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(07/22/16 8:36pm)
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Three gorgeous days in the Windy City listening to groovy tunes and catching pokemon. Pitchfork Music Festival Chicago 2016 was everything it was hyped up to be and then some...The festival gods blessed us with perfect weather and flash-mobs. The days were spent with brass, even more jazz, cameo-performances, and unmissable covers.
[embed]https://www.instagram.com/p/BIAhvJmAJi_/?taken-by=wiux991[/embed]
This year's lineup was spectacular and included Beach House, Sufjan Stevens, FKA Twigs, Carley Rae Jepsen, Brian Wilson performing Pet Sounds, and many, many more. Almost every show had someone hopping on stage to take on a verse, whether it was another act at Pitchfork, a proud parent, or someone that played you in a movie *hint* *hint*.
Okay, but who didn't squeal when Brian Wilson brought out John Cusak to perform along-side him.
Or when Chance the Rapper came out to perform "Birthday Sex" with Jeremih?
It was truly a once in a lifetime experience.
WIUX kept everyone up-to-date through its Instagram and a fun "Dad's like Pitchfork too" trilogy; Now, read about the buzz-worthy acts reviewed by Sierra Witham and Dalia Erkman.
[embed]https://www.instagram.com/p/BIFuZBXAG3s/?taken-by=wiux991[/embed]
Don't forget to check out the WIUX//Pitchfork Photo Gallery! (see below)
Friday
Car Seat Headrest
Lo-Fi Newbies
Car Seat Headrest began their set with “Fill in the Blank,” the opener on the band’s excellent new(ish) record, Teens of Denial. The crowd knew the words, which delighted drummer Andrew Katz, who himself was a delight. Katz is a smiley dude, and it was he, not frontman Will Toledo, who thanked everyone for coming out. Toledo, a self-proclaimed “Internet Guy,” thanked the people who were watching online. Toledo’s not your typical rock-band frontman. He mostly stood in one place and, squinty-eyed, stared straight ahead, as if he were still doing the soundcheck. The wunderkind is, however, a student of rock. On “Strangers,” a track off last year’s Teens of Style, he sings, “Car Seat’s nervous and the lights are bright. When I was a kid I fell in / love with Michael Stipe.” Michael Stipe, as you may know, was R.E.M.’s lead singer, and “Michael’s nervous and the lights are bright” is a line in R.E.M.’s “Strange.” So it made sense when the band followed “Fill in the Blank” with a cover of David Bowie’s “Blackstar.” Four songs in, during “Vincent,” what was a drizzle became full-on rain. You could say the rain suited “Vincent.” (“They got a portrait by Van Gogh / on the Wikipedia page / for clinical depression / Well, it helps to describe it.”) You could also say the people moshing looked pretty dang happy.
https://www.youtube.com/watch?v=bEsItsZphwQ
Toledo didn’t go for the Alex G-like falsetto in “Drunk Drivers/Killer Whales,” and, when he introduced the final song, it dawned on two guys standing behind me that they wouldn’t get to hear “Drugs with Friends.” They were disappointed–understandably so. Not to reduce the track to a song-meant-to-be-played-live, but Toledo does, right before the closing refrains, invite the listener to sing along! Anyway, they finished with “Something Soon,” a track off Style. Comparatively few people sang along, which suggests something about fans’ relationship with Style versus their relationship with Denial. The former’s a compilation of songs Toledo released on his Bandcamp before Car Seat was a Matador-signed four-piece. That is, Style isn’t as cohesive as Denial. Perhaps in part for that reason, perhaps also because Style’s way more lo-fi, it seems fewer people have an attachment to it. - Sierra Witham
Whitney
Roots, Brass, and Beer
This [Light Upon the Lake] is the past two years of my life - Julien Ehrlich
From the Smith Westerns and Unknown Mortal Orchestra, brings you the beautiful collab of Whitney. With an album released only a month prior to the festival, Whitney sure drew a crowd to the Blue Stage. Whether beloved fans or Light upon the Lake virgins, everyone was grooving to Whitney's sugar-coated melodies that remind you of a warm summer night and a brass section like that of those old Chicago blues bars.
The high falsetto of Julien's voice fits right into place in a small bar or on a festival stage. The melancholy of summer nights coming to an end and the revelation that we truly are living in the "Golden Days" brings an almost somber perspective to the act: a certain gloom that can only subside while dancing. You could hear the epiphany as we all echoed Julien during "Golden Days."
https://www.youtube.com/watch?v=Op4HT0-W428
When it came time for Whitney to play the title track from their album Light Up the Lake, they brought out a string quartet to help them. The violin's sound soared through the open air on "No Woman" and Pitchfork attendees were left with a new appreciation for string instruments in a festival setting.
Some of the most down-to-earth guys, Whitney took to the Chirp tent on Saturday to sign albums, cell-phones, and faces. They humbly conversed with their fans and stood with the crowd during Sufjan Steven's set later that night. WIUX was there and posted photos to its Instagram page of the interaction. This wasn't WIUX's first time hanging with Whitney; as we all remember Whitney performed at Culture Shock in April. - Dalia Erkman
[embed]https://www.instagram.com/p/BH8A23CgFyl/?taken-by=wiux991[/embed]
Julia Holter
Soft-Spoken Singer/Songwriter
“I just wanted to start with some kind of response to the horrors of the world,” Julia Holter said before playing “Wise Sad Song,” whose chorus has the line: “I am begging all for forgiveness.” Right after the song ended, we heard an ambulance siren. Holter, smiling, told the crowd, “I thought that ambulance was Dina [Maccabee] on viola,” and Maccabee proceeded to mimic a siren with her viola. The two seemed to be of the opinion that we oughta laugh while we mourn. There was only Holter’s keyboard, Maccabee’s viola, the emotive Devin Hoff’s double bass, and Corey Fogel’s drums on stage, so the sax solo on “Sea Calls Me Home” was replaced by a viola solo, which Maccabee nailed. The sun came out just as Holter’s band began playing the poppy “Feel You.” This was a little ironic considering the last line in the song’s first verse: “You know I love to run away from the sun.” Let’s not conflate the art and the artist, though. Holter didn’t come off as someone who’s sun-averse. Soft-spoken and prone to smiling warmly, she had a lovely, almost grandmotherly vibe to her. The gray streaks in her hair probably added to the effect.
https://www.youtube.com/watch?v=Sr2GYsynCFg
During “Betsy on the Roof,” when Holter sang “oh oh” as Betsy, it was unclear if she was smiling because that’s just her disposition, or if maybe this Betsy character, standing on the roof, perhaps about to jump off, is relieved to leave whatever suffering she’s been enduring. When Holter sang as Betsy’s friend–“Looking up, won’t you please tell me the answer / You know the answer, Betsy”–Holter’s voice lost its pleasantness, became a desperate yell. It was a captivating performance, arguably the highlight of a never-less-than-stunning set. - Sierra Witham
Twin Peaks
Hometown Heroes
Twin Peaks played the Red Stage Friday afternoon and man did they bring a show to their hometown. The crowd anxiously waited for the chance to rush the stage. The moshing was quite tame considering the cool summer day - mostly jumping and bumping and the occasional shoving. Adrenaline was flowing and the crowd was feeling it. Twin Peaks was right there with us the entire time. Their energy mirrored that of the crowd. They played their hits like "Making Breakfast" and even some slower ones to let the moshers take a breath.
