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(05/10/17 7:41pm)
Early on in my freshman year, I was keyed into the concept of house shows - a wild world where sweaty kids would pack into a dusty basement, drink beer, and listen to live music at a relatively unsafe volume. It was in this way that I made some close friends and discovered some of my favorite bands. I learned more about music in my four years at Indiana University than I did in the 14 years of my life that preceded it. As I prepare to leave Bloomington, I've gotten sappy about a lot of my experiences here and the music scene is no different. So, as I have with many other things, I decided that it was time to make a formal acknowledgment of those artists and people that have shaped my musical journey throughout college.
Dietrich Jon
Dietrich Jon was one of THE Bloomington bands for the first two years of my college career. The violin-fronted rock group helped define the theory of the house show to me and became one of the first bands I fell in love with in this town. They released the Higher EP in the spring of 2014, played a variety of WIUX sessions and shows, and performed at Culture Shock the following year, cementing themselves as a favorite at WIUX and across all of Bloomington. The band hit CMJ in New York in 2015 and, after a lineup change and a brief hiatus, the band is back playing shows in Bloomington and is gearing up to release their first full-length record.
Little Timmy McFarland of Flight 19
Another Culture Shock alumn, Little Timmy started as the drum machine and acoustic guitar project of IU student Dan Talton. Over time they evolved into a god-only-knows-how-many-piece, adding in accordions, horns, extra guitar players and vocalists, and a live drummer to totally flip the sound of their records and live shows. Talton's lyrical skill and vocal presentation is a huge part of the draw, combining classic country honesty and emotion with a sort of punk rock boldness. This band looked just as at home on a stage as they did in a kitchen with Talton screaming his head off (no microphone, of course), and they have just recently formed a new band in L.A. to take the West Coast by storm. But don't worry - they haven't forgotten their Indiana roots, as indicated by this mesmerizing track from their most recent record The Gospel of Daniel.
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Hoops
Ok, honorable mention and giving credit where credit is due. There's only so much I can offer as it comes to the most recent 'Cinderella story' of Bloomington basements, but Hoops did something special that's easy for people performing and seeing bands in this town to forget is possible - they made it. No matter on your opinion on the music, they are a record deal and an international tour into what is shaping up to be a very prosperous career, and that in itself is saying something. It's a signal that those bands that are poorly lit, dusty, and swimming in a sea of crushed PBR cans all could be moments away from their big break.
Patchwork
The moment for Patchwork seemed to come and go relatively quick, but their stay was worthwhile. Whether they were presenting themselves as a stripped down acoustic act or as the full-blown electronic landscape presented on their first (and only) record, Patchwork had a way of gripping you from the first listen. Members of the band referred to the group's LP All the Good Parts as frontman Neal Anderson's love letter to the world, mapping out optimism and heartbreak in ten tracks in a way that's unlike anything I've heard, commercial or otherwise. The band has since disappeared seemingly without a trace, but here's to holding out for another Patchwork record to fall into our laps when we least expect it.
Andy Hollinden
Some people know him as a professor and some people know him as a musician (and even a lucky few know him as both), but one of the most notable parts of my musical (and personal) growth in Bloomington came from Andy Hollinden's lectures. People from other universities liked to laugh when I told them things like "I'm taking a class on The Beach Boys", but courses like this one taught me how to write, perform, and analyze music in a way that captivates people and actually means something more than just sounding good. One of my final moments in a lecture hall during my four years at IU was spent with Andy telling a room of 100 people that whether you contribute to the good or fight the bad, that you should always make an effort to "turn up the warmth" in our world. Of all the things I've learned as an undergrad, that one will likely stick with me the most.
Honorable Mentions
Of course, I can ramble forever. But in respect the readers, the editors, and my fingers, I will condense this final stretch into one all-inclusive list of people in Bloomington that have flat out killed it in the music scene over the last few years: Winspear, Mike Adams at his Honest Weight, Lil' Bub (because come on!), Amy O, Home Planet, Her Again, Whale Bones, ExWo, Sunspots, Brownies in Cinema, Wonderhills (FKA The Underhills), and the good ol' boy Brian Berger.
(04/01/17 12:27pm)
Earlier this year, Indiana University and WIUX announced that the student-run radio station would be relocating to new facilities in the IU Media School. The first big steps in that relocation were announced in a press conference earlier today, when a university spokesman announced that the station house at 717 East 8th Street would be moved, in its entirety, to sit inside of Franklin Hall this summer. The process is one that, according to a university spokesman, should be a smooth one.
"We are sort of looking at a reverse claw-machine, drag and drop type of deal," the spokesman said. "We're basically going to pick up the house with a crane, drive it down the street, and put it through the wall of Franklin Hall and drop it into the center of the atrium. That's really as far as the plan goes at this point. After that we're just going to kind of roll with it, I guess."
One WIUX staff member is looking more forward to the WIUX station move now that the new process has been announced, stating that "a lot of people worried about what could happen to WIUX's culture once we left the house. But now, if they just put the whole house in the middle of a university building, everyone's needs are satisfied. We keep the house, but the university gets to monitor us more." The same staffer went on to say, "at the very least, we should just be happy that we don't have to pack up the station anymore. Everything will be carried over inside of the house when it gets craned to the new location, so we will probably save some money on boxes."
Faculty members in the IU Media School all seem to be giving the new plans mixed reviews, with one professor stating that placing the house in the middle of the school's atrium would be an "astounding accomplishment in the field of wasting space." Another faculty member went on record to say, "I am so happy that, despite all the money we spent on the new atrium in Franklin Hall and preparing to have WIUX move into the new building, we were able to come to such an even compromise. We really think that putting a house in here is the only way to ensure both a preservation of culture at WIUX, along with a prospect for future collaboration in student media. I used to be really against it, but then the dean said that I could drive the crane and be the one to use the house as a wrecking ball to demolish its way into the new Franklin Hall location."
