46 items found for your search. If no results were found please broaden your search.
(03/22/16 12:37pm)
Release Date: 28/1/2016 via Virgin EMI Records
Stars: 6/7
Seconds into “Dead Editors” an unnervingly deep sigh of relief sounded as I stepped backwards through time to the 90’s in a trip hop spacecraft, Massive Attack at the helm of the vessel. The Bristol regime took a five-year hiatus from the studio following the release of their last album Heligoland, but have returned to steward the masses back to the height of 90’s trip hop.
“Dead Editors” emblazons the start of the EP with beeping sounds worthy of a mad computer scientist’s dungeon laboratory, swiftly kicking the bass drum into classic trip hop rhythm. Thumping back beats, odd beeps, snapping snares, eerie choral harmonies and break downs from what sounds like a xylophone made with beakers make up the production. Roots Manuva stoically, unemotionally ponders time, history, the collective soul while methodically delivering every word as if it had always meant to be there and no other word could possibly fill its place.
The EP’s title track follows with vocals from British singer Azekel. The beginning of the track starts similar to “Kenji” by Fort Minor, only to be followed by a slow and steady bass, the click of a tambourine perhaps, and waves of droning sound. When Azekel’s, at first run through indiscernible, vocals fit into the mixture, a picture of shaman finally possessed by the spirit it had sought to conjure emerges in the forefront of the mind. The consistent rhythm of the bongo beat paired with the clapping of hands behind the vocals maintain the image of tribe swaying in tune keeping the ritual alive.
“Voodoo in My Blood” shadows “Ritual Spirit” with a hint of the possession theme, as the title implies. The track starts with a heavier trip hop based beat, similar to “Dead Editors” getting away from the solemn tone of “Ritual Spirit”. Young Fathers provides the initial ritual themed rap climaxing with the lyrics “Why does the blood never stick to your teeth”. As the the bass dies down, replaced by the vibrating hum of a man’s voice and a soft plastic drum beat, Massive Attack comes in jarringly singing “Wipe that cheeky grin and come on down”. “Voodoo in My Blood” offers the first taste of electric guitar heard on the EP, while Young Fathers appear to rap from the perspective of a child from the bloodline of a Bayou dark arts family.
The final track of the EP “Take it There” features Adrian Thaws (AKA Tricky) for the first time since Protection released in 1994. The track switches back to a slower tempo incorporating dissonant piano rhythms. Tricky’s voice comes in and out, echoing over itself, converging throughout the outer layers of the composition creating a suffocating surrounding feeling.
Massive Attack won’t stop here with Ritual Spirit, the band reportedly has a follow up EP and a full length album planned for later this year. The band has already announced several tour dates in the UK and Europe and more may be subject to follow.
(03/22/16 12:28pm)
Release Date: 2/19/2016 via Domino
Stars: 5/7
17 years. 17 years ago Spongebob Squarepants aired for the first time on national television (Pluto was also reinstated as the outermost planet). Coincidentally, 17 years ago, David Portner, Noah Lennox, Josh Dibb, and Brian Weitz formed a psychedelic, experimental bond with the release of Spirit They’ve Gone, Spirit They’ve Vanished. Each member eventually took on a moniker, Avey Tare, Panda Bear, Deakin and Geologist respectively. The four intertwined in and out of each others lives throughout the ensuing years, but always found a way back through the music. Using the four separate names in place of a singular band name wouldn’t be marketable (thanks corporate America), finally conceiving Animal Collective with the release of Here Comes the Indian. Nine albums, seven EPs, three live albums and one visual album later Painting With enters the picture. Point being, 17 years’ averages about a sixth of the average person’s lifespan, evolution throughout that period is inevitable.
Animal teased the released with some singles and an application snippets of songs could be heard while playing. Since the full rollout, I’ve had many discussions concerning the album, most who oppose the album fall into two general categories. Either they wished the album reverted to the weirdness of Sung Tongs or they wished Animal simply put out Merriweather Post-Pavilion 2.
Addressing the first dissension, Avey, Panda, Deakin and Geologist are no longer the 20 years olds contemplating the difficulties of growing up, being in strange transitionary places, or experimenting with LSD for the first times. Songs like “College”, “Penny Dreadfuls” and “The Living Toys” don’t seem fitting. One of the main themes behind AC’s sound is experimentation and pushing the envelope on how things should sound. They’ve long stated jam bands heavily influenced the way the performed (Just listen to “What Would I Want? Sky” for proof) only using electronics instead of traditional instruments. However, in a recent SPIN article, Geologist talks about touring so much on Merriweather he eventually knew how each member’s improvisations would unfold throughout, leading to creative boredom. Addressing the later argument would be foolish because an attempt to recreate an album a second time typically leads to failure.
Painting With went into a new direction for AC, a far more accessible direction. The tracks “Golden Gal” and “Natural Selection” show an evolution (or mutation in Animal terms) towards experimental pop instead of their traditional experimental psych rock/freak folk/lo-fi noise. They’re all in great places in their lives and Painting With exemplifies the sentiment through playful synth-pop and quirky background noise seeming to come from a Bop-It toy. The album’s first single “FloriDada” hints towards the direction they headed in. The lyrics “A bridge that someone’s fighting over/ A bridge that someone’s paying for/ A bridge so old so let it go” creates the metaphor about the past (or borders) and how different individuals deal with the bridges they’ve formed in life. The last part symbolizes some of the band’s feelings towards their music, they want to let some of periods go and just be.