https://www.youtube.com/watch?v=tl9SRsPbWLM
We all chanted the lyrics to "Wanted You" as some type of anthem for the socially-awkward, pubescent teen with a crush. Now adults, we're angry and want to shout: "I wanted you, but you didn’t want me." Twin Peaks' set was full of surprises like when a tupperware dish of goodies was thrown to the crowd and when Whitney's brass section came on stage to preform side-by-side. Two Youthful Chicago Locals; One Stage: What more could you ask for in the Windy City. - Dalia Erkman
https://www.youtube.com/watch?v=dUiqyI5F_Ow
Broken Social Scene
Reunion of the Year
There were substantially more post-twentysomethings standing in the front for Broken Social Scene than there were for Car Seat Headrest. This wasn’t surprising. Car Seat’s first studio album came out last year; Noise Factory Records released Broken Social Scene’s debut album Feel Good Lost back in 2001. Feel Good Lost isn’t BSS’s most feel-good album, though. That’d be You Forgot It in People. And six of the twelve songs they played are from You Forgot It. They wanted us enjoy ourselves. Who definitely had fun was co-founder and guitarist Brendan Canning, a 46-year-old with more zest than like 46 toddlers combined. Nearly every time I looked at Canning, he was dancing or jumping or kicking his left leg way up. BSS’s other co-founder, vocalist and guitarist Kevin Drew, said the Toronto-based band loves Chicago, that they made Forgiveness Rock Record in the city, and that they want the people of Chicago to “do the right thing this election.”
https://www.youtube.com/watch?v=fjYVTPnfNls
Then they played “Fire Eye’d Boy,” a song Drew claimed was written about the 2016 presidential election. Given that “Fire Eye’d Boy”’s on their self-titled album, which came out in 2005, Drew, um, lied. But he could have been telling the truth. The chorus goes, “Fire-eyed boy gave them all the slip / If you’re going to come, you better make it quick / Fire-eyed boy gets his ass whipped.” Or, a potential paraphrase: “Trump is hateful and petulant, and he doesn’t exactly try to appeal to people who aren’t white, male, and Christian. / Immigrate now before there’s a giant wall. / Just kidding, Hillary’s gonna win by a landslide.” They played a new song, a song that could also be interpreted as referring to this campaign season. This one’s chorus goes, “Things will get better / ‘cause they can’t get worse.” The song’s called “Gonna Get Better,” and it features new band member Ariel Engle, who’s got a great voice. She and Amy Millan (of Stars) harmonize well. Did the crowd enjoy themselves? Well, when five proficient guitarists are playing simultaneously, as was the case during “Cause = Time,” it’s very hard not to grin. - Sierra Witham
Beach House
Dark and Beautiful; Hypnotic
Love is the key word. I feel love for a lot of people. I feel love for people I don't even know. It's called empathy and it's a really underestimated emotion. - Victoria Legrand
As Friday night's headliner, some say that Beach House was a safe choice, but no one cared. Beach House was alluringly hypnotic. The entire performance was almost like a trance; time no longer existed. The showcase was mesmerizing to say the least - you couldn't look away. The lights colored the smoke and the soft guitar melodies filled the air. Beach House couldn't have played at any other time, their music is purely for those sleepless nights.
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Beach House played everything from Teen Dream to Depression Cherry. Victoria's Legrand's gravelly, voice ascended into the night sky during "Myth" and broke your heart. The beauty brought a tear to your eye and made you want to climb onto a roof and watch the city lights. We were all 17 again with so many hopes and dreams. Beach House transcended the boundaries and created a euphoric sense of self for everyone listening.
Beach House even performed a cover of the Korgi's "Everybody's Got to Learn Sometime" - a song that already sounds like a Beach House song. - Dalia Erkman
[embed]http://www.dailymotion.com/video/x4kgjcv_beach-house-everybody-s-got-to-learn-sometime-july-15-2016-10-15_music#tab_embed[/embed]
Saturday
Savages
Engaging; On-your-toes
Post-punk Savages have asked people not to use their phones during their shows. At a venue in Seattle, on tour supporting their debut album Silence Yourself, the band posted a sign that read: “We believe that the use of phones to film and take pictures during a gig prevents all of us from totally immersing ourselves.” Surely by now you’ve heard the claim that, because no one wants to see the stage through someone else’s iPhone, taking a picture or video during a show is rude to whomever’s standing behind you. You’ve probably also heard the claim that using a phone at a show is rude to the musicians you’re seeing. “Rude” doesn’t feel like a strong enough word after you see frontwoman Jehnny Beth perform. Beth so obviously wanted to engage with the crowd.
https://www.youtube.com/watch?v=gMnSRQvpcRE
The four-piece started their set with “I Need Something New,” and Beth made eye contact and pointed at a different person each time she sang “I need you.” It’s a sexual sentiment, in a sexual song. Keep that in mind. She pointed at people as she sang–also not a strong enough word; let’s go with declared–other phrases, too. She pointed at a person for each “what else” in “Sad Person.” She pointed at a person for each “to be said” in “Slowing Down the World.” I could go on. Before they played “Hit Me,” another sexual song, she asked us, “Do you want it louder?” People yelled, “Yeah!” “Do you want it faster?” “Yeah!” “Do you want it...dirtier?” “Yeeaaaahh!” The band never played “She Will,” a standout track on Silence Yourself. This had to disappoint some fans, but its exclusion felt right. “She Will”’s a great song with a great message, just not the right message for this set. You see, “She Will” asserts that women can have sex whenever they want and “you’ve got to get used to it.” Jehnny Beth’s performance seemed less concerned with whether or not “slut”-shaming is wrong, and more concerned with whether or not music fans would feel comfortable using their phones while having sex. - Sierra Witham
Sufjan Stevens
An Experience
I’ve been traveling around the world for a year singing songs about death and loneliness and heartache, so if you don’t mind, we’ll try to stick to upbeat stuff tonight - Sufjan Stevens
After smashing his banjo at the end of “Seven Swans,” Sufjan Stevens told the crowd he’s been touring the world playing songs about death, and, “if you don’t mind, maybe tonight we’ll try to play some more upbeat songs.” Then he launched into “Too Much,” one of six songs from Age of Adz on his setlist. Shots of Stevens posing like a glamorous pop star flashed behind him. He lowered our expectations by introducing “Come on! Feel the Illinoise!” as a “word salad” that’s in 5/4. This wasn't wise of him–he couldn’t quite keep up. “This is too fast,” he said, before laughing. He only played three songs from last year’s Carrie & Lowell, and they were all danceable. “All of Me Wants All of You” was a slow jam the crowd waved their arms along to, and “Fourth of July” had drums and horns and chimes and two electric guitars. People fist-pumped while singing, “We’re all gonna die.”