Plans are in the works to allow WIUX members to purchase tickets to ride in the house during the relocation process. The Pure Student Crane Ride is tentatively scheduled for August, with pricing and dates to be announced by the end of April. The university says the construction project will be a "quickie" and plans to have the station up and running again in full capacity by September.
(02/23/17 4:48am)
Sentimental Sevens is a series in which our contributors retroactively give a personally important album a 7/7, our perfect score.
Being in eighth grade is rough, man. The potential for heartbreak during that time is as real as the looming giant of high school and bagged lunches. Anyone that knew me during that time knows that it came for me in bunches - a lost soul looking for love in all the wrong places. Either that or I was just an over-excited 13 year old boy that expected to find a high school - nay, middle school - sweetheart. But I digress.
It was at this time that one of my many crushes told me to listen to a band called Mayday Parade. Being someone who was most definitely "in love" and needing to impress this girl, I obliged. Soon after I was given a burned CD-R copy of 2007's A Lesson in Romantics, and I mean with all sincerity that the way I felt about music had changed completely after I listened to this record. It was such an honest and straightforward representation of the ache that comes with love and loss, coupled with an image of what young love can and should look like. The lyrical content hemorrhages references to running away together and the "jump-in" relationship approach, but doesn't mince words when it comes to communicating just how horrible of an idea that actually is. Looking back and reading the title of this record alone, the band was spot on with the name. As a recent teenager I had no experiences of my own to paint my expectations, so this album literally became my how-to book on how to love. "Jamie All Over" was there for me when I was reeling from my first kisses and first relationships, and "Miserable at Best" was on repeat when I felt those first earth-shattering breakups. It was the whole package - an absurd, over-the-top, but incredibly effective representation of the way that these things feel.
On the cusp of the album's tin anniversary (10 years!!), I recently dove back in and realized how right these guys were. Sure, it's chock full of pop punk angst and ideologies (i.e. the song title "You Be the Anchor That Keeps My Feet on the Ground, I'll Be the Wings That Keep Your Heart in the Clouds"), but these songs and feelings are the silver screen representation of growing up and learning how to deal with being lovesick. It was a weird pinnacle of emotional music that at this point seems too kitschy and cheesy to create, but dammit if Mayday Parade wasn't accurately depicting the youth's relationship culture at the time, then nothing was. It was wise yet innocent, and that blinded reception to mid-20's love is what everyone in every generation needs to grip on to at least once. Does it hold up today? Maybe. But for all of you folks out there that missed the boat and are wondering just what to do with your bleeding heart, then maybe you're due for A Lesson in Romantics. You let me know if it has the same effect.
(04/23/16 10:49pm)
On the morning of April 21, 2016 multiple news outlets began to report the death of Prince Rogers Nelson, better known as simply "Prince", at the age of 57. The artist, who has gone by a variety of stage names throughout his career (featuring my personal favorite of the untypable symbol), is only the latest of the famed musicians in the past four months that have died under shocking, and otherwise unprecedented circumstances. The musicians we have lost since the year's beginning reads more like a guest-list at a Rock N' Roll Hall of Fame ceremony; David Bowie, Merle Haggard, and Phife Dawg were all instrumental in the rise of their respective genres. Founding members of Earth, Wind, and Fire, Emerson Lake and Palmer, The Eagles, and Jefferson Airplane were lost since Jan. 1. Even one of popular music's most renowned producers in George Martin past away earlier this year.
It's not as it was seven years ago that the world was floored by the death of Michael Jackson, a man from a generation of music who many considered too young and fresh to be falling. This was within a year of comeback albums from Guns N Roses, AC/DC, and Kiss. Today, the King of Pop is just one of many blips on the list of musical superstars that remain indestructible only in the fact that their music can't become any less recorded than it already was. It's already out there, so it won't be going away. That's not the point; the point is that we aren't losing legacies, but the people who have created them.
On the topic of AC/DC, let us not forget that in the last two years not one but TWO of their instrumental members have called it quits due to serious health concerns. The Who has been fielding rumors of retirement for years. Rush retired and then possibly unretired and then maybe re-retired (I'm fuzzy on this one). Mick Jagger, Paul McCartney, Ringo Starr, David Gilmour, Neil Young, Roger Waters, and Bob Dylan are all over 70-years-old. Although they are reportedly pretty healthy, just think about Bowie; his illness was a well-kept secret for almost a year. Even Kurt Cobain would have turned 50 next February if he were still alive. Say what you will about how much you like these bands, but their impact to the industry isn't up for debate.
So where does this leave us? Well, in the words of Lucas Wozniak, a former colleague of mine and a former member of WIUX, "The greatest musical development we're going to hear in 2016 is the tragic, guttural crescendo of our collective defeated groans. It's only April, for God's sake." Mr. Wozniak isn't wrong; in fact if we take a quick review of the year so far, the best part of the music industry is a toss-up between Sony's firing of Dr. Luke and the class-action lawsuit against Kanye West for his whole "The Life of Pablo is exclusive to Tidal" debacle. At this point, the music world is looking like a "lesser of the evils" competition. The domination of the industry is currently in the hands of producer Max Martin and his cookie-cutter team that have written and doled out most of the biggest hits of at least the last half decade. Sure, the holdouts like Alabama Shakes, Courtney Barnett, and whatever project Dave Grohl is working on this week still exist and will for some time. But when you think about rock and roll's existing pioneers, we seem to have a fleetingly slim list to pull from nowadays.
We are quickly approaching the end of something important. The music that cried out for the baby boomers, and then their children, and even their children's children. The music that spoke wonders for the equality and advancement of our society for years. They were (and will remain) the originals; the first ones to take pop culture and shake it until it had no choice but to stand on it's head. They are the ones that created the mold that Max Martin is cutting cookies from, but the difference is that Martin and his team will never capture what it was they were trying to do. Here's to hoping that the celebration of the former industry elite will never cease. Pull up YouTube and scream the words to "Purple Rain", and maybe even convince your parents to do the same with the cassette version that they bought over 30-years ago. Is this the year that the music died? Maybe. As I write this, my roommate is arguing over my shoulder that it's been dead for years. I don't have such an authority to say it is or isn't dead. What I can say is this: it won't die until we let it. We are absolutely nearing the end of a musical era, but that means we're making room for something else to fill the gap. For someone else to step up and reemphasize the exciting and captivating art form that music has always been. That's what it's here for.
