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(03/05/14 5:54pm)
For 50 years, WIUX has undergone a multitude of changes. But through the evolution of call letters, locations and membership, one thing has remained constant: our passion.
The past 40 years at 815 E 8th Street have been amazing to say the least, but it has put a toll on the infrastructure of the house. Moving out of “The Mansion” has been on the board of directors’ minds for a while, but it is now imminent due to external circumstances. There are two occurrences happening simultaneously; one is that the Journalism, Telecommunications and Communications and Culture are merging into the new Media School, and the second is that Phi Gamma Delta, or Fiji, swapped land with Maurer School of Law to build a new fraternity on the property we are currently located at.
The new Media School will be housed in Franklin Hall and as of now moving there is our best prospect. Station Manager Joe Heath and I are on the student media organization board working with faculty to discuss possible spacing in Franklin Hall. It is not set in stone, but I am realistically optimistic that Franklin Hall will be a positive fit for WIUX. The issue we are having now is that Franklin Hall is expected to be ready by January 2016, while in the meantime Fiji plans on moving into their new house by Fall 2016. Therefore, our issue now is looking into interim spaces in case the timelines don’t match.
The Bloomington Historical Preservation Commission has been fighting Fiji to preserve University Courts, the area of land that WIUX is located. There is even a new bill introduced, Indiana House Bill 1284, which requires state universities to comply with local zoning and historic preservation regulations. This bill directly affects the potential demolition of 8th and Woodlawn. So while Fiji plans on moving in during the Fall of 2016, there are other factors that may delay their move.
There is a lot up in the air as of now, but we do know that WIUX will be moving out of 815 E 8th Street within the next two years. A lot of these university decisions are out of our hands, but the board is being proactive about what we can do for the station. Thank you for your patience during this process, and I am committed to updating you all with information as soon as we have it. WIUX is an organization made up of dedicated, passionate students who will not let the station falter no matter where we are or how we get there.
- Bari Finkel (bfinkel@wiux.org), General Manager and Joe Heath (jheath@wiux.org), Station Manager
(03/05/14 5:24am)
On Feb. 4, WIUX was nominated for an MTVu Woodie Award and was voted as a top 10 college radio station in the country by students and a panel of experts.
Since then, members and supporters of WIUX have been diligently voting everyday so that the station can win the award that they rightfully deserve.
WIUX is committed towards giving an alternative voice to the Indiana University and Bloomington community. Besides the constant stream of music from the station's two studios, WIUX also broadcasts live from IU sports games and informs their listeners about what's going on across the globe, and in Bloomington, during biweekly news hours. Every vote for WIUX is a vote for recognizing and celebrating the incredible community that the student-run station has built since first forming over fifty years ago.
However, voting ends in less than 24 hours.
Until the clock strikes 12 on March 6, keep voting for WIUX.
VOTE FOR WIUX HERE
(03/04/14 7:16pm)
1. Mac Demarco – Salad Days
2. Young the Giant – Mind over Matter
3. James Vincent McMorrow – Post Tropical
4. You Are Plural – Rabbit Rabbit
5. Cheatahs - Cheatahs
6. Yellow Ostrich - Cosmos
7. Hurray For the Riff Raff – Small Time Heroes
8. Beck – Morning Phases
9. Dietrich Jon – Her (single)
10. Phantogram - Voices
11. Take Berlin – Lionize EP
12. Painted Palms – Forever
13. Lilly & Madeline – Lilly & Madeline
14. Broken Bells – After the Disco
15. Caligula’s Birthday Party – Blooming, Buzzing, Confusion
16. Spirits of The Red City – Julia
17. Bora York – Dreaming Free
18. Drowners – Drowners
19. Real Estate – Talking Backwards (Single)
20. Throwing Muses – Purgatory
21. Gardens & Villas – Dunes
22. Sun Cub – Dad Claps at the Mom Pro
23. Les Jupes – Negative Space
24. Invisible Days – Invisible Days
25. Vinyl Thief – Stop Motion
(02/25/14 5:37pm)
1. Mac Demarco – Salad Days
2. Young the Giant – Mind over Matter
3. Broken Bells – After the Disco
4. You Are Plural – Rabbit Rabbit
5. Beck – Morning Phases
6. Yellow Ostrich - cosmos
7. Blood Orange – Cupid Deluxe
8. Phantogram - Voices
9. Painted Palms – Forever
10. Real Estate – Talking Backwards (Single)
11. Lilly & Madeline – Lilly & Madeline
12. Dietrich Jon – Her (single)
13. Caligula’s Birthday Party – Dreaming Free
14. Spirits of The Red City – Julia
15. Hurray For the Riff Raff
16. James Vincent McMorrow – Post Tropical
17. Bora York – Dreaming Free
18. Drowners – Drowners
19. Throwing Muses – Purgatory
20. Gardens & Villas – Dunes
21. Sun cub – Dad Claps at the Mom Pro
22. Les Jupes – Negative Space
23. Invisible Days – Invisible Days
24. Julia and the Basementtapes - Julia and the Basementtapes
25. Take Berlin – Lionize EP
(02/19/14 6:03pm)
WIUX is proud to announce that Mac Demarco will headline their annual spring music festival, Culture Shock.
