seemed everyone who was attending the festival was at that show. The band played all the songs you’d want them to including “Last Night” “12:51” “Taken for a Fool” and “All the Time” Julian Casablancas interacted with the audience the entire time even claiming that Mac DeMarco was on stage and running into the crowd to sign autographs and high five fans.
In my opinion Friday was the best day of the festival in terms of must see performances that went on all day.
Shaky Knees Fest Day 2:
When I woke up on Saturday, day 2 of Shaky Knees and I had one goal for the day.
Be front row for Neutral Milk Hotel. Here is my journey.
I woke up at 10 a.m., showered put on my Hard Rock Café baseball cap and fanny pack and headed towards Central Park. I stood in line at the front gates in order to secure my spot in the crowd fro NMH and interacted with fellow festival goers, asking who they were camping out for.
Most Popular Answer: Noel Gallagher.
At noon the gates opened and I flashed my media wristband and sauntered in.
I then realized I entered the way that is farthest from the stage where NMH was performing and I began to regret my whole life and ran towards the stage.
I managed to get to the stage in third place and sat down, enjoying my place in front row.
The sun began to beat down on us and I began to question whether I should try and see other bands, and just come back later for NMH. The answer was no.The first band to perform at the Ponce de Leon Stage was Field Report. A nice folk trio who, despite being in the first slot and therefore attracting a less than bustling crowd, put on a great show and captivated the few who were in attendance. I am officially a fan.
After Field Report was an English punk band Palma Violets. The crowd at the stage began to grow as people came to camp out for The Black Lips, Neutral Milk Hotel, and Wilco. Palma Violets took advantage of the growing crowd and interacted with them quite a bit. They offered merch to the crowd and talked with them while they set up their equipment. Once they performed the bassist stole the show by getting on top of the speakers multiple times and leaning towards us in the crowd.
Next up to perform was The Black Lips, another one of my favorite bands and reasons to stay at the Ponce de Leon Stage. A huge influx of people arrived for this show and the band did not disappoint. The band had a hype man come out to get us ready by having us chant the bands name. Then when the members came out on stage they went right into performing their music and the crowd began to mosh (again I obtained some bruises at this show) The band got down off stage multiple times, interacted with the crowd, licked their guitars, poured water on us, drank beer and spit it out at us, and kicked beer cans into the air making them spray everywhere. To say it was “punk rock” would be an understatement.
Finally the moment had arrived, Neutral Milk Hotel came on stage and set up their own equipment (very cool) and the sight of Jeff Mangum’s beard was enough to let me die happy. An audience member handed a present to Julian Koster, who was wearing a blue knit hat (so Julian) accepted the gift and smiled and winked at the lucky fan. When the time came for the band to perform a voice came over the speakers announcing that Neutral Milk Hotel did not want anybody taking photos or videos, a bummer but understandable. They put on an amazing show. Jeff’s voice sounded just as perfect as ever and Julian played his banjo while seeming to be off in another universe. At the end of the show Julian tossed his bow and Jeremy through one of his drumsticks into the crowd. When the show ended I knew I had to scream for a setlist or I wouldn’t get one. I began to yell at the people packing up the equipment for “A SETLIST?! A SETLIST PLEASE! I’LL DO ANYTHING” and no I am not ashamed of this. When someone finally heard me they grabbed the setlists that the band had used and came down towards me I thought “This is it!” Sadly no, some jerk next two me grabbed it before I did and I began to question the meaning of life.
After the stage was cleared off I knew after a day of not eating, standing in the sun, and moshing I couldn’t make it to Wilco and I began to exit the crowd, ending my day early.
Was all of it worth it? Yes, because when I yelled “Julian you’re amazing!” He looked right at me and smiled.
Shaky Knees Fest Day 3:
On Sunday I had much more of an agenda. My shows for the day were Mini Mansions, The Mowgli’s, Best Coast, Dr. Dog, Panda Bear, and Tame Impala.
For some reason it was the hottest it had been that weekend on Sunday. It was somewhat miserable. But the shows made up for it. First up was Los Angeles band Mini Mansions. The band had a lot of style wearing floral shirts and having a light setup on stage spelling their name. They covered Blondie’s “Heart of Glass” and did great job. The Mowgli’s took the Buford Highway Stage at 2 p.m. The sun was hot but the crowd was still in high spirits.
Then, Best Coast performed and the heat and the dust in the air finally got to people who were choosing to sit under trees and just listen rather than showing up to the stage for the show and being in the crowd. I even had to take a moment and sit in the shade.