If you have doubts towards the album, try and see Animal play it live and all of the doubts will vanish. Seeing how they could incorporate “Daily Routine” into “Jimmy Mack”, a Martha Reeves cover, from “On Delay” will put the biggest critic to rest.
Key Tracks:
“Natural Selection” “The Burglars” “Vertical” “Golden Gal”
(02/09/16 4:19am)
YEEZY SEAZON APPROACHIN Y’ALL
Valentine’s Day is right around the corner, make sure you got that “Love Lockdown”
https://www.youtube.com/watch?v=HZwMX6T5Jhk
Need a new workout plan for that New Year’s Resolution? Kanye got yo back
https://www.youtube.com/watch?v=ylT16QB6Uig
Do not forget all God’s still have feelings
https://www.youtube.com/watch?v=Co0tTeuUVhU
Never fret Yeezus will always be there when it all falls down
https://www.youtube.com/watch?v=8kyWDhB_QeI
For those dedicated Book of Yeezus followers, here’s a spectacle testifying to the power of the Gospel of Chicago’s Prophet.
https://www.youtube.com/watch?v=O7W0DMAx8FY
Who can forget this gem?
https://www.youtube.com/watch?v=AyEx2m_OZLE
More Vids:
https://www.youtube.com/watch?v=PH4JPgVD2SM
https://www.youtube.com/watch?v=LQ488QrqGE4
(02/02/16 4:28am)
Monday’s already come and gone, give yourself a well deserved break for surviving another day on this gigantic rotating rock and watch these rad music videos.
The Chemical Brothers released the video for the last track off their newest album Born In The Echoes “Wide Open” ft. Beck earlier this week. It features what the devolution of the human body into a 3D printing might look like in the future.
Massive Attack released their first set of new material since 2010 (with another EP and album to follow) teased through an online app. The video for “Take It There” adds a personal twist on zombie apocalypses.
FIDLAR get weird in the emoji universe with their video for “Why Generation”
Last, but not least, a heavy handed video on the refugee crisis from PJ Harvey for “The Wheel”.
Bonus Round:
Kiefer Sutherland tackles a Christmas tree.
(01/24/16 5:04pm)
On Jan. 17, music fans from all over the Bloomington-area gathered eagerly at the Bishop, awaiting Palehound and TORRES.
Up first, Palehound’s front woman, Ellen Kempner, stood proudly on the stage with her guitar and righteous Adidas sweatpants. Almost like a calming feeling, the sweatpants grounded the band. Artists are no different from you or I, no lesser no better, exactly the effect Kempner and the band aimed for.
She started the Palehound set off with “Drooler”; the sweet ballad set the discourse for the night of ballads interrupted by up-beat (at times chaotic) tunes. Crowd-favorite “Molly,” the title track off their most recent album Dry Food, has a lot of momentum built into its structure, the bass jumps around the track making it almost irresistible for the listener to stand still, and the drums breakdown into a Latin style beat. When the band finished the track the energy reverberated off the audience to the same tune of Kempner’s guitar: abundant and clear.
As Palehound continued their set, Kempner shared a story about the last time they were in Bloomington (this past November). She explained how they bunked at their mother’s friend Gary’s house and each member got their own room. The punchline of her story was she stayed in Gary’s daughter’s room, she had moved out awhile ago, but had left up a framed photo of her high school lover on the ceiling (with a rose attached none the less).
Proceeding the story, the band played my favorite track of theirs; “Cinnamon” is a groove guitar-heavy song with a wicked halftime part in the middle. Kempner then moved to another ballad, packed with even more emotion than the others. She played “Dixie”: a clean guitar song mainly comprised of arpeggios. Kempner invites the audience into her personal life as she repeats “To stare and gag into a dixie cup….to stare and gag into a dixie...CUP.” Coughing loudly on the last “cup”, Kempner emphasizes to the audience the studio version was not a mistake, but intentional. The cough not only adds character to the song, but also color to the show. Palehoud finished off the night with a roaring "Seekonk" off Dry Food.
Raw. Encompassing. Honest. Words don’t describe or do justice for TORRES’ show Sunday night, but there’s at least a stab at it. The four musicians calmly stepped onto the stage; clad in black jumpsuits and black combat boots void of all but the slightest touch of personality in guitarist Cameron’s Black Flag patch and drummer Dominic’s oriental looking patch. The universal appearance coupled with the lack of a personal self attitude led the unsuspecting fan to believe a St. Vincent-esque show, robotic and prearranged, was about to unfold.
Quiet the opposite occurred, Mackenzie Scott operated with spastic, mechanically coordinated movements that remained to the root completely human. Her smile, innocent and pure before she beckoned the crowd to please stay and meet with her after because she wanted to say hello, let all in attendance know she was the human behind the lyrics. Scott’s often dead eye thousand-yard stare into the abyss of the room contradicted her smile, but exemplified themes of TORRES recent album Sprinter perfectly. The personal distance in songs like “Son, You Are No Island” juxtaposed to the openness of “New Skin”.
Scott wasn’t the only musician making TORRES despite her triumphant proclamation “Tonight I come to you for the first time as TORRES” right before “Harshest Light” at the end of the set. Yes, it was her lyrics and guitar riffs predominately, but all the members augmented the other’s sound creating the embodying atmosphere of the night. At times it was difficult to discern who exactly played which overtones or what piece of equipment built each distortion. The atmosphere sounded calculated down to the rattle of the snare drum generated from the power of Scott’s amp.