https://www.youtube.com/watch?v=z9Dzy4eB_nI
Stevens messed up the timing of his lines on “Should Have Known Better,” and sang them prematurely, like he was enjoying himself too much to be patient. After “I Want to Be Well”–an aptly titled song; the titular line appears over 75 times–he told us: “Thank you. I feel better. There’s nothing like a mantra to make you feel better.” He was joking, but he, a guy who’s been putting platitudes in his lyrics for over a decade, also kinda meant it. “I Want to Be Well” was followed by a shortened version of “Impossible Soul,” during which Stevens put on a bunch of multicolored balloons and spun around and jumped off a staircase prop and just, like, frolicked around the stage. In the jubilant “Chicago,” after the refrain “I made a lot of mistakes,” he told us, “You’ve witnessed them all tonight. Hopefully you still love me. I love you.” This was a tad arrogant (“still”), but, you know, how can you not love Sufjan Stevens? “We’d like to end with a Prince cover ‘cause every night should end with a Prince song,” he said, before Moses Sumney, who up to this point was just on backing vocals, sang the first verse of “Kiss.” Sumney’s got a killer falsetto. Stevens took the second verse and botched the lyrics. The crowd laughed with him. After he and his backing band left the stage, we cheered for an encore and learned Sufjan’s a hard name to chant quickly. But when a voice on the speakers thanked us for coming to Pitchfork Music Festival, we had to accept that the celebration was over. - Sierra Witham
[embed]https://www.instagram.com/p/BH8nVxfAMYW/?taken-by=wiux991[/embed]
Sunday
Kamasi Washington
Undeniable World Jazz
I have never listened to Kamasi Washington before, but I had friends that had seen him at other festivals and guaranteed a good time. At first, I didn't know how to feel about jazz at a "rock" festival. Now, I love jazz as much as the next guy, don't get me wrong, but I felt like it might be out of place. After enjoying Blood Oranges' jazzy slow jams on Saturday, I decided to give Kamasi Washington a chance.
https://www.youtube.com/watch?v=3DM9fGXHhlk
His set only consisted on 5 songs - 5 very long songs. The first song left more to be desired; I just was not feeling it, but then Kamasi brought out "the man who taught him everything he knows." Kamasi side-by-side with his father played some "old-school" jazz that made your bones weep. The saxophone solo gave you hope of better times to come and the trumpets took you on a trip around the world. Kamasi performed with two drummers and two bass players - which each had their own couple of minutes long solo. I could say that after hearing "Cherokee" I was sold. Say hello to Kamasi Washington's newest fan. I truly believe that many fans were created then and there. It was impossible to resist the vocal harmonies and the organ player. You can't deny the appeal of the brass. - Dalia Erkman
[embed]https://www.instagram.com/p/BH_ZrgvguzV/?taken-by=wiux991[/embed]
Neon Indian
Ingenious; Groove
We all remember Neon Indian from this year's Culture Shock. Who could forget when he performed for all of us and then hung out with a bunch of college radio nerds!
His Pitchfork set had to contain the most gusto and sweat. Alan Palomo brought it ALL to the stage. He's got all his own moves and was thriving on the crowd's energy. There wasn't a second when he wasn't jumping around mirroring the crowd. They played all their hits "Deadbeat Summer," "Polish Girl," and "Annie." I was kind of upset when I found out that Neon Indian was going to be playing during the day. Just like Beach House, Neon Indian is a night show - but for the opposite reasons. The light show was at a disadvantage in the summer heat, but, regardless, we all still had a great time.
https://www.youtube.com/watch?v=TTuT1s-YPLE
When they busted into "Annie," Alan gave the crowd an unforgiving glare, so intense he was looking through you. He put on a performance only someone outside of himself could give. I'm not even sure if anyone at the show had a pulse or if their heart was beating too fast to tell.
One of the smartest musicians of 2016, you can't list an artist to Alan that he hasn't heard in one way or another. For as big as he is, he is deeply immersed in the smaller, more-underground indie community. If you ever get the chance to sit down and talk with him in someone's kitchen, I highly recommend it.
[embed]https://www.instagram.com/p/BIAh_7uAzUS/?taken-by=wiux991[/embed]
Pitchfork Music Festival Chicago 2016 was one for the books - full of surprises, happy fans - young and old, and groovy tunes. We cannot wait for next year's Pitchfork!
Photo Gallery from the Festival:
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(07/13/16 5:35am)
Whether you are a first-time Pitchfork goer or a routine raver, it is always a good idea to be prepared.
Things to Pack:
Water!
Water in the city costs $2 - which is insane. Pitchfork allows you to bring in two sealed water bottles and trust me, you will need it.
Sunscreen
Skin Cancer isn't cool.
Cellphone Charger
Pitchfork vendors have charging stations along with free SWAG.
Sunglasses
Keep the sun out of your eyes.
Cellphone
So that you can play Pokemon Go! of course!
Prepare for the Artists:
Take a listen to the artists from the official Pitchfork Music Festival playlist!
https://play.spotify.com/user/pitchforkmedia/playlist/17TJrI448nUsq7vQxlBBvA
and try out WIUX's very own-playlist!
https://open.spotify.com/user/126067534/playlist/28AxaxY75zkWAu9Dbpm6I8
Support your Locals!:
Whitney, Kevin Morby, Martin Courtney are all from Secretly Canadian.
Twin Peaks, Whitney, Beach House, and Neon Indian have all played Culture Shock.
Bloomington-Locals, Hoops (now signed to Fat Possum Records) and VARSITY, will be playing a Pitchfork After-Show alongside Porches on July 17th at the Empty Bottle.
Buy your tickets now!
Review the set times here.
... and finally have a great time! Pitchfork is about having fun and listening to groovy tunes.
Check out this video from last years Pitchfork!
https://www.youtube.com/watch?v=mAFgDDBmjoU
(03/28/16 8:24am)
WIUX's annual, free music festival, Culture Shock, held in Dunn Meadow will be this April 9th. Feel free to come on out, enjoy the sun, and some good tunes. Before hitting the festival, be sure to familiarize yourself with the wonderful artists that will be playing.
In a galaxy far, far away, Brett Hoffman of Brownies in Cinema creates lo-fi pop catered to heartbreak and aliens.
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Brett Hoffman, sophomore here at Indiana University, plays the drums, guitar, bass, and occasional keys for his solo project, Brownies in Cinema. He also records and writes all of the music. He's just your typical cool cat, generally found wearing a McDonalds hat, a Grateful Dead t-shirt, and sandals. You've probably seen him around, but next time you see him be sure to say "Hey, you're that guy." Brett loves meeting new people, long walks on the beach, and McDoubles.
We had known about Brett's love for fast-food, especially McDonalds, and decided what better way to let the people get to know him than by taking him to his (and the majority of 2-5 year olds) favorite place on earth: a McDonald's play-place.
https://www.youtube.com/watch?v=JW9fPFovob8
Aside from all the fun from at McDonalds, we sat down to talk to Brett about his music, and he had a lot to say.
Brownies has been Brett's brainchild since high school; he's been constantly creating and recording his own music for the past two years, but only in the last 5 months or so has he had a touring-band. Brownies in Cinema went from being only available on select online platforms, to being seen live in your average, cramped Bloomington basement, and now onto Culture Shock.
Brett has recently issued his first physical release, Brett's Tape. Brett's Tape is a pink cassette tape featuring crowd favorites such as "She's Come Around" and "Feel the Same." Much of his influence has came from the 60s and 70s: psychedelic pop, beach pop, and basically anything with a catchy guitar lick. He also gains much inspiration from local bands like Daguerreotype and Hoops etc. Admittedly, he produces music that resembles popular acts such as Mac Demarco and Homeshake.