Culture Shock will be Sat. April 12 at Dunn Meadow.
Demarco, who self-described his music as "jizz jazz" plays a dreamy and funky style of pop. His most recent album, 2, was released in 2012, earning "Best New Music" by Pitchfork. In January, Demarco announced that he was recording a second album, Salad Days, and is rumored to be recording with Tyler, the Creator.
Salad Days is scheduled to be released April 1, 11 days before Demarco takes the stage at Dunn Meadow.
WIUX has traditionally featured up-and-coming artists at Culture Shock. Last year, Mikal Cronin headlined the free concert. Other past artists include Spoon, Best Coast and Yo La Tengo.
Culture Shock also serves to showcase local bands from Bloomington. Triptides, Charlie Patton's War and The Broderick have all performed at the festival.
For more lineup announcements and information about Culture Shock, follow @WIUX on Twitter or like WIUX on Facebook.
(02/18/14 5:00pm)
1. Young the Giant – Mind over Matter
2. Mac Demarco – Salad Days
3. You Are Plural – Rabbit Rabbit
4. Blood Orange – Cupid Deluxe
5. Dietrich Jon – Her (single)
6. Drowners – Drowners
7. Caligula’s Birthday Party – Blooming Buzzing Confusion
8. Sun Club – Dad Claps at the Mom Prom
9. Painted Palms - Forever
10. Cibo Matto – Hotel Valentine
11. Throwing Muses – Purgatory
12. Hurray For the Riff Raff – Small Town Heros
13. Lilly & Madeline – Lilly & Madeline
14. Marshall Lewis – Higher Nature EP
15. Julia and the Basement Tapes – Julia and the Basement Tapes
16. Bora York – Dreaming Free
17. Yellow Ostrich - Cosmos
18. Cheap Time – Exit Smiles
19. Stepdad – Got The Bite (Single)
20. James Vincent McMorrow – Post Tropical
21. Take Berlin – Lionize
22. Spirits of The Red City - Jula
23. Gesaffelstein – Aleph
24. Les Jupes – Negative Space
25. Shearwater – Fellow Travelers
(02/13/14 8:07pm)
Contact: Milana Katic
Tel. 812.855.7862 Cell: 219.789.6320
Email: mkatic@wiux.org
FOR IMMEDIATE RELEASE February 13, 2014
WIUX IS NOMINATED FOR mtvU WOODIE AWARD Named Top-10 College Radio Station in the Nation
BLOOMINGTON, In.-- On Wednesday, February 12, WIUX was named one of the top 10 nominees for the mtvU College Radio Woodie Award. WIUX was previously nominated for the award in 2009, making it to the top 25 radio stations in the nation, but this marks the first time that the student-run station has made it into the top 10.
This year will be the 10th Annual mtvU Woodie Awards held in Austin, Texas during the alternative music fes- tival South By Southwest (SXSW). The awards ceremony will be held on Thursday, March 13, with a special broadcast of the ceremonies on mtvU on Sunday, March 16 at 8 p.m. EST. The awards span seven catego- ries, but WIUX will only be competing for the College Radio Woodie.
To vote for WIUX, please follow this link: http://m.mtv.com/ontv/woodieawards/categories/college-ra- dio-woodie/. Voting is open from now until 5 p.m. EST on March 16, 2014.
###
For more information about this topic or to set up an interview, please contact WIUX General Manager, Bari Finkel at bfinkel@wiux.org or Station Manager, Joe Heath at jheath@wiux.org.
(02/11/14 9:57pm)
On Feb. 11, the Communion tour will be back in Bloomington, as bands from across the country, as well as more local acts, are set to take the stage at the Bluebird starting at 7 p.m.