“Mother Earth, Father God” opened the set with Scott’s voice bellowing alone into the room, setting a solemn tone, silencing the crowd. TORRES moved straight into a different rendition of “New Skin” with flourishes of Scott’s guitar backed by Dominic’s combined electronic and actual kit beats. Synth/ keyboard/ bass all played by keyboardist Erin’s fingers created a surreal atmosphere when paired with Cameron’s distorted guitar stylings provided by the pedal board with almost a dozen pedals at his feet and the four or five electronic outputs on his propped up guitar case.
The constant mix between despairing expressive lyrical tracks and energetic angrier songs kept the crowd silenced almost the entire show, aside from applause. The contrast again manifested themes of internal conflict on the album, but made the strife concrete through Scott’s actual persona. Upon ending with “Harshest Light” the lines “it was all in my mind” somehow rang fleetingly tangible as soon as the music stopped.
(01/16/16 9:36pm)
Where: The Bishop (123 South Walnut Street)
When: Sunday 1/22 doors at 7 p.m., show starts at 8 p.m.
Tickets are $12 and can be bought online here or at the door, the show is an 18+ event so all are welcome!
Palehound, the Boston, MA trio, released their debut album Dry Food in August 2015, and is set to return to Bloomington once again after opening up for Mitski back in Nov. Lyricism driven by the songwriter’s first major break up, driven by thumping base-lines with at times dreamy-surf rock guitar riffs that break down in an instant for a more chaotic twist to a worn out genre.
Mackenzie Scott, a Bible Belt child, deals with universal problems of growing up just as everyone else. However, on her sophomore album, Sprinter released under the artist name TORRES, her emotional expression come through in waves of personal and impersonal accounts.
Scott is at times dissonant and rough around the edges vocals backed by simple guitar riffs, heavily distorted, and filled with reverb emphasize the powerful lyricism on tracks like “Son, You Are No Island”. TORRES offers a look into some deep emotional wounds on “New Skin”, the agony and rage of her adolescence, but also the internal struggle of moving forward. TORRES puts forward a full range of emotion on Sprinter in a beautifully composed mixed of loud and quiet, rage and anguish tracks juxtaposed perfectly. The Bishop will offer an intimate spectacle to hear the raw power of TORRES’ music. Plus, no one has school Monday, there shouldn’t be a reason to not come and see the show.
(03/27/15 11:18pm)
[gallery type="slideshow" ids="5102,5101,5100,5105,5103,5114,5121"]
Will Butler took the stage of the Bishop on Tuesday night (3/24) to begin touring for his recently released debut solo album: Policy. Anticipating the performance I mulled over Policy four or five time throughout the day, leaving me pondering how long the set would actually last. Policy lasts a mere 27 minutes. I found myself wondering how long the show would actually last. Would he just play Policy front to back, hop off the stage, throw the deuces, and leave us? Engulfing the majority of my thought all day, would Will play any renditions of Arcade Fire in the extra time of the set?
Hearing Things took the stage first, playing an intriguing mix of saxophone, electronic tenor and bass organ, and drums. Swinging rhythms, howlin’ sax, and thumping beats belted out into the crowd in the form of modern electronic touched swing music. By the end of Hearing Things set, the crowd awaited eagerly for Will Butler to take the stage.
While the band set up the stage. Will Butler prepared the stage with band members blazoned in a sweater bearing Will across the front. Band members Miles (drums), Julie (keys), and Sarah (keys) enter stage right.
Butler took the stage by storm, electrifying the crowd with five straight songs without pause or skipping a beat. The opening two tracks didn’t find themselves among the tracks on Policy, yet it didn’t stop the crowd from grooving along all the way. Butler continued with “What I Want”, then two more new songs not on the solo debut. After the first respite and a little bit of crowd banter, the band hurdled into a spell of tracks from Policy.
Launching into “Something’s Coming” the crowd ruptured into a sea of bobbing, jittering, spastic movement. Fueled by the Butler’s stage antics falling between a cross of Elvis and David Byrne, the crowd reciprocated energy in step. Will’s dancing shoes, black dress shoes with neon green and orange elastic formed a focal point for everyone’s attention during the on stage “dancing”. When “Anna” broke out, the floor reverberated up and down like a trampoline from the horde dancing fans. The 80’s synth lines paired with the band interaction created an intimated high energy atmosphere continuing into “Son of God”.
Break *silence falls*
Butler memorized the crowd with “Sing to Me” and “Why Don’t You Leave”, the latter another track not of the album. Not a peep from the crowd was uttered throughout the two songs invoking the feels, sending goosebumps down the spine listening to the highs and the lows brought forefront from Will’s vocals and soft instrumentation.
Action.
The crowd came back to life for the rest of the set, culminating in the opening track to Policy: "Take My Side". Dancing all the way through the crescendo of the song right on through to the end just wasn’t enough for the thrilled watchers on. Everyone wanted more, what was best, the crowd didn’t start the one more song chant as per usual at the end of the set. Clapping did the talking, Will and his band reciprocated the call for an encore in an incredible fashion. Upon taking the stage Butler preempted the gathering with a spoiler alert “We’re going to do a slow song and a party song."