And back to Prince, who's death sparked this article to begin with. He can sum it up much better than I can."Music is rea! It affects people, it's real. … The other night I went to a club and I watched a DJ control an entire room. Even politicians can't do that." If that's the case, I'm looking forward to the industry taking that control back.
(02/22/16 12:36am)
Listen to the first episode of our brand new comedy show, on the radio! Tune in every other Wednesday from 5-6 p.m. on 99.1 to hear the live broadcast. The second episode will air on Feb. 23.
(09/16/15 7:26pm)
I’m back! You know what this means? This week’s edition of TOUWWH (which is a horribly unintelligible acronym) is the beginning of something new. The WIUX channel on premium cable has seen the pilot and given me the series order. And it’s a whole 24-episode season, not any sort of weak sauce 13-episode stuff. The Emmy’s are buzzing, and a spin-off prequel series called “Better Call Coll” is in the works. Let me know when the metaphor has exhausted itself.
As we break into week two of this fantastic new journey, remind yourself of last week’s installment and how you felt at this time last week. Younger? Older? (I’m looking at you, Benny Button.) Good. Anyways, here’s Wonderwall.
Capricorn (12/22 – 1/19): Hey there, water goats. You’d be surprised how far your odd talents can get you this week. Show off on that date you have coming up by showing them how much of your fist you can fit in your mouth. Ask your boss for a raise in Klingon. Show your parents how you can light your farts on fire. The possibilities are endless!
Aquarius (1/20 – 2/18): Remember the money that you gave to the Leo last week? This week, go back and find them. React irrationally to the fact that they “stole money” from you and demand it back.
Pisces (2/19 – 3/20): I’m reminded of a quote I saw on the Internet made up earlier this week: “Push yourself. Do 15 push-ups instead of 10. Run 3 miles instead of 2. Eat an entire cake instead of just one piece. Burn your ex’s house down. I believe in you.” If this doesn’t make it on a Chipotle cup, I don’t know what will. **Editor’s note: Katie, if you’re reading this, the whole “house burning” thing is a symbol. I’m sorry. My house is made of wood. Please no.**
Aries (3/21 – 4/20): Take up speaking in a new accent this week. Don’t explain it if anyone asks. Pretend like it’s been there the whole time. Or pretend like it doesn’t even exist. Use some creative liberty here.
Taurus (4/21 – 5/21): Dress up as a clown and cheer people up this week. Hit the local grocery store. Drop by the bank. Show up at the local school. Maybe you actually shouldn’t do this. Don’t do this.
Gemini (5/22 – 6/21): Express yourself. Make a Lay’s potato chip flavor. And I don’t mean design it online. I mean actually make it. Crush up random food bits, toss ‘em in a bag of Lay’s and see where you end up. If it ends up being surprisingly delicious, then shoot me an email. Let’s hang and eat your weird chips.
Cancer (6/22 – 7/22): Roses are red, violets are blue, I’m officially a poet, and you can be too! Sit down and make yourself become the writer you’ve always dreamed of becoming. A poet. A novelist. A Twilight fan-fic artist and eventual screenwriter. Or anything in between!
Leo (7/23 – 8/22): Take a vacation this week. Treat yourself with all that money from the Aquarius’ (Aquari?). The earlier you spend it, the better.
Virgo (8/23 – 9/23): Tell every single person that you have a dream about that they were in your dream the night before. The high school teacher that is now your Facebook friend would appreciate you catching up. Your fifth grade crush might be looking for a new texting buddy. You never know what it could lead to.
Libra (9/24 – 10/22): I was asked to focus more on Libras this week. Classic Libra. HEY EVERYONE, LOOK OVER HERE. THIS IS THE HOROSCOPE FOR LIBRAS. Don’t like the answers you’re given? Maybe it’s because the answers were inside of you the whole time, you silly Libra ;-).
Scorpio (10/23 – 11/22): The mitochondria is the powerhouse of the cell.
Sagittarius (11/23 – 12/21): You know what would make life better for everyone? If you had a sweet new catchphrase. Say it everywhere you go. And when you do, yell it. It would be appreciated even more if it was a clear rip off of an already established catchphrase like, “Did I do that?”
(09/09/15 5:56pm)
So, here we are. The school season has once again officially begun. As you sink into your first few weeks of classes and things like walking into the wrong lecture hall become less of a worry, and you spend that 4-hour discussion section zoning out and thinking about other things, you start to reevaluate the level of spirituality in your life. “But Collin,” you begin to ask (not knowing who Collin is, but it feels so right), “how can I get back in tune with the universe? With the planets?” Well never fear, because I (PS hey I’m Collin) have your celestial hook-up. I’ve been spoken to; not by anyone of any spiritual or cultural significance, but people talk to me all the time. So if you’re looking for some guidance in how to live your life this week and want a bit of insight as to what this cuh-razy world has got in store for you, I think I’m your clear authority figure. Trust me, I’m getting a music degree.
Capricorn (12/22 – 1/19): Are you aware of what a Capricorn is? It’s a freakin’ water goat! You are a water goat. So congratulations, you are the second coolest group of people on this list (I have a bias, as a non-water goat). Your horoscope is to revel in the fact that you are a WATER GOAT this week.
Aquarius (1/20 – 2/18): Give money to a Leo this week. Don’t know any Leos? Walk around the place with the most foot traffic in your town and stop people to ask for their sun sign. Strangers love that s**t.