Brave Baby, hailing from Charleston, South Carolina, formed in 2012 and released their first album, Forty Bells, in 2013. Produced by the band's drummer, Wolfgang Zimmerman, the five-man band plays a fun, upbeat style of indie rock.
Amanda Sudano and Abner Ramirez make up Johnnyswim, a soulful pop duo from Nashville. In July, Sudano and Ramirez, who married in 2009, performed on the Tonight Show and released their EP, Heart Beats, in 2013.
Since 2011, Fluffer has made a name for themselves by bringing high-energy dance music to Bloomington. Frequently compared to bands like Tame Impala and Deerhoof, it's hard to keep your feet still while listening to the band's dynamic and vibrant music.
Fans of The National and Modest Mouse will appreciate The Young Mind's fresh take on indie/alternative rock. In 2006, Connor Ebbinghouse and Jake DeHaan founded A Nuclear Era. Eight years later, the band is now known at The Young Minds and includes three other band members besides Ebbinghouse and DeHaan.
(02/11/14 4:26pm)
JY: Tell us the three most important/interesting things about you
FENNEC: 1. In high school I competed in a science competition where I medaled in Food Science and Herpetology. These were two separate events.
2. I was working craft services at Lollapalooza in 2007 when I met Daft Punk. Thomas Bangalter stopped by the table I was at and took a croissant.
3. I used to make music under a different name that, legally, I'm unable to publicly disclose due to the settlement of a lawsuit. Essentially there was a corporation that had the same name as me and so I was like, whatever, keep it. You can call me whatever you want and I'm still gonna kill it.
JY: Where does the name Fennec come from?
FENNEC: It's my last name. And the animal is hella cute, duh. My cuteness pales in comparison. It's got this nice neutrality to it also. The National in some interview talked about how they chose their name because you couldn't really tell exactly what kind of music they made based on just their band name. I liked that.
JY: When did you first get involved with making music?
FENNEC: During college I started DJ'ing house parties and basement shows as a side thing and I'd make edits and remixes of songs just for my own use. That eventually turned into making my own tracks whenever I needed something to bridge from one song to another. I've always messed around with music though starting on drums when I was in middle school and synthesizers later on.
JY: What influences your music?
FENNEC: Mark Rothko, Spike Jonze, Yves Saint-Laurent, and death. I'm trying to live forever. As long as I'm in your iTunes, I'll always be around. It's just a matter of longevity.
JY: What specifically influenced your debut album?
FENNEC: Radio played a huge influence, which is pretty obvious just from the sound and organizational structure of it. There's lots of samples from radio stations, like identifiers and stuff, throughout the album. I had never listened to pop radio seriously until about a year ago. I had always listened to online and pirate stations that played more specialty music and underground music, but pop radio is really unique for a number of reasons. Songs don't always get played out fully before a bunch of weird, glitchy radio stingers play and then it goes right into the next song. Most of the time it's not even a human on the other end of that radio signal, it's just a machine that's been programmed to play these songs. If you do that within the confines of a song, people would get confused as to what's happening. Nobody says anything about that in Top 40 radio.
Something else to think about is that songs on Top 40 stations often get edited specifically for play on the radio. So, really, you're just hearing what the producers thought were the most essential elements of the song. I used that when I was arranging the songs, trying to keep that maximalism of pop production while also never going beyond what was necessary. It's really a reflection of internet culture and modern culture in general. Everyone's fighting for your attention, so there's always gotta be something happening before you get bored.
JY: What was the most rewarding part of creating your debut album?
FENNEC: Having my roommate who lived on the floor above me for the majority of making the album hear the final mix and give his approval. I thank him in the album credits. Also, before I finished the album I moved to a different place and while I was mixing some of the tracks I got a noise complaint from my neighbor because of all the bass from the kick. I was kind of proud of that.
JY: If you could produce the beats for any musician, who would it be?
FENNEC:
Taylor Swift
Grouper
Trinidad James
I think Taylor and Grouper would be really killer in dance music. Grouper's voice has such a unique, ethereal quality to it that it'd be great just have as a kind of bed over a really minimal beat. Dragging A Dead Deer Up A Hill is one of my favorite albums of all time. Taylor Swift is mostly just for selfish reasons because if we ever did get to work together, I doubt that whatever we made would get released. It'd pretty much just be so I can see her writing process. Her voice is perfect for dance music though. I gave my mastering engineer Red as a reference.
Trinidad James has just the right amount of roughness in his voice and he's got this laidback, just-behind-the-beat flow like he's writing it as he goes along. He has a song called "Giving No Fucks" where he raps over a Nosaj Thing beat and it works so well. I think he'd dig whatever I could make for him.