Usually, I guess, I'll hear a song I really like or a part of a song I really like, and I'll kinda try to come up with my own way to build off of the idea, I guess. So, you could say that I rip off other songs, if you wanted to. But I dunno there are all types of great pop songs out there, and it's cool just to build of that. - Brett Hoffman
Brett then continues to talk about Aliens and how they inspire him. Whether or not you believe in our "Brother and Sisters of the Universe," you must listen to what Brett has to say about "unifying the vibes of the Universe."
Yaknow, the Universe is vast. Almost the size of a tube that's twice the size of the Universe. It's about half that size... - Brett Hoffman
In case you ever wondered which song Brett would want Aliens to hear first, similarly to "Dark was the Night," have no fear your answer is here:
https://www.youtube.com/watch?v=UfmkgQRmmeE
[Brown Eyed Girl by Van Morrison] is a damn good pop song. Sha-la-la-la, I mean Aliens would dig that. That kind of a song is something that only humans could come up with and I feel like Aliens would hear that and, yaknow, be like there's culture on this planet... and it's Van Morrison - Brett Hoffman
After gawking over about the beauty that is Van Morrison, Brett continued to share his recipe for his famous chili that his father taught him to make. *spoiler alert* the trick is Bush's Chili Starter. Which is better: Brett's Music or his Chili Recipe? The world may never know...
Brett finished the interview with speaking of his first Culture Shock. As a high school senior, Brett drove down to see Mac Demarco perform in 2014. Little did he know that he would be playing the same festival, the same stage, two years later.
It brings a tear to my eye, the memories of Culture Shocks gone-by - Brett Hoffman
https://www.youtube.com/watch?v=0g_mgy68zKk
Listen to the full interview here:
We're looking forward to a wonderful Culture Shock, see ya there!
Special thank you to all that made this interview possible:
Matt Leetz - Cinematography and Audio Recording
Mike Higgins - Director and Interviewer
Dalia Erkman - Video and Audio Editor, Article Author, and Interviewer
Kamila Czebotar - Emotional Support
Brett Hoffman - Cutie and Musical Artist
(02/09/16 11:02pm)
Where: The Bishop
When: Wednesday, February 10th; 9:30pm
Tickets: $5 at the Door
Come down to the Bishop and boogie-oogie-oogie to some rad tunes.
Leggy
After much anticipation, Cincinnati lush-punkers are back in Bloomington. They are currently touring across the United States, so make sure to see them now before they're gone! Leggy resembles a rejected girl group from the 60's that has a few choice words for Phil Spector. If you love bubblegum-punk, dream-punk, pink-fuzz, or just about any Lo-Fi sub-genre, you will fall in love with these rockers.
[soundcloud url="https://api.soundcloud.com/tracks/194717845" params="color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="100%" height="166" iframe="true" /]
Nice Try
The Bloomington-Duo bring a happy medium to the in-your-face-ness of Leggy and the Sad Surf that is Local Surfing. Nice Try creates a human-esque approach to Lo-Fi genre by combining Frankie Cosmos vocals and the softer side of the Teen Suicide instrumentation. Nice Try released their self-titled album this month and it is worth a listen!
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Local Surfing
In these dreary February days, B-Town Local[Surfing]s spend their days dreaming of somewhere much warmer. If only they could go outside... If you have not yet heard of Local Surfing and/or seen them live, what are you doing. Seriously. Go spend $5 on a ticket and see this great band! Local Surfing never fails to please a crowd with their show-stopping performances.
[soundcloud url="https://api.soundcloud.com/tracks/240608878" params="color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false" width="100%" height="166" iframe="true" /]
Say hey to us at the show! We are nice. - Dalia & Mike
(10/11/15 9:17pm)
On October 4th, I, alongside my partner-in-crime, Mike Higgins, had the amazing opportunity to interview Madrid's lo-fi ladies, HINDS. They headlined at The Bishop and were very excited to be in Bloomington, with Sunspots and Chives opening for them.
The moment we came out of the car, someone said "ayy welcome to bloomington." - Carlotta
HINDS is made up of Carlotta, vocalist and guitarist, Ana, vocalist and guitarist, Ade, bassist, and Amber, percussionist. Before Ade and Amber joined the band, they released DEMO on their bandcamp, where it gained popularity from various magazines. Their first album, Leave Me Alone, is set out to come out on Jan. 8.
We can't even wait to make the second album, and the first is not even out. - Ana
HINDS, previously known as DEERS, arrived at the end of Sunspots set, while listening to their cover of Twin Peaks' "Making Breakfast," and later talked about how much much they lovedTwin Peaks and the Sunspot's cover.
We interviewed the band in the alley/ parking lot behind the Bishop, while the girls swigged beers and shared laughs. We asked them what expectations they had with coming to Bloomington, and they were genuinely excited about coming to a college town. They said that they felt like they were one of us, because they were us not too long ago.
We were students so little ago, that we still feel like you guys. -Carlotta
When they were still known as DEERS, Carlotta learned to play the guitar from fellow-founder, Ana, who learned to play the guitar just four months before teaching Carlotta. After the sucess of DEMO, the girls felt the need to add more members: Ade and Amber; Ade's parents bought her a bass and Amber's sister's boyfriend had a drum kit.
We wouldn't be here if it were just us two. - Carlotta
When asked if they had any spanish influence to their music, they responded with a surprising no.
There is no one like us. - Ana
But they did recieve influence from many indie artists from across the Alantic. They mentioned that they adored Chicago's own Twin Peaks, who headlined Culture Shock last year, and we all bonded over our love for Mac DeMarco and Ty Segall. They were beyond words when they found out that both had also headlined Culture Shock in previous years. Among their other favorites were the Black Lips, Shannon and the Clams, and the Growlers.
They began their stint in North America as a supporter for Glass Animals, but made time out of their busy schedule to stop in Bloomington, thanks to Winspear. Now, they are on their own headlining North American Tour, and will be heading back to Chicago later this month, if you missed their Bloomington show. This is only the girls second time in the States, as HINDS, and they only had the kindest words to say.
Tulsa people were so into us and ended the show with clapping and screaming for one more song and they had no idea who we were - Carlotta
Until... we asked them to do their impression of an American and well... in very nasaly voices they talked about gossip and burritos. *cough cough* Laughing Planet.
You can get some burritos around the corner. ohmygod ohmygod ohmygod ohmygod you got to taste them it's incredibleeeeee. - Ana
Finally, we asked them what they would like to say to their fans here in Bloomington.
You live in bloomington; you are studying. This is a dream for us; you are so lucky. Get crazy, enjoy it, love it, and Support music. - Ana
The time of your life is right now. - Carlotta
The interview was a success and the show was even better. HINDS playes all of our favorites from "Bamboo" to "Chili Town" and some new ones off their upcoming album. They even performed a Dead Ghosts cover of "When It Comes to You," which I'm hoping to hear a studio version of! The show was hot, the crowd was lively, and HINDS were giving it their all. The show ended with us chanting "uno más," before the exploded into "Trippy Gum" again. I will never not go see a HINDS show near me, and hopefully they're back soon. A huge thank you from WIUX and Bloomington, for an amazing show.
Check out the full interview here:
Photography by Dalia Erkman and Mike Higgins
Interview Questions by Mike Higgins
(08/04/15 2:21pm)
5/7 stars
[caption id="" align="alignnone" width="600"] Another One (2015)[/caption]
Known for his quirky antics on and off stage, Mac DeMarco, surprises fans with his new mini-LP purely about naïve love. Another One, out on August 7 on Captured Tracks, features love songs ranging from finally finding that one person to knowing that you could be good at loving someone, if given the opportunity, to being left behind. The Canadian Rocker has shared four of the eight songs on the album, one music video, and various streams of the album in its entirety, which he claims to have written in a week and recorded in another week and a half. He even did an interview with NPR Music, where he explained in depth each song on the album.