Pisces (2/19 – 3/20): Enjoy this warm weather when we’ve still got it. Go to the local body of water and go fishing. Get it? Because…fishing…Pisces…fish…
Aries (3/21 – 4/20): You will receive fantastic news this week! Or maybe horrible news. Who’s to say? You will receive news though, so be prepared to feel some emotion.
Taurus (4/21 – 5/21): Call or text your siblings this week. See what they’re up to. Because seriously Tyler, it would be really nice if you would JUST REACH OUT EVERY ONCE IN A WHILE.
Gemini (5/22 – 6/21): You will, at some point this week, read your horoscope on a college radio station’s website. You will be shocked by it’s accuracy.
Cancer (6/22 – 7/22): Your pets will betray you this week if you wrong them. Make sure you keep your eye on them, and give them extra kibbles after potty tonight.
Leo (7/23 – 8/22): Ask an Aquarius for money this week. Who knows, maybe it’ll work out in your favor.
Virgo (8/23 – 9/23): Picking up a new hobby will work in your favor. Play bingo with the old folks. Be competitive. Yell at a grandma. The world will smile upon you.
Libra (9/24 – 10/22): The grass is always greener on the other side. Where’s the other side, you ask? Find it yourself, I’m not f*****g Mapquest.
Scorpio (10/23 – 11/22): What’s cookin’, good lookin’? Go that extra mile this week: spend the extra minute on that mid-class Snapchat selfie. Make it your story for *gasp* all ten seconds. Save it to your phone and put it on Instagram for #selfiesunday. You’ve got it, so flaunt it! Amirite, ladies?
Sagittarius (11/23 – 12/21): Prepare yourself, because someone will likely complain to you about how stupidly challenging it is to spell Saj-i-tair-ee-iss. Wtf is that? It’s spelled like it should be pronounced Sag-i-tuh-tair-yus. Your horoscope is to write a letter to your congressman and work this out.
(02/13/15 9:37pm)
Take a sigh of relief. It's that time again.
Even though the flip-flops and shorts of Summer 2015 may still be far ahead of us, the whisperings of the music festival season are back and better than ever (including those concerning a festival hosted by your favorite college radio station...). The latest installment of hype surrounding the slew of annual outdoor concerts set to take over in the coming months has been delivered to us via Chicago: The Pitchfork Music Festival has announced this year's lineup.
The festival, set for July 17th-19th in its usual home of Union Park, has signed on Wilco, Sleater-Kinney, and Chance the Rapper to headline each of the three days. Here are a couple of impulsive early lineup favorites, and you can check out the full lineup (by day, courtesy of Pitchfork) here.
Wilco
It may be the Chicagoan in me, or it may be my incredible respect for one of the most versatile rock bands of our time. But whatever it may be, a Wilco festival slot is something to rejoice about. The last time they hit Chicago in a fest-like setting was in 2013 during Bob Dylan's Americanarama tour. Although they've hit the Windy City since then, notably for a six-date stint at the Riviera Theater, Wilco playing in front of a setting sun over the Chicago skyline is something oh-so-beautiful that can never get old.
Mac DeMarco
If having Rolling Stone's #6 album of the year wasn't enough of a clue, Mac DeMarco is continuing to grow in this industry. The Salad Days star hit the Paris installment of the festival (shown below) in 2013, and based on some historical perspective we can safely say that DeMarco's stage show is one to take note of.
Vic Mensa
Vic Mensa is a Chicago rapper that started off his career in the jazz/blues/hip-hop outfit Kids These Days. After their dissipation, Mensa released a mix tape and appeared on a series of high profile collaborations with rappers like Chance the Rapper and Kanye West. If his appearance on the upcoming Kanye West is any sign, he is about to make some big waves in the rap game.
(02/03/15 10:53pm)
Ever since 2012, Gorillaz fans have been forced to live in acceptance of the fact that the band may not be making music again. But after a few years of teasing and "will they, won't they" anticipation, it has been announced that the world's favorite (and likely only) cartoon-ape ensemble will be making a comeback.
The first whisperings came a few months back when instrumentalist and co-creator Damon Albarn, fresh off of a stint with his other main band Blur, announced he was planning on releasing Gorillaz material some time in 2016. The suspicions were confirmed late last week when artist Jamie Hewlett, who has championed the visual designs of the band since its incarnation, released drawings of members Noodle, Murdoc, and Russell on his Instagram. The kicker came in the midst of the comments sections - amid the fan-related excitement, Hewlett simply stated "Yes, Gorillaz returns."
Although no official release dates or songs have been released, we can rest assured that the band will be making a much-anticipated return. Until then, check out Hewlett's three new images and the music video for "On Melancholy Hill" from the band's 2010 album Plastic Beach.
(12/05/14 7:08pm)
Released: 12/3/2014
5/7 Stars
Bloomington electronic band Patchwork, who made an appearance on the WIUX Morning Show earlier this year, are set to make a very sudden impact in the local scene with the release of their official studio debut, All the Good Parts. The group, made up of frontman Neal Anderson, Joseph Klatt, Mark Edlin, and Austin Davis, spent the last year working with a small handful of engineers and guest instrumentalists in a variety of studio spaces to record their new album, made up of tracks written since the band stopped playing full-scale shows in 2013. Now equipped with a 10 track arsenal, Patchwork is geared up to make its mark on the music scene at Indiana University.
The album opener "Keep in Touch" starts solemnly with just a piano, vocals, and a pulse-like beat. Then, with the line "Here we go!" and a splash, the song kicks into the first of many catchy synth riffs topped with a driving rhythm section and layered vocals from Anderson. Energetic cuts like first single "Telephones" and "Washed Away" make the album punch throughout its seamless transitions, and almost every song seems to lead into the next to create a consistent body of work. The band also did not hesitate to let their beauty shine through, notably on album closing songs "Weight of the Moon" and the climactic title track "All the Good Parts".