JY: You’re stranded on a desert island. What three albums do you bring?
FENNEC:
Drukqs by Aphex Twin
Untrue by Burial
Since I Left You by The Avalanches
JY: If we don’t remember anything from the interview except for one thing, what would that one thing be?
FENNEC: Music isn't my end goal, it's immortality.
Let Your Heart Break is Fennec's debut album. It is available to stream and download here. For more information, visit fennecfennec.com
(02/05/14 8:53pm)
Houndmouth will be performing at the Bluebird on Feb. 6. Doors will open at 8 p.m. and the show is scheduled to begin at 9 p.m.
Hailing from New Albany, IN, Houndmouth combines a folksy, country twang with traditional rock and roll, creating a warm and familiar sound that landed the band a set at Bonnaroo last summer. Their show in Bloomington marks the first stop on a nationwide tour to support their most recent album, From The Hills Below The City, which was released last June.
Fans of Middle Brother's folk-country twang and the Heartless Bastards' alt-rock/country fusion will definitely appreciate Houndmouth's authentic sound.
Tickets are $10-$15. 21+ only.
(12/30/13 5:37pm)
Forget the champagne and the sparkly dresses and Ryan Seacrest (RIP Dick Clark), the best part about ringing in the New Year with the never-ending plethora of lists and think pieces decreeing the best and the worst of the past 365 days.
With the advent of Buzzfeed, Upworthy and everyone with an internet connection and an opinion, the last thing we need is another list. Sorry. Here is 2013’s Best Music According to Jessica, Full of Bias and Opinions. (RIP objective journalism)
. . .
2013 was supposed to be Kanye’s year. Yeezus, and all the hype surrounding its release, made it seem like the world, or at least the music world, would stop on June 18. Eager to steal the stage, Jay-Z stepped in, teaming up with Justin Timberlake, and Magna Carta Holy Grail with its Samsung Galaxy release efforts hoped to take away some the attention that Yeezus had garnered. Needless to say, that marketing plan failed, with many would-be listeners remembering Jay-Z’s latest album as that-song-with-Justin and something about Tom Ford.
Then, Miley Cyrus came back into the picture. Rocking a shaved head and announcing her love for weed and molly, America’s ex-sweetheart led to many uncomfortable conversations trying to explain what exactly “twerking” was after her performance with Robin Thicke (remember him?) at the MTV Music Awards. Miley got a lot of attention for her quirky antics, leading to many articles and think-pieces about slut-shaming and her new vision of feminism. Others were angry about her apparent appropriation of “black music” with her twerking and style of music on Bangerz. Not to mention the widespread shock that she generated with the infamous music video accompanying “Wrecking Ball,” showing her nakedly swinging on a wrecking ball. There are some images that are burned onto my retinas, and unfortunately, Miley making out with a sledgehammer is one of them.
Regardless of all the all-star names that released music this year, for the most part, it was not the big names that made the most noise (except Beyonce). Here’s my list of the five favorite albums of 2013. Spanning a plethora of ages, genres, experience and sound, they are all somewhat related in the sense that they take the world we live in today- an arguably narcissistic, Internet-obsessed, post-modern society- and try to make sense of it. 2013 was a good year for music.
Lorde-Pure Heroine
I’m Kind of Over Getting Told to Put My Hands Up in The Air
Lorde is #overit and #DGAF. She is as Internet as Doge and is to the teenagers of 2013 as Britney Spears was to the teenagers of 2000. She suggests the ever-popular façade of ambivalence among her peers on “Tennis Court,” singing “ It’s a new art form/showing how little we care.” She expresses the tension that her generation faces with the image that they cultivate online, the #DGAF one addressed on “Tennis Court” contrasting with their exposed offline identities; on "Ribs” she declares that she’s never felt so alone. She epitomizes the conflict of vulnerability and infinite power, though only 16, she sings “it feels so scary getting old,” alluding to the “real time nostalgia” that her friend, Tavi Gevinson wrote about. At the same time, in “Royals” she sings about the lifestyle of invincibility that pop stars live, and by using the royal “we,” she too admits living that way. Again, like Gevinson, Pure Herione embodies this permeating sense of being “eternally invincible” and “permanently trapped” that makes the album so appealing to a generation that feels the same way.