A soft acoustic guitar track back by the incredible “If you tell me where you are” harmony of Julie and Sarah cooed in the background made for another spellbinding track. “The party” track was one of unique fashion, Miles jumped into the crowd followed by the rest of the band. Will, guitar in hand, formed a circle in the crowd and played their final tune in the thick of the mass, a truly amazing ending to an anticipation shattering show.
(03/24/15 3:06pm)
I believe many of you may have seen this coming, but this installment of Tuesday’s Top Vides will be solely dedicated to none other than King Kendrick. If ANY I repeat ANY of you haven’t listened To Pimp a Butterfly drop what you’re doing forget these videos and go listen to it (Yes you that means NOW). For those of you that have, I think we can all agree it’s a masterpiece, hell TPAB got a 7/7 on our blog (which is the only one that matter). Tuesday’s Top Videos will feature some of the songs on it and some of Kendrick’s unreleased tracks you may not have heard prior.
BET has their Hip Hop Awards and they do a segment named Cypher every year where they get some of the best up and coming rappers or big names to freestyle. This video is from the 2013 awards, BET had TDE (Top Dawg Entertainment) step up and do a freestyle, featuring Schoolboy Q, Jay Rock, AB-Soul, Isiah Rashad, and then finally Kendrick. If y’all want to skip ahead Kendrick comes in around the 4 minute mark. I’m going to make no comment because honestly his words speak for themselves, make no mistake your draw will drop and you’ll speechless as I.
The title of track Kendrick Lamar dropped on the Colbert Report still has yet to be named and has been dubbed as “Untitled”. There’s very few high quality videos surrounding the song, so I found the best one I could for y’all. The track offers a lot of the heavy handed institutionalized problems the African American community faces in today’s society, a theme discussed at great length throughout TPAB. Again, another incredible track that didn’t even make it on to the newest chapter of King Kendrick’s career.
I would like to take the time to deem this verse of Kendrick Lamar’s as “The shot heard round the rap game”. Extensively covered by most major music media outlets, Kendrick’s verse in Big Sean’s “Control” essentially called out every rapper in the game and told them to step their shit up or get the hell out. He claimed the throne and I have yet to hear a rebuttal worthy of contention to Kendrick, many have tried, but come up just a bit short.
Here’s two of my favorite tracks off TPAB, I’m going to let them talk for themselves.
(03/23/15 8:28pm)
This Tuesday (aka tomorrow night) Will Butler will bring his musical stylings to Bloomington, Indiana for a performance at The Bishop. Presented by Spirit of ’68, Hearing Things will open for Will Butler Tuesday night beginning at 9:30. Individuals 18 years and older will be allowed admittance to the show and tickets will be 13 dollars at the door (1$ from each ticket will be donated to Plus One, an organization founded by Arcade Fire, The National, Vampire Weekend, and Local Natives!).
Will Butler will be performing music from his debut solo album Policy, highly rated by reviews on Magnet and Spin magazines (85 and 80 scores respective), the show will feature plenty of new music from the Arcade Fire member. Magnet remarked of Policy, “Policy shows that Will is more than capable of getting the kids to wake up”, emphasizing the immense lyrical content throughout the album. Policy draws upon tones of classic rock, indie composition, and flecks of 80’s synth pop for the instrumentation of the album. All aspects of Will Butler’s debut album should make for an interesting show for the first time solo performer. I for one can’t wait to hear how everything live sounds.
Check out the hit “Anna” off the album:
(03/10/15 9:59pm)
This week’s installment of Tuesday’s Top Videos will be dedicated to some of my favorite live festival performances I’ve seen over the years.
Jack White rivaled Arcade Fire all summer last year for best performances including the most amount of improvisation and covers. At Bonnaroo White did an insane bit of “The Lemon Song” along with weaving Raconteurs, The Dead Whether, and White Stripes songs in and out of each other beautifully. What blew me away most was the stage demeanor and rhetoric White carried himself in. The crowd interplay and “semi-rants” I may dub them (simply because of all the ranting Kanye did the night before, it seemed White may have been poking at that satirically). A night on the Farm I will not forget soon, hope y’all enjoy.
Much anticipation led me into Avey Tare’s Slasher Flicks last summer during the Pitchfork Music Festival. I had seen Animal Collective the previous summer at Bonnaroo, but was far from the disciple my friends surrounding me were at the time. I have grown exponentially more in love with AC, but when Avey Tare’s Slasher Flicks dropped Enter the Slasher House last spring I couldn’t contain my joy with the album. It resonated deeper, in part because it was a one-time side project similar to AMOK by Atoms for Peace, making it easier to delve into. “That Won’t Grow” along with many of the other tracks spurred me through the crappy spring.
Another stop at Pitchfork Music Festival, I couldn’t help but to include Ms. Annie Clark’s cyborg alter ego St. Vincent. I caught David Byrne and St. Vincent a few times the previous summer and found myself head over heels infatuated with St. Vincent. Once she dropped her self-titled album I knew I had to see her perform live solo. The robotic movements and precise choreography of the show reflected David Byrne inspirations of performance standards. The end of the show is absolutely chaotic ecstasy for the crowd, the on stage antics (which I care not to ruin if you haven’t seen this) catapulted St. Vincent up there with Joan Jett for one of the baddest female rockers.