The melancholy and raw power on Patchwork's debut reaps both a feeling of heartache and hope, using dance rhythms and fast melodies to invoke huge emotional swings in listeners. The band already has made mention of plans for their sophomore album, and also has hinted at a series of live shows set to come this spring. Until then, All the Good Parts sits at our listening disposal awaiting its discovery as a misfit pop masterpiece. The band presented us with this strange combination of maturity, complexity, and just enough innocent fun to make it all come together in a notable and brilliant way. The album is available now for free; the best price for some great new music that you can say you heard before it was popular.
(11/17/14 7:41pm)
Released 11/10/2014
5/7 Stars
Foo Fighters are one of the biggest examples of a "love them or hate them" following. People who identify as a fan of the band tend to do it hard, creating die-hard fandom that's made them one of the biggest rock bands of our time. Their latest studio effort, their eighth album Sonic Highways, has already been breaking boundaries due to its unique recording process and a paralleled HBO series (of the same name) that followed the band to eight cities across the USA.
Something that the Foos have mastered over their storied career is the cultivation of one sound that is very much theirs. Besides production quality and a bit of maturity growth in their song writing, the band has all but perfected their late 90's gritty, yet melodic and attractive sound. This album was no exception, however there seems to be a bit of resistance due to various collaborations and recording environments. Tracks like "In The Clear" (done with assistance from the Preservation Hall Jazz Band) and "Subterranean" (featuring Ben Gibbard) come out as classic sounding Foo Fighters songs, however they do not all seem to fit in the same package as songs like the punk influenced "The Feast And The Famine."
That being said, the eight track effort stands together like a strange, ragtag bunch of misfits that have found some sort of cohesiveness. With influences from eight different cities and ten collaborating artists, a strong-footed rock piece was spawned. Although the songs may not be what you expect to hear as a package-deal, the standalone results make the record as a whole worth it. From the first dreary finger strum in opener "Something From Nothing" to the fade out of the epic, seven minute album closer "I Am A River", Sonic Highways proves that Dave Grohl and co.'s nationwide album wasn't such a bad idea after all.
(11/05/14 5:30pm)
Foo Fighters have been no strangers to music headlines lately, be it their well-reviewed HBO series documenting the making of their next studio album or their week-long stint on the Late Show with David Letterman. But the way that the band has been releasing Sonic Highways, the forthcoming 8th effort due out on Nov. 10th, has been a strategy worth noting.
With each weekly episode of the series (bearing the same name of the new record) chronicling the recording of one of the eight new Foo's tracks, it would only be appropriate that fans are given some sort of sample of the finished products. The band did something better, choosing to release every track on the album as a single, one at a time, based on which episode of the show airs on HBO that week. The most recent release came this past Friday, being the Zac Brown-feature "Congregation" recorded at Southern Ground Studios in Nashville, and this week will presumably bring the release of the Austin, TX track "What Did I Do? / God As My Witness" that features modern blues guitarist Gary Clark Jr. But this strategy is something that hasn't been seen in a long time (if ever), and it bodes the question if the one-at-a-time idea is one worthwhile.
Currently, all three singles that have been released from Sonic Highways are sitting in the iTunes top 200 singles list (as of 11/5/14). The only other artists to exceed three songs from one album in that list are today's biggest pop superstars. Calvin Harris, Ariana Grande, and Iggy Azalea are among those holding this level of consistent success right now, and the Foos have proven their dominance as a premiere rock act being the only one in their genre to have three or more songs per album on that list. The album itself also sits at a comfortable #14 on the albums chart, and it is still only in the preorder stage. Previously? It was at #1.
The Dave Grohl-led Sonic Highways project has already proven to be an interesting one. A TV documentary about the album and music as a whole, a step by step release, a small bar tour, and promises already that the next album will be even bigger. Keep your calendars marked for November 10th, because the Foo Fighters are about to break rock and roll wide open.
(10/23/14 6:02pm)
Mondays are usually reserved for a small handful of things - your respective preferred caffeine source, remembering all of the things you forgot to do over the weekend, and a large amount of complaining. The latter of the three may be just me, but you get the picture.
This past Monday was chock full of surprises, made evident by the line of IU students lined up around Showalter Fountain and the giant purple tour bus blocking the view of the IU Auditorium from far down 7th Street. The occasion was one that called for this unnatural spike in Monday energy - indie rock powerhouse Young the Giant had recently announced a free concert at the 3,000+ capacity venue that required only a downloaded voucher for students to get their tickets. As a result, IU students packed the venue (light up bracelets and all) to create one of the most unique concert experiences I, and many others, have ever witnessed.
Following an interesting, to say the least, opening slot from rapper and scratch artist Biz Markie, the stage setup shifted and the lights came down as Mind Over Matter opener "Slow Dive" hummed through the auditorium speakers and the band took the stage. Then, as seamlessly as is heard on the group's most recent LP, the band busted into an electric rendition of "Anagram." They powered through a setlist that stretched for almost 90 minutes and was equal parts intense and solemn. Every track had a huge impact on the Hoosier crowd, notably tracks like Mind Over Matter's "Teachers," "I Got" from the band's debut (despite tuning issues early, the track still hit hard), and a cover of R. Kelly's "Ignition (Remix)," previously a staple in the band's Chicago shows, based on audience requests. One of the most memorable moments from the show came when frontman Sameer Gadhia requested the crowd bust out whatever light sources they had (joking about the ability for fans to use lighters in a university building) to accompany their run through of "Firelight." The audience obliged, pulling out phones, cameras, and anything else they could think of to engulf the entire venue in light. The atmosphere became magical, with the band's hypnotizing performance being engulfed with LED lights and the hushed singing of almost 3,500 college students.
This may be a bit biased by personal experience, but Young the Giant is time and time again praised as one of the most consistently impressive live acts around today. On the rare occasion that the band's quality on stage strays from that heard on their records, it is unquestionably for the better. The indie rock fan in all IU students were very thankful to have been offered an act of this caliber, and the group delivered without conviction. For those of you who were lucky enough to catch it - I think you may have just won yourself a "remember when" moment to cherish for a long long time.