Kanye West-Yeezus
Yeezus Just Rose Again
If My Beautiful Dark Twisted Fantasy was Kanye’s apology album, Yeezus undid the apology. His eagerly anticipated seventh studio album caught both critics and fans off guard with brash and unapologetic lyrics that attack the consumerist society and big corporations. Yeezus follows up on themes that Kanye has always been addressing; on College Dropout he laments about an incarcerated cousin missing out on Thanksgiving and on Yeezus, Kanye raps about the racism embedded in the prison-industrial complex that holds a disproportionate number of black men. The album is minimal in its beats but maximum in its message. It is the basic theme of the album, that Kanye, a man that has everything-fame, money, power, family-he still experiences discomfort, take the line from “Guilt Trip” “I’m so scared of my demons/I go to sleep with a nightlight.” In “I Am A God” he shouts that he is a God and that he is equals with Jesus, “I just talked to Jesus/he said whattup Yeezus,” however he admits that being a God, having all this power is stressful. It isn’t easy being Kanye West, and instead of apologizing for it, he created Yeezus to try to explain it
Vampire Weekend-Modern Vampires of the City
Wisdom’s a Gift But You’d Trade it for Youth
Vampire Weekend frontman (and twitter aficionado) Eza Koenig announced that Modern Vampires of the City marked the final chapter in their trilogy of albums. For a band that is better known for their African-inspired beats, MVOTC takes a sharp left turn down a mellower route, switching up the giddiness for a sense of self-awareness that comes with age and experience. In fact, age seems to be the overarching theme. No longer is this a band of recent Ivy League grads playing afro-beats on "Cape Cod Kwassa Kwassa." They now speak of an apocalyptic Manhattan on “Hudson” (albeit the worst song on the album) and on “Step” Koenig sings “everyone’s dying but girl you’re not old yet,” adopting a wise persona. The album’s concern with youth and the passage of time is most clear in “Don’t Lie,” as Koenig croons, “does it bother you, the low clock of the ticking clock?” The preoccupation with a premature death is evident on “Diane Young,” a play on “dyin’ young” about a girl with the unfortunate “luck of a Kennedy,” who sets fire to a Saab. The album thrives on this constant tension of acquiring wisdom with age but also realizing that life is a constant race against the clock; the band says screw that and finds a solution on “Hannah Hunt,” by declaring “You and me/we got our own sense of time.” No one has told Vampire Weekend what they could do and no one is going to start now.
Arctic Monkeys-AM
R U Mine Tomorrow, Or Just Mine Tonight
Eight years ago, the Arctic Monkeys were the most hyped up band, leading to many music critics to hail them as the British Invasion 2.0. However, it’s AM, their fifth studio album that finally delivers. Hands down, this album is the biggest surprise hit of the year for me personally. Lead singer Alex Turner finally capitalizes on his sultry voice, and instead of trying to shove as many syllables as possible in one breath, he turns to a sleeker and more contemplative mood, evident of “Do I Wanna Know.” AM explores broader themes than sweaty dance floors and cheap hotel rooms, taking a sharp turn away from the Arctic Monkey’s previous album. It’s obvious that Turner and Co. are growing up-not just in their more mature musical style, but also through the messages in their songs. More poised and thoughtful, finally, the Arctic Monkey’s have proved that they’re worth the hype.
Childish Gambino-because the internet
Because of the Internet, Mistakes are Forever
Mix three parts of Kanye’s bombast on Yeezus with two parts of synths and slow jams from Channel Orange. Combine with post-modernism and a copy of Catch-22. Take a picture of it. Post it on Instagram with a filter, Hefe would probably work well. Share it on Twitter and Facebook. This is because the internet. A concept album and screenplay, because the internet is Donald Glover’s, aka Childish Gambino, second album. He improves his rap game from his debut album, Camp, and tackles the Internet and how it has changed (for the worse) the way people interact. On "III. Life: the biggest troll [Andrew aurenheimer]" Glover ruminates on how the Internet has ruined romantic relationships by allowing people to have dual personalities, “we are the dreams of our parents lost in the future/who hide the deepest desires and wear a mask like a lucha.” This isn’t an old man complaining about how the Internet has ruined the younger generation; Glover is a product of the Internet. As a 30-year-old who’s past credentials include writing for 30 Rock and acting in Community, Glover personally knows the feeling of being connected to the world 24/7, yet alienated; the Internet has prevented him from feeling completely alive, yet the Internet is the only platform where he feels he can express him off. Call it the post-modern Catch-22 or call it another well-off person figuring out that material goods cannot replace human relationships. Regardless, it’s because the Internet.