The Killers in 2013 at Lollapalooza may seem like an unlikely pick, but the inner 13 year old found great nostalgia in the show. Standing about four or five rows back being able to see the sweat beads on Brandon Flowers head didn’t suck either. I was able to catch Crystal Castles, New Order, and then The Killers making for one of the few great memories I had from that weekend at Lolla that weekend. When The Killers did a rendition of “Shadowplay” I couldn’t not contain the pure elation I felt in the crowd, it was surreal to hear a cover of Joy Division after New Order
Many others should have been on here, I’m sure if you were at the festivals I speak of you’ll have far better shows that occurred and I will probably agree with you. Yet, these shows slipped into the perfection of time and place one only wishes to find themselves in on a daily basis.
(03/05/15 3:05am)
On Thursday, March 5 The Bluebird will be opening its doors for Houndmouth a four piece band from New Albany, IN. Doors for the show will open at 8 p.m. and the music will start rockin’ around 9 p.m. Tickets will be $15 at the door and the show is a 21 and over event.
Houndmouth formed in 2011 when members Matt Myers, Shane Cody, Katie Toupin, and Zak Appleby came together. Houndmouth styles some sweet hooks according to their Facebook page, but the band is far more than just a sweet hook. The New Albany natives combine male and female vocals in an electric folk fusion that hits with a metallic bit. Honey sweet lyrics and thumping rhythms will grab the audience by the heart and never let go. Houndmouth recently released “Sedona” a single off their upcoming album Little Neon Limelight. “Sedona” captures the twang and groove of Houndmouth and climaxes into a dance-y breakdown with high emotion. The show should offer some quality grooving time juxtaposed with some soft introspective tunes.
(03/03/15 11:43pm)
This week’s rendition of Tuesday’s Top Videos will be dedicated to the one and only Panda Bear. Noah Lennox aka Panda Bear may be best known for his work with the group Animal Collective. Panda Bear and Animal Collective rely on the use of textures and tones to create almost a sense of abstract themes and sensations.
“Boys Latin” comes from Panda Bear’s newest album Panda Bear Meets the Grim Reaper, which hits on some heavy handed subjects in a very relatable non-personal manner. The video for “Boys Latin” exemplifies that tone significantly for me, many may pass it off as a crazy LSD or psychedelic trip and who knows that may be it. On a deeper level I think we can all relate because it shows no matter where you are in life there will always be someone who comes along to help you out and that each progressing experience makes us more resilient people.
“Mr Noah” came first off of Panda Bears EP Mr Noah release a few months prior to the release of Panda Bear Meets the Grim Reaper. “Mr Noah” carries the weight of a midlife crisis in my opinion, when Panda resonates “Don’t want to get out of bed unless he feels like he’s justified” a vivid picture of a man wondering how he managed to get himself to this place in life pops clearly into mind. The video drives home the theme with a man and woman fighting amidst jumbled, abnormal camera shots and angles depicting a questioning sensation to the viewer.
=This is some of the live footage from the concert I attended in Champaign-Urbana for Pygmalion Music Festival. Lennox uses some of the most intense visualizers you can ever imagine. This is barely a fraction the show, leaving out the speechless parts of alien looking women I guess you could say interpretative dancing cross the screen as well. Yet, at the end of the video the viewer gets a really clear view of what Panda Bear represents the Grim Reaper with.
Here’s an awesome interview with the man himself.
Actually, here's the creep aliens I was talking about
(02/26/15 5:09pm)
Release: 1/9/2015
Stars: 5/7
Panda Bear (Noah Lennox) released his fifth studio album, Panda Bear Meets the Grim Reaper, came after great anticipation early at the turn of 2015. The follow up to 2011’s Tomboy was teased throughout 2014 when Domino Recording announced the albums conception in early 2014. Panda Bear released, Mr Noah, a four track EP to preclude the album with only “Mr Noah” making it onto the actual album.
https://www.youtube.com/watch?v=eoOv1tyWHe0
Panda Bear draws upon some of the styling found in Animal Collective of distorted and sometimes inaudible vocals. Coupled with his usual neo-psychedelic beats, tones, sounds, and all the other bat shit crazy (I mean that in the most endearing sense) production Panda Bear Meets the Grim Reaper offers ample substance for the ears to digest. The opening track “Sequential Circuits” bubbles and twirls giving way to “Mr Noah” launching the album into its true form. “Mr Noah” begins with dogs howling (or almost squealing) leading into wave like lyrics that wash over the listener, “He doesn’t want to get out of bed unless he’s justified”, perhaps hinting at some turmoil of getting older
Panda Bear – Mr Noah
Themes of the album jump out right away (the album title being exhibit a), but Lennox told Pitchfork he attempted to keep the album non-specific to his life, endeavoring to relate to all audiences alike. Panda Bear prods at some of the bigger questions life poses to all walks, “Selfish Gene” in a slow repetitious tone utters “If it comes to fill those spaces/ Only you can fill those spaces”. An ode to self, hammers home the fact at least for me none one else can create your happiness besides yourself. Listening to “Come To Your Senses” the theme of self-realization/ reflection comes full circle when “Are You Mad?” rings over and over in the refrain.