Tracklist:
1. The Way You'd Love Her **
2. Another One ***
3. No Other Heart ***
4. Just to Put Me Down **
5. A Heart Like Hers **
6. I've Been Waiting for Her **
7. Without Me ***
8. My House By the Water ***
[caption id="" align="aligncenter" width="706"] Mac Demarco performing at WIUX's Culture Shock 2014 // Photo by Alex Hughes for IDS[/caption]
With the overall theme of the album being love, Mac takes an innocent, juvenile approach to it. His simple, repetitive lyrics seem to be reminiscent of the girl groups of the 60's: singing about that boy (or gal) who just won't return your calls and all you can do is ask yourself why? For some, the album may come off as whiny, but for others, including myself, they will see the stages stages of a broken heart. Another One is a light-hearted yet deep conversation with a friend. He confides in the listeners yet plays if off with his goofy quirks and easy-going manner. Mac has never been one to have a serious bone in his body when it comes to his fans, and in his music video for "Another One" the listeners get the overwhelming feeling of Mac using his sense of humor to downplay his emotions. Armed with a Michael Jackson mask, he takes to the same waters on the album cover and does what Mac does best.
More so than in his previous albums, Mac tends to utilize the synth almost as the guitar on Another One: exclusively on the tracks "Without Me," "Another One," "No Other Heart," and "A Heart Like Hers." He tends to keep the same type of melancholy guitar licks that he's infamous for in songs like "Blue Boy" and "Go Easy" from Salad Days; when drums are present on the tracks, it is with simple beats and a few classic trills between the verses and the chorus, as a form of a bridge. Mac's lyric's however are deeper and simpler than ever, again featuring the naïve vulnerability that falling in love gives you. The entire album is a heavy weight for the listeners and can leave you feeling sad about your last break-up, sad that you never got a chance with that girl two lockers down, feeling sad that you're in a happy relationship wishing that you could feel sad with Mac, or a combination of all three! As a little breather to the album, he included an instrumental track at the end titled "My House by the Water." The song name is pretty self-explanatory; it features the sounds of the bay next to his house laid over keyboard track. In my opinion, this is one of the highlights of the album and a perfect end to the emotional rollercoaster that is the album. Mac even includes his home address at the end of the song and offers to make the listener coffee, and to his surprise, fans have actually been taking him up on his offer! He then took to social media to announce that he was going out of town and for no one to stop by looking for coffee and a nice conversation. #nocoffee #beachistheotherway
Stop on by, I'l make you a cup of coffee. See you later.
I am more than satisfied with this mini-LP and with the thought and effort that Mac put into making it. I can't wait for his next full-length LP! Interested in pre-ordering Another One, click here!
Tracks to Watch For: "Without Me," "My House Down By The Water," and "Another One"
https://www.youtube.com/watch?v=kXrv2IQZsV4
(07/28/15 1:27am)
[caption id="" align="alignnone" width="600"] Album Cover of Another One on Captured Tracks[/caption]
Out on August 7th, Another One by Canadian "jizz-jazz" rocker Mac DeMarco tells tales of love, lost-love, and love that was never quite found. Since the announcement of the album back in April, Mac has since released four out of the eight songs on the mini-LP. The album was also leaked back in early July, and to many fans surprise Mac declared that it was okay for his fans to download the leaked version because he doesn't give a "damn" during his set at Pitchfork Music Festival.
Coincidentally, the first song to be released was "The Way You'd Love Her" which is the first song on the album. The song begins with a simple drum trill then the bitter-sweet, warped guitar riff comes in. The song is very reminiscent of his fan-favorite album Salad Days; the lyrics give a subtle hint into Mac's private life and even more, a look into the mind of a heartbroken man.
Never really got your chance to show her, what it really means to love her.
The way you'd love her.
The way you'd love to love her.
The way you'd love her.
Mac then shared another one from Another One titled "Another One." This song was released alongside a music video in which Mac, in the goofy fashion that he is infamous for, impersonates the late great Michael Jackson. The quirkiness of the video attempts to hide the melancholiness of the lyrics. Mac almost uses it as a front so that people don't see a sad, hurt man, which is nostalgic of almost any break-up.
The feelin' never stops
And neither does the clock
Wishin' for tomorrow today
She still says shes true
So you start comin' to
Just as that old knockin' comes to stay
After the news of the album leak, Mac decided to publish the sixth song on the album "I've Been Waiting for Her." This song is different from all the rest on the album, because this one isn't a heartbroken tune. It is a simple love song; in Mac's eyes he deserves someone like "her," whether "her" is his long-time girlfriend Kiera or not, and he has been waiting for "her" his entire life. The overall instrumentation of the song reminds me a little of the 80's, and it tends to fit more into a lighter version of Rock n' Roll Night Club. While the lyrics and tone of Mac's voice gives it a Salad Days or 2 element.
Give up my life for the rhythm
For the beat of a heart
Like hers
Start it over to the rhythm
To the beat of a heart
Like hers
Lastly, Mac released "No Other Heart" a couple of days after his Pitchfork set. This song's guitar was directly influenced by 2. Again with simple drums and a keyboard to fill the sound, Mac sings about being in love with someone who's in love with another. Unlike "Another One," where Mac sings about losing someone to someone else, this time Mac is trying to do the stealing, but in a sweet way. Although the guitar is influenced by 2, the chorus and harmonies heavily remind me of "Go Easy" off of Salad Days. As of today, this is the last song song that has Mac released off of the album, but I would not be surprised if one more made it out before August 7th.
If it’s so
Then come on give this lover boy a try
I’ll put the sparkle right back in your eyes
What could you lose?
The best has yet to come! Stay tuned on the blog for the enitre album review in the beginning of August! Interested in pre-ordering Another One, click here!
Don't forget to check out the "Another One" Music Video
https://www.youtube.com/watch?v=gbg27oT8Z9M
See the genius behind the album!
https://www.youtube.com/watch?v=kXrv2IQZsV4
Want more Mac music videos? CLICK HERE!
(07/24/15 9:16pm)
I had the pleasure of attending Pitchfork Music Festival in Union Park on Friday of the 3-day festival. It was an extremely hot and sticky day, filled with good tunes and great people. I cannot recommend the festival enough and I'm looking forward to next year's line-up!
Line-Up:
3:20 Ryley Walker
3:30 Natalie Prass
4:15 Jessica Pratt
4:35 ILoveMakonnen
5:15 Steve Gunn
5:30 Mac DeMarco
6:15 Tobias Jesso Jr.