(10/14/14 5:43pm)
A couple of weeks ago, local Bloomington electronic outfit Patchwork came into the conference room at the new station house for a stripped-down acoustic performance of two tracks off of their upcoming new album, All the Good Parts. Check out the two performances of "Washed Away" and "Overdone", along with "Telephones", the first single off of the upcoming album below (also available as free downloads), and check out WIUX's YouTube page for video of the performance as well.
(09/08/14 9:17pm)
The music industry today is built by a strong foundation of the live performance. Bands and artists that need to fight things like record low album sales depend on the popularity of their extraordinary live show to pull in new fans and continue to succeed as musicians. To create these mind-blowing concert moments, many bands of many shapes and sizes cater to the age-old tradition of the cover song: creating your own version of an already popular song and using it as your own performance asset. Thanks to the wonderful tools we have in our pockets (meaning the 16 megapixel cameras that shoot HD video and auto-upload to YouTube) these live performances have the ability to fall into our lap(top)s and let us live the magic from home. The hope is that the fans on the couch see these videos as a reason to buy albums and go to shows, but while they weigh their options they have these wonderful examples to bide their time. So if you're looking for evidence of a band's impressive live show past their own original back catalogues, check out these bands and artists that have included covers in their live sets and actually did the songs justice.
1. John Mayer and Keith Urban - "Don't Let Me Down" (The Beatles, 1969 - Get Back - Single)
JayMay and Keith Urban most notably brought this track out for The Beatles' 50th anniversary TV Special marking their appearance on the 'Ed Sullivan Show'. But the duo broke the song wide open at the 2013 Crossroads Guitar Festival, without facing time constraints that come with performing on live TV. The festival, which took place at Madison Square Garden, eventually saw its compilation-style release on DVD and vinyl and included this track along with myriad performances from many other artists.
2. Foo Fighters/Dave Grohl - "Band on the Run" (Paul McCartney and Wings, 1973 - Band on the Run)
The Foo Fighters have been known to cover this track on a couple of occasions, most notably with recorded versions appearing on both a BBC commemorative album celebrating rock n' roll radio and the Foo's vinyl-only covers album Medium Rare that saw release in 2011. My personal favorite version from the Dave Grohl camp actually does not include the Foo Fighters, but a live backing band during a White House performance honoring Paul McCartney. I know it technically isn't the Foo Fighters, but the president was there so I think this one is forgivable.
3. The Orwells - "I Wanna Be Your Dog" (The Stooges, 1969 - The Stooges)
The Orwells make no secret of the fact that they like The Stooges. If the similar musical style, the raw live shows, or even the subtle resemblance between frontmen Iggy Pop and Mario Cuomo weren't enough, then the Chicago garage punks went as far as to cover The Stooges in a large percentage of their live shows to prove just how into them they are. This video, taken from a show in London, features The Orwells at their finest; manic, intense, and loud.
4. St. Vincent - "Lithium" (Nirvana, 1991 - Nevermind)
St. Vincent frontwoman Annie Clark has gotten no shortage of press as of late after releasing her very impressive self-titled album this past winter. While touring the album, Clark and her band played Nirvana classic "Lithium" at a Chicago tour stop to pay tribute to the late Kurt Cobain as the 20th anniversary of his death neared. Although no high quality videos of the Chicago performance have surfaced, the cover was apparently so well done that the surviving members of Nirvana had Clark join them on stage for their Rock and Roll Hall of Fame performance later that month.
5. Grouplove - "Party Hard" (Andrew W.K., 2001 - I Get Wet)
Andrew W.K.'s extreme party anthem was given the stripped-down acoustic treatment as an installment of media conglomerate The A.V. Club's 'Undercover' series in 2012. Grouplove opted to pick this track, mimicking Andrew W.K.'s signature bloody nose in the process. The track has yet to make an appearance in Grouplove's notoriously explosive set, which makes this intimate cover just that more special.
6. Miley Cyrus - "Why'd You Only Call Me When You're High?" (Arctic Monkeys, 2013 - AM)
The former Disney star-turned pop behemoth took a stab at this song (among a few other choice covers) on her 2014 appearance on MTV Unplugged. Her almost jazzy performance of the Arctic Monkeys cut, including her own powerful take on Sheffield crooner's Alex Turner's vocal take, was so well received that Turner himself called it his favorite cover of any of the band's songs. Check out the song below, but be warned it is sexual in a very classic Miley Cyrus type of way.
7. Wilco - "Cut Your Hair" (Pavement, 1994 - Crooked Rain, Crooked Rain)
Wilco has proven over the years that they know how to rock the house, and they have also been known to break out a solid cover or two in their storied career. The one comes from their 2013 performance at Solid Sound, which actually ended up being an all covers set. You can check out the full setlist here, but this one stood out as one of the notable ones.
8. Wilco - "The Weight" (The Band, 1968 - Music From Big Pink)
If anyone deserves to be on this list twice, it would have to be Wilco. The band has established a long career of stellar covers, so even cutting it down to two is an accomplishment. This track comes as one of the best-known songs from The Band, a group whose early roots-rock had a strong influence on the Chicago six-piece. The video below actually comes from a backstage rehearsal with Nick Lowe and Mavis Staples before a 2011 gig in the Windy City.
9. The Raconteurs - "Crazy" (Gnarls Barkley, 2006 - St. Elsewhere)
Jack White, much like Wilco, is another performer who has become increasingly notable because of his wild cover songs. White, who most recently covered a couple of pop hits including Jay-Z's "99 Problems", has been following this trend for years, including with his band The Raconteurs at Lollapalooza 2006. Their take on the Cee-lo Green/Danger Mouse collaboration may start off a bit rusty, but turns into an even combination of grit and weird disco dance grooves.