Despite some serious introspective tracks, Animal Collective loves can find solace in “Boys Latin” and “Crosswords”. The varying up tempo beats following rhythmic vocals and the ample sounds the listener just can’t put their finger on reflect AC’s dancier tunes. Over all Panda Bear Meets the Grim Reaper doesn’t stack up with Tomboy as well as I would have hoped, but that doesn’t not discount it as an album unworthy of shelving in your collection. Plus, if you were as fortunate as I to see him live, Panda’s set with his new visualizer leaves the viewer tongue tied, but his live stuff is a whole other beast for a different day
https://www.youtube.com/watch?v=prBaZzYmQrI
(02/24/15 5:10pm)
Hello once again folks, sorry for the hiatus, but I’ve been recently swept into the 9th circle of corporate abyss I have come to know as I-core. This week we’re going to be looking at movie trailers starring or inspired by some great (or interesting whatever way you see it) artists and musicians. Some are old, some are new, but regardless a great deal can be learned from all.
Chappie, I cannot pick two more perfect artist to guide a robot on what it means to be human and how being a black sheep is not even close to a bad thing. The two South African rappers Ninja and Yolandi Visser that comprise Die Antwoord fit perfectly into their roles in Chappie. If you’ve never heard or seen Die Antwoord I suggest you check them out and then go watch the trailer, it may make more sense that way. Due in theaters March 6th, Chappie may teach you a little about how being different though hard can be rewarding.
If you’ve never heard of Joy Division, one you’re doing life wrong, two you’re missing out on a key group in the English punk and post-punk movements, and three go watch the movie Control. Released in 2007, Control, depicts the rapid rise and the crushing fall of the too short lived flame that was Joy Division. Look up what Joy Division means, if you don’t find some sick twisted humor in the name and how faultlessly it fits a punk band name you need to get out more.
Eden, inspired by Daft Punk and various others who ushered in the rise of the French electronic scene in the early 90’s follows underground clubs, house parties, and the key establishment of a powerful culture. The film features some of the real life DJs who made the scene all it was including Guy-Manuel de Homem-Christo and Thomas Bangalter, who you know better as Daft Punk. Eden received top marks at this year’s Sundance Film Festival.
And here’s Passion Pit’s new song/video's because I am way to excited to see him the day after my 21st birthday.
(02/14/15 8:25pm)
Are you like me, one of those lonely hearts Sgt. Peppers talked about? Did you spend last Valentine’s Day like me with a bag of Franzia watching the entire season 2 of House of Cards? Well, hopefully you aren’t quite as depressing as I am, but this year Winspear has the cure for that aching lonely heart of yours! Or you could be in a relationship and come I guess, but it’s more fun to be single at a concert on Valentine’s Day anyway (amirite?), just kidding probably not.
Winspear presents Cancuners, Sunspots, Winslow, Pnature Walk @ TBH (The Big House for all y’all noobs). Show starts at 9, but these are musicians so it could kick off fashionably late. Make sure to find the Facebook for all official details, rules, regulations, and all that good jazz.
I could give you all some fancy, literary, poetically written descriptions of the bands and their sound, but I’ll save you all from my attempts to be a writer and leave you with some songs to check out.
Sunspots:
Winslow:
Winslow by Winslow
Plus, if y'all stick around I heard some special guest DJ will be throwing down for all lonely hearts who just want the dance themselves clean.
(02/13/15 6:21pm)
Don’t get ahead of yourself this is not about the new Drake album, but yes he did drop a new 17 song album out of seemingly nowhere.
It's more pressing, Kanye finally gave us a little piece of his new (still unannounced) album. The track “Wolves” featuring Vic Mensa & Sia dropped Thursday and it did not disappoint. Even though this is still typical Kanye being Kanye and creating one of the biggest media shit storms this side of the 21st century (behind Death Grips, but hey many people don’t follow that). The clout and anticipation is peaking at an all-time high considering reports say he performed the album in whole in Paris and performed it for Seth Rogan in a limo, but for now at least we have the first track. Listen (or you’ll be a dweeb).
Also, check out this crazy “Yeezy Season 1” video for a fashion show featuring “Wolves”
In other Kanye related news, Kanye also revealed to Ryan Seacrest he will be recording with Taylor Swift. I guess that beef got squashed, maybe because Kanye interrupted a different Grammy acceptance (#neverforget).
It's safe to say that Yeezy season is no longer approachin. It's here.
(02/04/15 8:31pm)
Can’t wait to start the weekend early? Are you in I-Core like me and having nothing to do post F370 on Thursdays? Better yet, do you love great live music? Then, The Bluebird has just the thing for you this Thursday February 5th, 2015. Trampled by Turtles headlining the night with Charlie Parr and The Lowest Pair starting off the night. Doors open at 7 o’clock P.M. and music should kick off at 8. The shows 21+ and will cost you 20 bucks for admittance (for a band playing most major festivals this summer it’s a steal).
Trampled by Turtles, five good Duluth, MN boys (Dave Simonett, Erik Berry, Dave Carroll, Tim Saxhaug, and Ryan Young) mix a varying string instrumentation with folky southern twang. Slow soft banjo, mandolin, fiddle, and guitar intertwine to a crescendo not a soul in the house can’t dance around too. Sweet harmonies and melodic rhythms transfer back and forth seamlessly providing a beautiful tonality for the environment (also, they play a mean cover of "Where Is My Mind" by the Pixies). Charlie Parr, another Minnesota native, plays country blues to add to the night of string instruments. Parr started his music career off in Duluth which should offer a solid unifying tone for the crowd. The Lowest Pair, a banjo duo, from guess where? Again, Minnesota inhabitants round off the night with the folky thumping free spirited attitude of true back roads and traveler’s tales.