6:25 Panda Bear
7:15 Iceage
7:20 Chvrches
8:15 Ought
8:30 Wilco
I live only about 40 minutes outside of Chicago, but there was awful traffic and we were running a bit behind. We found ourself stuck on the LCD (thanks a lot, Siri), and we didn't get into the city until Ryley Walker was already starting his set. After a few stops and transfering from the Brown Line to the Pink Line, we finally found ourself outside of the festival, where ILoveMakonnen could be heard playing on the Green Stage inside. I, being accompanied by my WIUX fanny pack, ended up running into an Union Board alum which only began the beginning of cameo apperances from WIUX alum and members alike. By the time we went through the line and bag check, it was almost time for Mac DeMarco's set, which I was the most excited for. We quickly made our way over to the red stage, but found that many people were already there. I, being 5'6, found that our spots were unacceptable, so I began to politely worm my way through the sweaty swarms of bodies. Eventually, I gave up because I could feel the growing annoyance from the festival-goers, and I didn't want to step on anyone's toes: metaphorically speaking and quite literally. We ended up making friends with a few lovely Australians that were standing in our newly claimed spots, and they were quite adamant about getting a better view so we slowly followed them and made our way closer and closer.
Mac, who headlined Culture Shock last year, began his set with the title tune from Salad Days and continued with many crowd favorites such as "Freaking out the Neighborhood" and "Cooking Up Something Good" from 2 and even a Steely Dan cover. He advised us that his new album Another One, out Aug. 7 via Capture Tracks, had been leaked and told us to go ahead and download it because quite frankly he doesn't give a "damn." Mac continued his 40-minute set with songs such as "Ode to Viceroy" and "Chamber of Reflections", looping the intro to the approval of the dancing mass of fans. We even had a Viceroy hat that we flailed to no avail in hopes that Mac might spot it.
Mac continued his show and asked the fans to sing "Happy Birthday" to his girlfriend, Kiera. He claimed that he "has had his fair share of women, and Kiera has not had the same. But it's her birthday and I [he] loves her very dearly, so god bless her, come on people." The crowd began to roar before Mac went into the second verse of "Still Together." The entire show was filled with witty banter from Mac's bandmates and even a PSA about how bullying is bad. It felt like we were in the Pitchfork's Pepperoni Playboy documentary.
Mac closed out his show to "Still Together", where he stage dove into the mass of sweaty, smelling, hat-weilding fans. To our surprise, he dove off of stage left and stayed up for a few minutes until he eventually made it to the right side of the stage, while his band continued to play. I was in disbelief that Mac would ever make it to us, but eventually we saw a body being passed around above everyone's head. He even grabbed a paper fan from a fellow fan and was cooling himself off as he rode the crowd like a wave. I ended up being shoved and accidentally touched Mac, so that was a pleasant end to the show.
After Mac's set, we decided to head on over to Panda Bear's show at the Green Stage. He exploded into "Untying the Knot" and eventually made his way into "Crossroads" off of Panda Bear meets the Grim Reaper. He ended out his show with another off of PBMGR, "Acid Wash." Accompany him on the stage he had some grutesque images that sent chills down your side, that seemed to remind me of the Samsara documentary. Overall, the crowd was very tame and intentive to Panda Bear's set.
The heat had finally got to us; we decided to lay down a blanket and pop a squat until WIlco's set at the Green Stage. Many people had a similar idea and we made friends with a few of the people sitting around us while watching Chvrches perform on the big screen.
As night approached it seemed to cooled off somewhat but we were all too parched to make our way to any of the other stages. We felt that it was best to just enjoy the atmosphere and wait for the festival's headliners.
But once Wilco came to the stage, the crowd seemed to find some energy and jumped up to the sound of the acoustic guitar, As the sky grew darker and the street lights came on, Wilco proved to be the best way to relax the thousands of people scattered around Union Park. They weren't people crowd surfing, no moshing, just people relaxing: some sitting, some standing, some dancing. Of course, Wilco played "Via Chicago" to the pleasure to the hard-core Chicagoans. And I learned a solid lesson that no matter who you are, you like a little Wilco.
Through and through, Pitchfork Friday was an amazing experience and I wish that I could have gone all three days, but I can assure you that I will have a three day pass for the 11th anniversary of Pitchfork Music Festival. I even scored a free White Reaper mixtape from Polyvinyl, a super rad hat I found in the mud, and a Mac DeMarco t-shirt. See you next year, Pitchfork! 8/7 would recommend.
(07/20/15 2:41am)
So I recently wrote this essay for one of my classes about how the vinyl revival is actually hurting smaller artists and labels. The prompt was to address a up and coming or ongoing problem in the music industry and try to find a solution. I was pretty content with the turnout of the paper and I thought "hey this could be a good blog post," so here you go.
In recent years, streaming has taken hold of the music industry. Users can stream music through Google Play, Spotify, Youtube/VEVO, etc. The streams are measured by the number of plays a track or album receives. Essentially, the listener does not own physical or digital copies of the tracks and can only listen to them on whichever streaming platform they prefer.
Nielsen, the music industry’s leading data provider, states that streaming has grown considerably with over 164 billions streams between 2013 and 2014; roughly a 54.5% increase in streams. Katy Perry’s “Dark Horse” topped the charts with 268,322,000 streams followed by Iggy Azalea’s “Fancy.” Although the streaming industry seems to be thriving, total album sales have shown a decrease of about 11.2%. CDs had a decrease of 14.9% and digital albums are not far behind with a decrease of 9.4%. Despite the fact that the overall sale of albums showed a steady decrease, there was a peculiar growth of 51.8% in Vinyl/LP sales, almost as much as streaming. Much debate has gone into why there's suddenly such high demand for vinyl and many have agreed that it is all part of cultivating a certain image.
A Billboard article published in 2015 attempted to explain what is happening with the industry and claimed that there is a certain perception about “collect[ing] something physical and tangible at a time when most culture lives as data in the cloud or on a hard drive.” The article also explains that the whole “vinyl revival” is about image, quoting Rik Sanchez of Amoeba GM, “having a record in your hand is just way cooler than having a file in your iPod.” According to the NPD, music fans under the age of 35 now account for over 72% of vinyl sales, and many retail stores have even attempted to make money off of the revival by stocking their selves with reprints of classic rock operas and the newest hits, explaining why you may have seen records alongside clothes at stores like Urban Outfitters and Hot Topic.
An article published by Quartz agreed with the Billboard article, claiming that the vinyl revival is about “identity.” Discrediting the ideas of vinyls serving as nostalgia and being better quality, the article makes a sound argument that the growth is purely stressed around image. Nielsen reported that Jack White’s Lazaretto topped the vinyl charts with 86,700 sales and was followed by more contemporary music and reprints of some classics like the Beatles’ Abbey Road and Bob Marley & the Wailer’s Legend. While the reinvigorated vinyl industry may seem as a blessing for fans, stores and artists alike, it proves to be a disaster for others. Many smaller artists and labels are going bankrupt because they are not able to keep up with the growing market. The vinyl revival has proven to favor bigger names and labels, rather than smaller ones; doing the exact opposite of its intentions.
Record Store Day and Corporate Monsters: another nail in the coffin
Nirvana’s former drummer and the Foo Fighter’s frontman, Dave Grohl, was appointed the ambassador of Record Store Day 2015. His duties involved publically stressing the importance of independent record stores and vinyl, according to Rolling Stone. On the official Record Store Day website, Dave Grohl made an statement about how he “found my [his] calling in the back bin of a dark, dusty record store.” Record Store Day was founded eight years ago and was created to help save the independent record stores, but in recent years it has turned into “just another event in the annual music industry circus,” according to a Pitchfork article criticizing what Record Store Day has become. The official Record Store Day website states that:
“A Record Store Day participating store is defined as a stand alone brick and mortar retailer whose main primary business focuses on a physical store location, whose product line consists of at least 50% music retail, whose company is not publicly traded and whose ownership is at least 70% located in the state of operation. (In other words, we’re dealing with real, live, physical, indie record stores—not online retailers or corporate behemoths).”