It was in the shade that I saw Dr Dog perform. Despite not being close to the stage the people next to me were still singing along and dancing and yelling at the band.
Panda Bear was the nice break that everyone needed I think. The show took place in a tent when the sun was just starting to set, and the chill electronica was just the kind of music we needed to unwind and cool off.
I began heading towards the Peachtree Stage after that in order to get a good spot for Tame Impala. Despite being the last show on the last day Tame Impala had a large crowd come to see them. The band had an incredible light show and had great energy telling the crowd they were excited to be there multiple times. They played “Elephant” and “Feels Like We Only Go Backwards” which is what everyone wanted and it was everything you wanted it to be. The show ended and everyone began chanting for an encore, and the band was happy to oblige.
Overall Shaky Knees Fest was a great experience. The people who attended were so nice and friendly. Everyone in my hotel was super cool and fun to talk to. The people I met in line at shows were awesome as well and had great taste in music (obviously) the location was great. Atlanta is home to a lot of great musicians so it made sense to have a festival there. I would definitely recommend people to try and make it to Shaky Knees next year.
(04/21/15 11:07pm)
Weezer had just released the wonderful album Everything Will Be Alright in the End last October and most recently they headlined the NCAA March Madness Music Festival and now they have decided to go and release a brand new track on 7-inch vinyl to the lucky members of their official online fan club.
And thankfully some have already uploaded it to the needy people of the internet.
The song hits on all the notes you want in a Weezer song. As Rivers starts to sing the first lyric Scott rips on his bass, like we always love. The song is a good rock song and just makes you happy that a garage/emo/indie rock band like Weezer exists and is still making music. And as I listened to the song and read about how they chose to release it, it really got me thinking.
The fact that Weezer has been around since 1992 and are still producing quality and critically acclaimed music really says something about their fan base, and I feel they understand that. Weezer has always rewarded its fans, especially ones that have joined their official fan club. They have given out free concert tickets and other merchandise before. The band is very active with their fans online and knows the key to staying successful is having a presence online and connecting with fans, and that has never seemed to be an issue for them. Other artists are catching on as joining fan clubs is becoming not only a cool thing to do again, but also a smart thing to do.
Now it seems like anyone who is resourceful is joining a fan club. Being a member can give you access to personal letters from the artist like St. Vincent does, access to early and discounted ticket purchases like Lana Del Rey, or a free 7-inch vinyl like Weezer did.
So don’t miss out on all those perks! Join a fan club! And listen to the new Weezer track because it’s pretty darn good.
(04/14/15 3:21pm)
Released 4/12/2015 via Odd Future Records.
6/7 stars
Tyler Okonma, a.k.a Tyler, The Creator, is a prodigy if there ever was one.
At the very young and very impressive age of 24 Tyler has already released his fourth album, Cherry Bomb. This seems like a laborious lifestyle for the young rapper. Tyler has consistently been putting out new and great music for the past 6 years since the release of his instant classic debut Bastard. Tyler is someone whos brain is constantly reeling and creating, and in this album, it seems as if that his brain is out on display and it’s up to us to be able to dissect it.
As soon as the opening track, “DEATHCAMP” begins you are immediately disoriented by some gnarly guitar gnashing and intense synth. Tyler begins “Excuse me mister, but can you please turn down the lights”
As Tyler sets the scene to tell us a story the music begins to build up and create a sense of chaos around his voice. A prominent theme throughout the album is Tyler’s obvious hesitation to fame as he continues on the opening track, “I don’t really like all these cameras man, and this sh*t just don’t feel right?” Throughout the song Tyler seems to have a very sarcastic view of his success and fame. The lyrics almost claim a guilty feeling he has, expressing his contempt towards the issues of student loans and being a role model.
The songs seem to lead properly into one another. All of them have high energy and tremendous layers of music only capable of being concocted in Tyler's head. The album goes on strong with every song having something different and exciting to offer. Each song has its own memorable lyric. One lyric that stands out from the rest is on ""PILOT," "That's why I'm in first class but I feel like coach."
Another consistent part of Tyler's theme of dismissing his fame. Five songs into the album Tyler takes a break from the viscous guitars and delirious beats for a classical interlude on “FIND YOUR WINGS” a la Stevie Wonder, someone who Tyler cited as an inspiration for the new album. This song sounds so different from the other songs on the album and that is something that was truly needed, not just on that spot on the album: it was needed from Tyler in general. This track features different, more classical musical elements, which truly highlight Tyler’s musical genius (which is already obvious but sometimes people need to be reminded)
The title track “CHERRY BOMB” is just a sonic wonderland that is 100% Tyler, The Creator. The synth beat on this song is just absolutely amazing, I will go as far as to say it is life changing. After the beat starts to go on for a while there in the middle, the song slows down with some soul style vocals from a female artist that is purely beautiful.