(01/22/15 7:39pm)
Release: February 25, 2013
Stars: 5/7
Disclaimer: This is not a musical critique, but a personal journey with a piece of art.
Four Words, Two Names: Thom Yorke and Flea. Enough said. Period. I mean really what more could you want more than those four words to have a reason to listen to an album.
Where to begin, where to begin? I guess the start is as good as any. I’ll be honest here, I bought AMOK by Atoms for Peace on vinyl in and Urban Outfitter. Please hold the rebukes and the insults I know I’m the lowest form of music lover, worse than even the hipsters. To quote Tyrion Lannister “Never forget what you are. The rest of the world will not. Wear it like armor, and it can never be used to hurt you.” Imp, maybe you’ve got something right, I ought to own everything I am. To be fair though, the only reason I bought it was because of the free album download because I couldn’t listen to it on Spotify. The purchase came during winter break of last year; I didn’t even have a record player at the time, but I put in on my Ipod and couldn’t stop listening to it.
It became my anthem: my mantra. After winter break and returning to Bloomington it became the album I flipped on before walking to class every single day (I lived in the Villas, so I had a while to walk), it was a crutch for me. Day in day out, I would hear the up tempo electronically produced beats followed by the delayed low frequency, heavy bass of “Before Your Very Eyes…” uttered into my ears “Take a look out the window what’s passing you by”. Every day the message drove harder and harder into my mind and it came to me at an incredibly altered time of my life. To put my anxieties and other issues in a non-rambling normal perspective it would be like a minnow trying to survive in the Atlantic Ocean. I was lost. I was worried. Factor in it we were amidst possibly the worst winter in my history and the seasonal depression was knocking my spirits too. When I would hear that song, it was as if I was staring down the barrel of a gun with a flower poking out the top as if to say I’m going to do this nicely, but if you don’t listen to my message I will blow your head off. Not to say that the music made me feel threatened, but how the lyrics hit home put an important message in front of my face. Granted, this was only the first song and I was feeling this way.
Lyrically, when you get to songs like “Default” and Yorke falsettos “The will is strong but the flesh is weak” I can’t help but get weak knees at the how closely it related. Paired with the lyrical styles of “Unless” and “Stuck Together Pieces” when the air waves bellow “Careless, I couldn’t careless” and “Our stuck together pieces/ The joke is I don’t need this/ You can hardly tell the difference”. All I could do was feel as if Atoms for Peace knew every single inch my life had taken up, every action, every thought, every transformation, and every insecurity. Every song made sense to how I perceived the world at that moment. Time and time again I would trudge through the snow and slush glazy eyed, hung-over if not still inebriated from the night before, and hear all these exactly on point messages come through my earlobes calling me to action to change my life and figure out what the fuck I wanted.
Enough of that sappy shit. As I mentioned at the beginning it’s Thom Yorke and Flea, if you know either or both very well I bet you can guess some of the sounds. AMOK finds it home in the “experimental” genre of music, but what the fuck is that anyway, am I right? Genres aside, within AMOK, you’ll find what you would expect, interestingly creepy, dancey, and for the most part up tempo beats paired with intensely prominent thumping Flea bass lines adding up to an insanely unique sound that amplifies the lyrics Thom Yorke resonates to the listener.
P.S. – In my eyes AMOK would have a 7/7 rating because for me it will forever capture a time of my life. For everyone else, this is no In Rainbows or Blood Sugar Sex Magic, so I gave it a fair rating on that scale.
(12/05/14 7:07pm)
Saturday (12/6) – Winspear presents: Burnin’ Down the (Big) House
Depressed over the cold gloomy weather hanging around Bloomington all this week? Stressed by the impending dread that is finals week? Well, this Saturday (12/6) Winspear’s put together a cure all lineup for any of the blues your life seems to be singing your way. Swarming Branch, Varsity, Dietrich Jon, and Sunspots will sooth away those sorrows and brighten your mood before things start hitting the fan next week. Music should commence around 9 p.m. (then again its rock ‘n’ roll, so it might be fashionably late) at The Big House. If you haven’t been to The Big House before, check out Winspear’s Facebook page: https://www.facebook.com/winspearmusic, for full details.
Swarming Branch will start the night off with some Glam Folk fo’ yo’ ears. Some radical keyboard playing paired with some thumpin’ drums and bass form a key sound for Swarming Branch. Psychedelic laced guitar licks on top of all that provide Swarming Branch a wide-ranging musical styling.
Next on the ballot will be Varsity. The five member band from Chicago made some big splashes in the area music scene this year. Signing with Jurassic Pop Records and releasing their first album (Thanks for Nothing) in April of this year, Varsity’s turned enough heads to land them a spot on the Tomorrow Never Knows festival’s 2014 lineup with Cloud Nothings, Alvvays, PUP, Zola Jesus, and more (Tim Heidecker’s doing a comedy set, so it’s that legit). Driven by a powerful female lead vocals, sweet melodies, groovy bass lines, and electric guitar riffs, Varsity offer a honeyed sound for audiences to groove to. Plus, they’ve got some wicked synth and electronic rhythms floating around their songs, rounding off their garage pop sound.