10. Foster the People - "Say it Ain't So" (Weezer, 1994 - Weezer)
Foster the People and Weezer had a really funny relationship just after FTP broke in 2011. After the breakout single "Pumped Up Kicks" was released, Weezer opted to cover it during one of their shows. As a response, Mark Foster and co. who were fresh on the festival circuit took notice and turned around to learn this 1994 classic from Weezer's debut. If that doesn't define musical bromance, I don't know what does.
(07/22/14 7:58pm)
After a weekend that was bursting at the seams with heat, water bottles and its fair share of tremendous performances, the 2014 edition of the Pitchfork Music Festival came to a close. As is assumed with most large-scale concerts, there were the usual ups and downs that come with the territory. But as the days wore on and the sun went down over Union Park every night, it was the positives that would tend to outweigh the negatives as crowd members reminisced about recently seen acts. Every day proved to be a new adventure and there were a lot of things that, whether they were truly miraculous or honestly overlooked, were note-worthy from the moment they occurred. So, whether you are looking to relive your festival weekend or to live vicariously through those who did attend, here's the day-by-day breakdown of Pitchfork Music Festival.
Friday: The buzz of a new festival was in the air, and the attendees were restless. It was cool, breezy, and no one knew what to do at first. After a short time of milling around the various merch tents, most fans attended the dreamy fest-opener, Hundred Waters, at the Red Stage (a spot previously held by the recently broken up Death Grips). The day moved on and electrifying performances from Neneh Cherry (her second ever in the United States) and disco legend Giorgio Moroder kept the energy level high as Union Park became dominated by the nighttime. Those itching for a relaxing start to their festival were also not disappointed thanks to acts like Sun Kil Moon and Sharon Van Etten, with the latter also helping to design a craft beer specially made for the fest. But as 8:30 rolled around, the show peaked with a seemingly time-stopping performance from rock superstar Beck, who played a rowdy collection of old hits and powerful renditions of tracks from new album Morning Phase. The night concluded with a 10-minute plus performance of Odelay track "Where It's At", capped by a harmonica solo.
Saturday: A new, slightly hotter day was upon us and surfer/garage rockers Twin Peaks were called to lead it off from the Green Stage. Backed with powerful performances by fellow rockers Cloud Nothings, indie quartet Wild Beasts, and Merrill Garbus' project tUnE-yArDs, the day was off to a strong and energetic start. Hip-hop enthusiasts were also aplenty, attending for the likes of KA and strong shows from Pusha T (despite taking the stage nearly 30 minutes late) and Detroit rapper Danny Brown. The real showstopper came from the Red Stage at 7:25, when St. Vincent stepped out to the sea of people waiting to see the headliner-capable performance. With one of the most forceful performances of the weekend, Annie Clark's guitar work and dance moves left people raving about the performance late into Sunday. Then, the reunited Neutral Milk Hotel capped off the night with a show so quaint, that jumbotrons were taken down around the stage, fans left with much more energy than the night before.
Sunday: The mixed feelings about a festival's end were there. Crippling fatigue, dehydration, and excitement all morphed into one as the final day began. There was no loss for dreamy, sit down music as bands like DIIV, Real Estate, and Slowdive drifted through the hottest day of the weekend. The rap fans were also back for a variety of artists, including Odd Future member Earl Sweatshirt's extreme (and hilarious) performance, along with the much-adored Schoolboy Q. DJ Spinn and Kayne West beat-maker, Hudson Mohawke, also contributed to the madness, with strong and non-stop performances as the night came to a close over by the Blue Stage. The clear favorite of the day was festival closer Kendrick Lamar, as he stepped on to the Green Stage to face just about every attendee that stepped onto the Pitchfork grounds that weekend. Backed by an insanely talented live band and a crowd of people eager to mimic every word he said, the night and the weekend closed for another year.
The Pitchfork Music Festival was by no means a disappointment this year, with a variety of great and unique performances, excellent food, and relatively decent weather. Check out the slideshow for WIUX's three days of Pitchfork photos, and stay close to WIUX online to check out Kevin Hyland's Pitchfork review podcast, along with review coverage from this past weekend's Forecastle Music Festival.
(07/15/14 1:14pm)
It is often said that Chicago provides one of the best landscapes for summer music festivals, giving the attendees the unique experience of the outdoor super-fest while being planted in the center of one of the most fascinating cities on the planet. This is why many music lovers flock to the city each year to see their favorite groups perform in a variety of festivals, including (but not limited to) the "Big Five" major market fests that hit the city limits every summer: Lollapalooza, North Coast, Pitchfork, Spring Awakening, and Riot Fest. Many people look to Grant Park in early August for one of the largest festivals in the country, and manage to overlook the quaint (in comparison) gathering that happens only a mere 2.5 miles west of the Lollapalooza battlegrounds.
The annual Pitchfork Music Festival takes place in Chicago's Union Park, and this year's installment runs July 18th through the 20th. The festival has been running officially since 2006, and has been growing in size in popularity consistently in its short history. It quickly established itself as a notable event, selling out multiple years in a row and continuing to raise the bar on its jam-packed indie rock lineups. This year is of course no exception.
Some could say that Pitchfork's surge as a dominant weekend was shown by the 2009 lineup, capped with bands like festival-powerhouse The Flaming Lips and jaw-dropping performances from Matt & Kim and M83, both of which who were still arguable unknowns. Or maybe it was in 2010, when the festival grabbed Modest Mouse, the reunited Pavement, LCD Soundsystem, and even added a comedy tent. But this year's lineup in particular, along with a few of the fest's other storied traditions, show how Pitchfork became the best music festival in Chicago.
The Lineups
Even despite the fact that Pitchfork lineups have always been pretty damn good, this year's lineup was a shocker after pulling three huge names from the potential artist pool as headliners. The successfully reunited Neutral Milk Hotel, alt/rock legend Beck, and the seven-time Grammy nominated and Billboard Number One Rap Album recipient Kendrick Lamar will all be closing out a night of the festival this year. Backed by the Animal Collective/Dirty Projectors side project Avey Tare's Slasher Flicks, St. Vincent, Odd Future rapper Earl Sweatshirt, and many many more, this list of acts is definitely a force to be reckoned with.