Contradictorily, Warner, Universal, and Sony all participate quite successfully in Record Store Day. Although, many may feel as if because of the recent boom in vinyl sales there is enough wealth to go around, they are sadly mistaken.
According to an article on Noisey, the biggest problem for smaller artists, labels, and stores is backorder. There are only 20 vinyl-pressing plants nationwide pressing everything from all 86k of Lazaretto to smaller indie-punk bands who are “relying on selling ten or 20 LPs per show to put gas in their rental van to get to the next city.” As per assumption, the bigger artists orders are carried out first and smaller artists are snubbed out because of the high demands. Many indie-bands find themselves going on tour with half of their requested vinyl merchandise because of Lana Del Rey’s 42k copies of Born to Die. Others find themselves going on tour without any vinyl or completely cancelling their tour. Not only are the smaller artists being hurt, but so are smaller labels and record stores.
Record Store Day features “exclusive” album releases that are only available for that day or are released on that day, creating a demand that justifies the inflated prices. Indie record stores must put in their orders with the 20 pressing plants months in advance just so that they can attempt to make a little profit off of the holiday that was once supposed to help them. Yet, corporations still get their orders completed on time. If the industry keeps hurting its smaller players, pretty soon there will be no more independent anything; not only will the artists, labels, and stores be hurt, but also the fans. The younger generations will never know the feeling that Dave Grohl talks about of walking downtown into a dusty, old brick building where a half-lit neon sign welcomes you and finding a vintage “Tommy” by the Who. They will never get to experience seeing a local band with a name involving some type of food or dinosaur playing in some guy’s basement and buying their vinyl off a merchandise stand in the back of the room.
Saving the Little Guys
One solution to the problem would be to create more pressing plants. More plants would mean more jobs, more opportunities, and most importantly more vinyl. The smaller artists would be able to get in their orders and so would bigger bands with higher demand.
Another solution would be to have communities become the backbone of local artists, labels, and stores. If neighbors and friends took it upon themselves to support the “little guys” and boycott the corporations that are keeping them down, the industry could be saved. The author of the Pitchfork article, Eric Harvey, talks about how there are a few smaller locations out there that are participating in holidays such as Record Store Day and doing so successfully with the help from their community. He references Bloomington's Landlocked Music as being one the last to still be genuine and have a love and passion for the “unique culture.”
Fixing the industry is not as simple as it seems or else it would have already been done. The vinyl revival is surfaced around image, according to many critics, and that is a huge problem for the industry. Right now, Vinyl is seen as “cool” and that does not look like it is going to change anytime soon according to market trends. Corporations have their hands in the industry and the 20 pressing plants, and are making it nearly impossible for smaller artists, labels, and stores to become successful. Not only are they being disregarded, but also the one holiday put in place to help them is doing the exact opposite. Hopefully in the near future, the market will see a growth in the sales for smaller artists, labels, and stores.
(06/15/15 5:47pm)
For those of us who don’t live by the coast, as the summer keeps escalating we find ourselves looking for alternative ways to beat the heat. Whether that be a day at the lake, cranking the AC, sitting in-front of a box fan, or driving down roads with the windows rolled down, we refuse to let the summer heat get the best of us. As I dream of the salty water that burns your throat and hot sand scalding the bottom of your feet, I’ve hand-crafted a playlist to help put you in that mindset on these humid, sweaty days.
Like most music these days, indie-beach is a sub-genre of a sub-genre, categorized by distinctive candy-coated guitar licks, power-chords, simple drums, and easy-going lyrics and mood about heartbreak and the perfect wave. The playlist features only the “finest” indie-beach artists and songs. I’ve scoured Spotify to find staple artists such as the female forerunners of the genre: Best Coast, Dum Dum Girls, and Vivian Girls. The playlist also features many underrated artists such as Yuck, The Memories, King Khan and the BBQ show, and many many more including the word “beach” in their names.Your two hours of sunburn begin with a little Mac DeMarco and intentionally ends with a little more Mac. In recent years Mac’s popularity has taken the Indie-Beach sound to the masses and never lost the quality that he is known for creating. For that reason (and the fact that I am a hugeeeee fan), he is heavily represented in the playlist. The playlist also features the fathers of Beach Goth, The Growlers. The California-based band have taken the indie-beach sound to places it’s never quite seen before. The earlier sound was all about taking it back to that bubblegum sound of the 60’s but the Growlers have adopted the beach sound while incorporated the wild west and many Latin influences in some of their more under the radar songs.
“Their [The Growlers} sound is indisputable and will leave you with a salty taste in your mouth. The band has fittingly trademarked the name “Beach-Goth” as their genre, and I could not agree more. Their melancholy and prudent lyrics rush over you like, well like, a tidal wave, as cliché as it sounds. Yet, the harsh lyrics are often times masked by their “saltwater-taffy”-esque riffs. They tend to remind us more about the sunburns that come along with long exposures to the sun, rather than the golden-colored skin that so many “Beachy” artists did before them” –Interview with The Growlers
It would be a sin to create an Indie-Beach playlist and to not include such influential artists as these. Stay up-to-date with the playlist by following so you never miss a moment of sand in your sandwich or that cute boy who never calls you back.
https://play.spotify.com/user/12153770846/playlist/75eII5w5yOx6mmHS6rzBJ8
If you need a little more cooling-down inspiration go ahead and check out these rad music videos by Best Coast!
Best Coast – When I’m With You
[youtube=https://www.youtube.com/watch?v=nN1XzxOQWrA]
Best Coast – Crazy For You
[youtube=https://www.youtube.com/watch?v=XCqjFxUMU6Q]
For more on Mac Demarco and The Growlers, click here.
(05/17/15 4:30pm)
Cyndi Lauper knew it all the way back in 1983, "Girls just want to have fun!" But the fun is no longer just limited to the ladies, my friend, the boys are getting in on it as well. A growing trend has been happening in the indie community for a while now, which mirrors the androgynous feel of rockers from Christmas past. Mick Jagger of the Rolling Stones has been wearing women’s clothing for decades upon decades, along with others such as David Bowie, T-Rex, etc. In recent years, the indie community has taken the “glam rock” feel and incorporated into its own dirty, underground, “un-glamorous” style. The past was filled with glitter, eyeliner, feather boas, and much more; the men looked like they were going out on a “Girls Night on the Town.” The indie community has since perverted the once flashy political commentary and used it for art and comedy. Music videos such as Mac DeMarco’s “My Kind of Woman” and the Growlers’ “Not the Man” have adopted a more of a “backroom/rough night/morning after" feel to their cross-dressing. Both Mac and Brooks Nielsen of the Growlers adopt a similar style of drag queen: messy wigs, sloppy makeup, thrift store clothing, and most importantly still masculine qualities.