Following the Chicago Natives will be the local Bloomington band, Dietrich Jon. The six part band has tantalized audiences across Bloomington and the southern Midwest region with sweet folky string riffs mixed into to a classic rock foundation. Diedrik van Wassenaer’s smooth voice falls into place perfectly with Peter Doyle’s lively guitar playing. Backed by Connor Grimm’s bass, Mark Edlin’s drums, and Austin Davis’s percussions, every piece of Dietrich Jon flows into flawless harmony. Diedrik also plays a wicked fiddle, how can you pass up a chance to dance around to electric fiddle playing?
Finishing up the night, Bloomington’s own fortunate sons: Sunspots. Yet again I find myself coming across this band’s name. The four rockers keep making noise around campus and I don’t think it’s going to stop any time soon. The groovy astro-funk groups got the ability to knock your socks clean off with raw rock power, as well as daze the crowd with space psychedelia. Guitarists Jack Staton and Luis Berrizbeitia vibe off of drummer Jesse Gildner and bassist Nick Johnson fluidly for some great on the spot jams.
Hope to see you all there!
(12/04/14 6:20am)
Release: May 5th, 2003
Stars: 6/7
Where to begin with this one, I guess in chronological order of how Blur’s Think Tank came into my life’s’ as good of a place as any. Damon Albarn influenced me immensely starting around mid-May when my brother first turned on “Lonely Press Play” off his debut solo album Everyday Robots. You could easily say it was love at first listen. I instantly became infatuated with Albarn’s voice and the simple, yet heavy lyrics on top of beautifully crafted rhythms and harmonies coming into my airspace. A couple of months and endless hours in between, Damon Albarn penetrated into my psyche. Concurrent with this time I had the privilege of seeing his live set at Bonnaroo, only solidifying Albarn as one of the most passionate voices of a generation. I will spare you the details because it would be just me ogling for four or five pages on how life changing it was.
https://www.youtube.com/watch?v=p9MMJgFKv24
Fast forward to about a month or so ago, after a summer of reveling in Everyday Robots and diving into the vaults of Plastic Beach, Demon Dayz, and more Gorillaz albums, I thought I had a pretty good grasp of Damon Albarn’s work. Then Blur happened, just as quick as the sound of the band’s name, my whole Damon Albarn world came raveling apart at the seams. Don’t get me wrong I wasn’t completely ignorant of Blur’s existence, I mean simply living in this commercialized world you’ll know Blur’s “Song 2” (famously in The Simpsons, South Park, London’s 2011 New Year’s Eve fireworks display, the list goes on and on). While scrolling for albums that sounded better on vinyl opposed to digital, I stumbled upon Think Tank.
Composed loosely as a concept album about as Albarn’s quoted “love and politics”, Think Tank came during a trying time for Blur. At the start of recording guitarist Graham Coxon found himself in rehab for alcohol problems and when he came out and headed to the recording studios, tensions flared. Results of the internal struggles left Coxon with minimal presence on the album and left most of the creative responsibilities to Albarn. Albarn himself faced some internal turmoil surrounding the 2001-2002 time period when the album’s recording took place. As a pacifist, Albarn struggled with the invasion of Afghanistan and the threat of western nations invading Iraq, reflected in his loose concept for the album. Albarn escaped the UK for some of the recording stating, “When it's nice weather, it's nice to be outside. I think the big studios are a con. They charge people to make less exciting records. That doesn’t make any sense to me. I mean, recording as it is now, you don’t need studios”, Blur found solace in Marakesh, Morocco for some of the recording.
Think Tank came to me last month at time of confusion and anxiety about the direction my life was heading toward. Lying restlessly in bed one night, “Out of Time” rang through my headphones and awoke some part of me, relinquishing some of my anxieties. Albarn’s voice in the chorus washed over me, clear as a bell, singing “And you’ve been so busy lately/ That you haven’t found the time/ To open up your mind/ And watch the world spinning, gently out of time”; a rallying cry for everyone to simply step back, fill your lungs and whole body with the world around you. Don’t make the mistake of thinking the whole album is simply down tempo, the tracks “Crazy Beat”, “Moroccan Peoples Revolutionary Bowls Club”, and “Ambulance” are driven by heavy drum pad beats and catchy synth pop rhythms.
https://www.youtube.com/watch?v=SRkX1Up1vnc
As well, Think Tank stands as Blur’s most electronically motivated and last full album as a complete band. The former rightfully so, Albarn’s increased interest at the time in hip hop, Mediterranean and African music, and electronic production propelled him to the creation of Demon Dayz. “Brothers and Sisters”, “On The Way To The Club”, “Caravan”, and “Sweet Song” exemplify the lo-fi electronic influences on the album. The same tracks foundations lie heavily in the fact Albarn didn’t have his lead guitarist and creative counterpart (Coxon) to help ease the burden, so Albarn relied on electronics to fill the void producing more spacey, echoing tracks. The lines from “Brothers and Sisters”, “Were all drug takers/ Give us something tonight” implore the world to rethink this fast passed world we’ve created, where we all need to take something just to get by.
https://www.youtube.com/watch?v=6ewOi_IuKTI
Blur’s final album leaves the listener with a great deal to contemplate throughout the album, while providing tracks to simply dance and let go to. Think Tank will be an album I won’t soon forget, it showed me the gravity of living every day at light speed pace, and beauty in simply just step back and enjoy things while you can. Only furthering my appreciation/ borderline obsession with Damon Albarn.
Essential Tracks: “Out of Time”, “ On The Way To The Club”, Moroccan Peoples Revolutionary Bowls Club”