(12/12/13 9:18pm)
On Mon. Dec. 16, Dawes will be performing in Bloomington at The Bluebird Nightclub.
Dawes' unique style of folk-rock first caught people's attention in 2009 with the release of their debut album North Hills. Hailing from LA, the band is influenced by artists like Neil Young and Joni Mitchell, resulting in an authentic sound that is rare in today's rock.
In 2011, the band released their second album, Nothing Is Wrong, and attracted new fans with a more polished record with co-headlined a tour with Blitzen Trapper. For fans of the tv show Parenthood, viewers may remember seeing the band perform in an episode this past February.
The band is currently touring to promote their most recent album, Stories Don't End, which was released in April. Critics argue that the band's third album is their most modern-sounding and complete record to date, peaking at 36 on Billboard's Top 200.
For fans of Dawes and of a more modern take on folk-rock, don't let finals get in the way of seeing a great show on Monday night.
Doors open at 7 p.m., show starts at 8 p.m. Tickets are $20 and it is a 21+ show.
(12/09/13 5:03pm)
1. Andrew Bird – I Want to See Pulaski at Night
2. Tennis – Small Sound
3. Dale Earnhardt Jr Jr – The Speed of Things
4. Young the Giant – It’s About Time (single)
5. The Map – College Radio Day// The Album Volume Two
6. Passion Pit – Constant Conversations EP
7. Sleep Study – Nothing Can Destroy
8. Of Montreal – Lousy with Sylvianbriar
9. We Are Scientists – Business Causal
10. Jukebox the Ghost – College Radio Day // The Album Volume Two
11. Los Campasinos! – no Blues
12. Passenger - College Radio Day// The Album Volume Two
13. NONONO – Pumpin Blood EP
14. Thee Oh Sees – Singles Collection Volume 3
15. Yuck – Glow and Behold
16. Matt Pond - College Radio Day// The Album Volume Two
17. Young Galaxy – Ultramarine
18. Glass Animals – Glass Animals EP
19. Summer Camp – Summer Camp
20. St. Lucia – When the Night
21. Magic Man – You Are Here
22. Asteroid Park – Asteroid Park
23. Luke Temple – Good Mood Fool
24. Pooter – Intricate Circuits
25. Porcelain Raft – Permanent Signal
(12/07/13 7:03pm)
On Tuesday, Dec. 10, the Communion tour is set to visit Bloomington again, serving its audience a diverse mix of local acts as well as the Communion national act Rosco Bandana.
Communion made its first mark on the Bloomington music scene last month, playing a show at the Bluebird that energized the audience on a cold, November night. This month, the Communion tour, founded by Mumford and Son's Ben Lovett, hopes to recreate the energy and excitement for the second show in its monthly series.
That does not seem like something hard to do, considering the bands that Lovett has selected for the show, dubbed "The Christmas Special," all possess the ability hypnotize the audience into a dancing fury with their high-energy music.
Pretty Boy Freud will open the show at 9 p.m. If the name sounds familiar, it's probably because you have heard them before. A staple at house shows and local music festivals and events, the Bloomington band consists of Evan Munz on the guitar/vocals, Joe Romwber on the bass and Erich Hils on the drums. Playing a unique mix of electronic rock, it's impossible not to want to dance while listening to them, making them the ideal band to open the show.
Another local band, The Stills, is slotted to take the stage at 10 p.m. Formerly called Keeping Cars, the IU grads moved to Chicago to immerse themselves in the music scene. Despite changing their name and location, The Stills have kept their indie-rock sound and will surely keep the audience on their feet throughout the set.
Rosco Bandana is part of Communion's national tour, bringing their blend of southern-inspired folk music across the country and to the Bluebird at 11 p.m. The seven-person band bring obvious energy to the stage with their banjos, mandolins and the sweet combination of raspy male vocals and melodic female vocals. Hailing from the Mississippi Gulf Coast, their southern roots are evident in their style of southern rock, popularized by Kings of Leon, however with Rosco Bandana, the sound seems more authentic and genuine. The folk influences, especially with the banjo, add another dimension to the band and their incredible energy will set the stage for Communion show to come.
Bloomington's blues band, Charlie Patton's War is set to play their blues-rock fusion music at midnight, a surefire way to make sure that despite hoarse voices and tired feet, the party will not end. The band, formed in 2010, has a similar sound to The Black Keys, however, they definitely also borrow heavily from soul music which gives the band their unique sound and has led the way for them becoming one of Bloomington's best known bands. In fact, last winter, WIUX produced a live recording of the band at the Blackbox concert.