“2SEATER” is definitely the standout track on the album. It is almost 7 minutes of pure musical bliss. Tyler goes on to explain a story of driving around in a 2 seater with a girl. The best part of the song is in the middle when the music stops for dialogue between Tyler and the girl. At the end of the conversation Tyler says "But I love it when your hair..." and the song smoothly transitions to the next verse with "Blows, when it blows, when it blows" giving you the kind of audible satisfaction you could only dream of.
And if these songs weren’t enough for us Yeezus himself appears on the album on the track “SMUCKERS” as well as Lil’ Wayne. At first I thought I was going insane, because Mr. West himself was not credited on the album, but I could immediately recognize that it was Kanye West blessing us with his vocals on this track. Then, as if that wasn’t enough, Lil’ Wayne’s raspy voice came through and my heart leapt. The album then starts to wind down after its peak on “SMUCKERS” with “KEEP DA O’S” which features guest vocals by Pharell Williams (again another very exciting feature) In this song Tyler touches on the topic of his fame again, at the close of the song he speaks the words, "I'm rapping about diamonds, and cars, and money now, what the f*ck has gotten into me?"
The last track on the album is "OKAGA, CA" another slow track appropriately placed at the end of the album. This song features some more Stevie Wonder elements with its lounge music rhythm and jazzy background vocals. When the song, and the album, finally finished I felt very pleased with the work Tyler had created. I am excited for his upcoming ventures.
Must listen tracks:
"DEATHCAMP"
"PILOT"
"CHERRY BOMB"
"2SEATER"
"SMUCKERS"
(04/09/15 11:26pm)
It has been nearly three years since the release of Frank Ocean’s critically acclaimed Channel Orange, an album that Odd Future fans as well as critics immediately adored. The record had so much to offer, propelling Ocean to superstar status as he performed at countless awards shows and festivals as well as winning a Grammy.
Channel Orange really held its own and most of us were able to live off of it as long as needed until Ocean released his new album.
Then one year had passed. Two years. Now it has been announced that exactly three years later Frank will release his highly anticipated (although that’s a bit of an understatement) new album Boys Don’t Cry in July of this year.
Ocean had also released a teaser track, believed to be a rough demo of a song from the new album, on his tumblr last year titled “Memrise” The track gave listeners an idea of the new atmospheric sound he is obviously trying out. He has stated that Tame Impala was a huge inspiration for his new music.
The hype surrounding a new Frank Ocean album has been intense. Recently a new hashtag had started trending #FindFrankOcean2k15. There have been reports that Ocean has been working on the new album with the likes of Rodney Jerkins and Hit-Boy. Lil B has also posted a photo of the two working together so one can only hope
(04/07/15 11:59pm)
Critically acclaimed guitar hero and alien cult leader Annie Clark a.k.a St. Vincent had an incredible 2014 with the release of her fourth solo album St. Vincent and is already off to another incredible year in 2015 with the release of her deluxe edition of her self-titled and a Grammy win.
I honestly thought with all the work she has accomplished lately and with the success of her latest release as well as the extension of her tour she would finally take a break. But alas, I woke up yesterday morning to the announcement Annie had released yet another track. We are honestly not worthy of any of this. She keeps giving us music and I don’t know what to do with myself.
Annie had originally recorded the song to be featured on HBO’s Girls, so the track was definitely meant to be a little angsty and poppy. The song has an overall ethereal coming-of-age tune. The lyrics really take you through a wave of nostalgia of, well, what its like to be a teenager and all the over excitable things we did and talked about. The song is more autobiographical than some of her others which take on a sort of fictional storytelling. There isn’t much of a guitar riff on this track, which is what her fans usually crave, but her signature poetic and slightly “off” songwriting is prominent. The album artwork features a picture of young Annie Clark performing a song in her bedroom with her childhood friend. The release of this song really is an intimate look into the adolescence of a woman who seems from another world.
Not only had I been listening to the track all day and began instantly memorizing everything about it, I later found out that she was performing it on The Tonight Show Starring Jimmy Fallon that same night. She went on stage with a whole new look than we are used to seeing. Annie took it upon herself to leave her guitar at home and bring with her some back up dancers, further establishing her as more of a pop star in her own right. And that is alright with me. Annie Clark doing any sort of choreography is a beautiful thing.