The “My Kind of Woman” music video begins with a close up on Mac’s infamous tooth gap mouthing the words, “Awh Baby.” He then proceeds to apply lipstick (hopefully Mac brand) very carelessly to his lips. The camera pans upward and he applies mascara to his already smudged eyes: giving the sense that maybe he had a rough night at the “Rock and Roll Night Club” the night before and he’s going back out again tonight. The video continues and Mac completes his transformation with his wig and dress. Much of the video is shot from a shaky close-up perspective of Mac lip-synching the words to the song and him walking through some random backstage area. The video ends with Mac being stripped nude and packaged away into a box. Up until this point the video could be seen as purely for comedic purposes, but the ending adds perplexity to the entire video. Nude Mac being packaged with newspaper into a box gives the notion that maybe he isn’t a human-being after all; he’s just a piece of property being used for his money-making talent ready to be shipped off to the next show. With an ending as perplex as this, it makes the viewer question the content of the entire video: the poor cross-dressing, the back stage scenery, the spot-light and stage, the lyrics, etc. This music video could be seen as a very deep piece of political commentary into the norms of the music industry, but just as easily as a comedic piece. Mac is known for his quirky antics on stage and off; he even dressed as a Revolutionary War era Patriot playing the electric guitar in his music video for “Dreamin’.” Whether or not the video was intended to have a deeper meaning, you can tell that Mac had a lot of fun making it. In an interview with Stingray Music on Youtube regarding the music video, he responded with, “I like to feel like a woman; I like to feel sexy.”
Three years later the Growlers released their music video for “Not the Man” off of Chinese Fountain. The entire video is a play on the lyrics: “I’m not the man that I used to be.” The video, alike Mac’s, features Brooks going through the transformation of becoming a woman: from the make-up, wig-cap and over-highlighted wig, sequin top, to the high-heels. In many shots Brooks can even be seen eating Chinese food, which is a tip of the hat to thealbum title. The “Not the Man” video also focuses on Brooks lip-synching the words to the song throughout the video as Mac did. The main difference between the two videos was the Growler’s purposely cheep edits and shots of the band members in the field; overall, giving a more “artsy” feel to the video, while Mac relied on the ending to give his video substance.
As a huge fan of both the Growlers and Mac DeMarco, I love the similar videos and the growing trend of the sloppy, "down-on her luck" drag queen that the two artists have incorporated in their videos. I hope to see much more of this style in their work and of others: whether it is for political commentary or just to be goofy.
Don’t forget to check out WIUX’s Interview with Brooks Nielsen of the Growlers!
(04/11/15 1:18am)
Culture Shock is right around the corner, and it is timed to get prepared for the festivities! Here's a to-do list on how to get the most out of Culture Shock this year:
1. Dress to Impress!
Wear as much WIUX Gear as possible! Dress to the nines and show your support for your local Pure Student Radio Station! Don't have any WIUX gear, Don't worry; there will be plenty of merch tables set up during the festival! Tanks will be sold at the festival for $10 and fanny packs for $5.
2. Be Safe!
Please remember that this is a Indiana University STUDENT ORGANIZATION event; so, be smart when it comes to various substances that should not technicalllllyyyyyyy be allowed.
3. Brush up on the Artists beforehand!
We have some great bands playing, so give 'em a listen; you never know what you might find!
Foxygen, TOPS and Twin Peaks
Mike Adams
Oreo Jones and Sirius Blvck
Thee Tsumanis
Dietrich Jon
Vista Kid Cruiser
4. LEAVE YOUR "SELFIE-STICKS" AT HOME!
Seriously... Don't bring them; just don't do it.
5. Stay Hydrated and Wear Appropriate Clothing!
The forecast says sunny skies, so dress accordingly! Consider bringing a bottle of watter and a some sunscreen! Always remember that UV Rays are extremely harmful to your skin.
6. Bring some Friends!
Friends... Family... your Dog... Imaginary Friends... Whomever! But don't worry if you're all alone, Culture Shock will be a great place to meet new people who all have something in common with you: an universal love for ~pure student radio~
7. Social Media!
Tweet! Insta! Facebook! Tumblr! Tinder! Google +! Myspace (tehee Tom)! Use the #WIUXCS15 and show everyone that you are going to THE 2015 Culture Shock! Your Aunt Jeanne (who's really only your Aunt by marriage) from Wisconsin will be so jealous!
8. HAVE FUN
Forget about finals, about how you need to finish all of your homework before Little 5, and about how you need to get to the Wright Food Court before it closes at 10 p.m. (C-Store at Midnight). Just have FUN!
See you at Culture Shock!
(04/10/15 5:13pm)
Mike Higgins: Through all the craziness of the week leading up to The 2015 Culture Shock, myself and my partner in crime, Dalia Erkman, were able to sit down for a lovely game of Jenga with Bloomington's own, Dietrich Jon. The band consists of Diederik van Wassenaer on vocals, electric and acoustic guitars and strings, Nicholas Harley on electric guitar, Connor Grimm on vocals and bass guitar, and Mark Edlin on vocals, drums and percussion.
They are a group of musically talented, down-to-earth, flannel wielding guys who can play a solid game of Jenga and toss a frisbee. Dietrich Jon has mass name recognition in the Bloomington area. Not only do they perform as Dietrich Jon, but also as The Underhills and a few other bands. In the past year, the band has been promoting their "Higher EP", which contains great songs such as S.Y.B.G. and Her. The "Higher EP" introduces a creative way of incorporating the violin into a rockin' indie sound. In addition to the promotion of the EP, the band is making plans of working on a full length album over the summer.
You can catch this fantastic band for FREE this Saturday, April 11th at WIUX's Culture Shock in Dunn Meadow from 1 to 10 p.m. Dietrich Jon is only one of the beautiful Bloomington bands that will be playing at this festival. Drop by for awhile and shake your boot to some groovin' tunes!
Social Media:
WIUX:
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Twitter
Instagram: @WIUX991
Dietrich Jon:
Facebook
Twitter
Instagram: @DietrichJonBand
Bandcamp
**DOWNLOAD THE "HIGHER" EP OFF OF BANDCAMP**
Video by Dalia Erkman
(03/12/15 1:02am)
This past weekend my partner-in-crime, Mike Higgins, and I had the privilege to be able to interview one of the most influential bands in the Indie-Beach sound. Their sound is indisputable and will leave you with a salty taste in your mouth. The band has fittingly trademarked the name “Beach-Goth” as their genre, and I could not agree more. Their melancholy and prudent lyrics rush over you like, well like, a tidal wave, as cliché as it sounds. Yet, the harsh lyrics are often times masked by their “saltwater-taffy”-esque riffs. They tend to remind us more about the sunburns that come along with long exposures to the sun, rather than the golden-colored skin that so many “Beachy” artists did before them. I find no more pleasure than in listening to their “Beach-Goth” brand, not at the beach, rather on a gloomy day: just any ol’ windy, chilly day. They recently released their fifth-studio album, Chinese Fountain, which gained them much popularity as a follow-up to their hit single of their previous album, “Someday”. The “Chinese Fountain” Tour began in Honolulu back in December and ended last week in Brooklyn, but before their four-night stint in New York, they managed to make it to the Bishop Bar right here in Bloomington. The show was on March 1st and was quite the spectacle; it was everything you could expect and even more. The Growlers are made up of five of the most talented yet raw, extraverted yet introverted, zealous yet indifferent individuals I have ever met. The group consists of Brooks Nielsen as the lead singer, Matt Taylor as the lead guitar, Scott Montoya as the Drums, Kyle Straka as the rhythm guitar, and Anthony Braun Perry as the Bass. We were honored and left speechless to be able to interview THE Brooks Nielsen before the show, and we hope this interview will inspire you like it certainly did for us.