Since the show is at the Bluebird, it is 21+. Doors open at 8 p.m. and admission is free until 9 p.m., costing concert-goers $5 after then. Be sure to wear your ugliest Christmas sweater because prizes will be given out to the ugliest and hippest sweaters in the crowd.
The high-energy acts combined with letting go of the pre-exam week stress is the perfect equation for an unforgettable show.
(12/04/13 7:13pm)
Released: 11/19/13
4/7 stars
For young musicians, being named “the next Bob Dylan” is almost always the kiss of death. Few artists can ever hope to match half of what Dylan has achieved in his decades in the music industry.
In early 2013, Jake Bugg released his debut eponymous album, earning praise from critics and his music, especially “Lighting Bolt” and “Two Fingers” received a decent amount of radio play for a 19-year-old from England.
The same critics who raved about the young artists compared him to Dylan. His gravelly voice and folk-influenced music are the dead giveaways to the comparison and Bugg has also seemed to pick up Dylan’s work ethic, already putting out two albums in less than a year.
Shangri La, produced by Rick Rubin (think Yeezus, The Carpenter), is overproduced and at some points, boring. Though it is a good album, it is just not as good as his debut and Bugg does not stray far from his musical comfort zone.
“Me and You” showcases Bugg’s distinctive vocals in a love song that serves as a definite highlight in the otherwise monotonous album. Similarly, Rubin allows Bugg’s voice to shine on “Messed Up Kids,” which almost sounds like a track from Jake Bugg.
On other tracks, Bugg sounds like his fellow Brits, Oasis, especially in “What Doesn’t Kill You.”
On “Simple Pleasures” and parts of “Kitchen Table,” Bugg adopts a sound similar to the Red Hot Chili Peppers, who frequent Rubin’s studio. In fact, RHCP’s Chad Smith plays the drums on Shangri La. Although Rubin’s experience definitely enhances Bugg in that aspect, it is still hard to argue that Rubin was the right fit for producing the album.
This is especially evident when listening to “All Your Reasons” and “Kingpin.” The tracks are boring and seem to go on forever. For example, “Storm Passes Away” sounds more similar to Jake Bugg and the 60’s folk-revival sound breaks up the preceding rock-influenced tracks. The song ends the album on a different note than the rest of the album; confusing listeners and making them wonder what Rubin was thinking.
Regardless, Bugg’s reedy voice exudes the heartfelt authenticity that he has become known for. His natural talent and maturation remain at the center of his music, something that even a producing wizard like Rick Rubin could not recreate.
Must Listens:
Messed Up Kids
Me and You
(11/19/13 6:30am)
1. Albert Hammond Jr – AHJ
2. Dale Earnhardt Jr Jr – The Speed Of Things
3. Buffalo Rodeo – College Radio Day // The Album Volume Two
4. Unknown Mortal Orchestra – Blue Record
5. The Head and The Heart – Let’s Be Still
6. Islands – Ski Mask
7. Lucius – College Radio Day // The Album Volume Two
8. Mayer Hawthorne – Where Does This Door Go?
9. Yuck – Glow and Behold
10. The Broderick – The Broderick
11. I, The Mountain – Land & Sea
12. Of Montreal – Lousy With Sylvianbriar
13. Passion Pit – Constant Conversations EP
14. BANKS – London EP
15. Luke Temple – Good Mood Fool
16. Charlie Patton’s War – College Radio Day // The Album Volume Two
17. Mazzy Star – Seasons Of Your Day
18. The Orwells – Who Needs You EP
19. Haim – Days Are Gone
20. Husband & Wife – Proud Flesh
21. Body Parts – Fire Dream
22. Is Tropical – I’m Leaving
23. Moby – Innocents
24. Glass Animals – Black Mambo
25. Los Campesinos! – No Blues
(11/12/13 12:55am)
Released: 10/29/13
I first began listening to Death Cab for Cutie when I first began watching the O.C. and saw the quintessential Trasnsatlanctism poster that adorned Seth Cohen’s wall. For me, and countless others, Transatlanticism, became the soundtrack to the early teenage years, the years that mark all the firsts-the first kisses, the first breakups, the first existential crisis after being denied from college, the first moment of clarity after getting accepted into college and most importantly, the first time we started to see ourselves as real people.
The same can be said about Death Cab, Transatlanticism marked the first time that listeners saw the band as the real deal, as the album marked the band’s transition from just another indie band from Pacific Northwest to the face of indie music across the country.