The Prices
There always seems to be some method of making a festival seem like it's a good deal, but there's no extensive number crunching to be done here. With a lot of acts, a small amount of stages, and cheap prices, there is clearly a solid amount of bang for your buck. And no matter how good or expensive the acts are, Pitchfork has always been very good about not raising ticket prices every year, so the investment has a level of consistency.
All the Activities!
As a past attendee, I have always raved about the amazing atmosphere Pitchfork offers. Outside of the stages, local record stores and labels pack underneath tents to sell shirts, records, and CDs. Local Chicago artists display their works, be it a painting, a poster, or even a homemade purse. Even the local farmer's markets stop by to sell fresh fruit next to other Chicago-bred food vendors, with both of which managing to get by despite the fact that they actually sell food at reasonable prices.
For more information on this year's Pitchfork Music Festival, visit them online at www.pitchforkmusicfestival.com. Also, be sure to stay tuned to WIUX both online and on social media as we cover all three days of the festival.
(06/16/14 3:54pm)
Released 6/10/2014
7/7 Stars
Jack White has been in the news a pretty significant amount since the release of his debut solo album, Blunderbuss, in 2012. Besides the release of a few Dead Weather tracks at the beginning of this year, the news has not really been focused on White's music. The personal attributes of his life, notably his feud with fellow bluesmen The Black Keys, went so far as to drive him to write a full-scale apology letter. All that aside, the man has a pretty decent way to turn everyone's attention away from his private life; releasing the powerhouse solo effort Lazaretto that features a combination of some of White's most intense guitar work ever, along with some of the most stripped-down songs we've ever heard from him.
Using members from both The Buzzards and The Peacocks (White's all-male and all-female live bands), the Third Man Records mastermind kicked out an 11-track monster of an album, featuring incredibly dynamic songs like "Would You Fight For My Love?" The intense guitar work mentioned earlier comes into play early with title track "Lazaretto," and hits hard on pieces throughout the album like the instrumental "High Ball Stepper" and "That Black Bat Licorice." The record is chock-full of the classic Jack White sound, with the gritty and hectic guitar solos roaring over the Nashville blues-infused rhythms. However, this does not mean we are at a loss for the sweeter side of the former White Stripe, with songs like closer "Want and Able" leaning heavily on piano and melodic vocal layers.
Backed by lyrical subjects harvested from works of his short-lived college days, White never misses a beat in proving why he is one of the rock and roll giants of our time, not to mention his solidified place in guitar player history. His versatility as a songwriter shines throughout Lazaretto, with some songs fit for sleeping and others reaching out and shaking you to the most restless part of your brain. No matter your opinion on The Black Keys, Gary Clark Jr., or any other modern blues artists, Jack White III proved exactly what he set out to prove. He is the king, and although he isn't always too soft-spoken to avoid stating it, that doesn't mean he's wrong.
(04/24/14 4:03pm)
Austin City Limits, slated to hit Zilker Park for weekend one 10/3-10/5, and the second weekend 10/10-10/12, just recently announced the ridiculous catalog of acts hitting the festival this year. The fest's lineup is inarguably similar to Chicago's Lollapalooza lineup (rightfully so, based on the shared concert promoter), but the fest may have a bigger bang for your buck than one may imagine. Let's take a look at why you should save your cash and take a road trip down to ACL next fall.
The Lineup - This one is simple. The festival is set to host a nearly identical lineup to that of Grant Park's annual festivities, trading out a few acts here and there for the huge acts that we've seen Pitchfork outbid C3 for in the last couple of years (namely Beck, Belle & Sebastian, Tune-Yards, and St. Vincent). On top of that, you have the Lolla big hitters like Outkast and Eminem, plus unrepresented acts in The Windy City festivals this summer like Pearl Jam, the reunited Replacements, and the music-press-adored Mac DeMarco. With over 100 acts (not including the unannounced aftershows), this is the place to be.
The Time - ACL closes out the coveted festival season, as a mild-weathered cap to your summer fun. But the timing is so ideal because, besides escaping the heat, most of these bands have spent the summer honing their festival craft at the hundreds of others that have popped up all over the country. Unless your like...Black Sabbath or something...you will likely be playing multiple festival gigs at a time. Come October, the acts will be so on top of their live show that it will be second nature for them to blow you away.
The Convenience - In Coachella fashion, Austin City Limits is covering two weekends this year that, barring Lorde and a relatively short list of early afternoon undercard acts, have the same bands appearing for each of. Can't get work off on Friday, the 3rd? Have your pesky cousin's wedding on Sunday, the 12th? Don't worry about it, because you have a second chance.
The Non-Music Festival - ACL takes after its Chicago sister-fest with the incredible list of things to do and see if you are sick of watching bands. Art shows, places for your little children that really don't belong at a festival, and good eats are just a sample of non-music activities going on in Zilker Park during the shows.
The Tickets - When Lollapalooza tickets sold out in a matter of minutes, ACL has two weekend's worth of sets of 3-day passes that go for less money and are still available from the actual festival. Also, new lovers of the festival that plan on making a habit of hitting it in years to come can sign up for an email list that will entitle them to a chance to grab Early Bird passes before the general public. No word on single day passes yet, but the festival's site claims they'll be here soon.
For more info on Austin City Limits you can check out their website, and for you lazy people who have already clicked on ONE TOO MANY LINKS TODAY, here's the lineup, courtesy of Consequence of Sound:
(04/02/14 8:43pm)
Check out this video of local group Dietrich Jon performing a new track called "Lions" live on WIUX from earlier this year. This live performance marked the first ever from the young band, who recently announced that they are currently in the studio working on their debut EP!