On Oct. 29, Death Cab for Cutie released the demos of Transatlanticism, a decade after the original album was released. Packaged the same as the original albums, the demos give listeners a chance to hear how their favorite songs transitioned from the pre-production stage to the final, flawless product.
The demos give listeners a different perspective on Death Cab’s music. For example, the originally upbeat “Sound of Settling,” is accompanied by an acoustic guitar on the demos version, giving it a different, more emotional dimension that is not as clear in post-production version.
Similarly, “Title and Registration,” which is one of the most beautifully produced tracks on the original release, is stripped down in the demos, revealing the melancholic theme of the song. Gibbard’s mellow voice shines in this version as he recounts a breakup, “cause it’s a shame the way that love can slowly fade/and when it’s gone it’s like it wasn’t there at all.”
Other tracks of the album sound similar to their post-production version. Both “Tiny Vessels” and “Passenger Seat” maintain the same basic sound that fans have been listening to for the past decade.
The original release of “Transatlanticism” is a piano-driven ballad combining the love, nostalgia and yearning that Gibbard’s voice is so great at conveying. However, on the demo version, the song-nearly two minutes shorter-is a slow motion, uneventful track that is almost forgotten in the middle of the album. Arguably the band’s most famous lyric, “I need you so much closer,” is flat and the repetition that oozes with emotion on the studio version feels almost other-worldly and far away as a demo. Surely, the pre-production version would not live forever on the margins of countless notebooks like the post-production version of the song has achieved.
Ten years ago we had Bob Hope, Johnny Cash, Steve Jobs and Transatlanticism. Today, we don’t have Hope, Cash or Jobs, but we do have two versions of Transatlanticism, and no one can complain about that.
(11/07/13 9:28pm)
Released: 9/27/2013
6/7 stars
Last April, when I was mourning the end of Little 5 and the start of final exams, I found myself reading a Buzzfeed article proclaiming that Lorde was my next favorite musician. Curious as to how Buzzfeed seemed to know my future binge listens, I proceeded to read the article and listen to the two embedded Soundcloud links of Royals and The Love Club.
To be clear, I am no pop-music aficionado. A quick browse through my iTunes library prove this; an eclectic mix of mostly indie music, a sprinkling of country, the entire Kanye West discography, and little pop or female vocalists.
However, since that fateful day, I eagerly anticipated the release of her first album, Pure Heroine.
Unsurprisingly, it exceeded my expectations.
Lorde, also known as Ella Yelich O’Connor, is 16-years-old and although she has been a pretty big deal at home in New Zealand, she is just starting to make her rounds in the United States. She writes her own lyrics, already setting herself apart from other pop artists (cough, Taylor Swift, cough) and it is nearly impossible to find another musician in the pop music scene with a voice as unique as hers. However, what truly makes Lorde unique is her apparent rejection of the pop star lifestyle and her repeated desire to stay true to herself and not get swept up in the fame.
It is easy, and correct, to label Pure Heroine as the soundtrack to 2013. Lorde represents the new generation entering the mainstream, a generation that is comfortable with technology and understands the consequences of it, even going as far to reject it to an extent. In the album closer, A World Alone, she considers “maybe the Internet raised us/or maybe people are jerks.” At 16, like much of her audience, Lorde has grown up in a culture that is cluttered with retweets and favorites and likes and subtweets and the “importance” of getting at least 11 people to “heart” your Instagram photo. It’s no wonder that she feels comfortable with singing about it in her music; after all it is her life.
In Royals, the song that caught most people’s attention in the first place, Lorde sings about the inanity of the ostentatious pop star culture. She sings “But every song’s like gold teeth, grey goose, trippin’ in the bathroom/ Blood stains, ball gowns, trashin’ the hotel room,/We don’t care, we’re driving Cadillacs in our dreams,” suggesting that not only is the pop star life not for her, but it is not something that anyone should aspire to attain.
Listeners are reminded by her relatively young age on the second track on the album, 400 Lux as she sings about her love interest buying her orange juice, however it could be replaced with a mimosa and audience will get the same message. Similarly, in Ribs, she contemplates growing up and the complications that come with getting older. However, at 16, these qualms seem a bit too premature.
Team, the second single from the album, is an ode to her friends and with her soaring vocals against a steady beat; the song proves to be one of the highlights. It introduces a different style of a successful pop song, one that contrasts with the Top 40. Lorde is obviously aware of that, as she takes a dig at pop music lyrics as she admits, “I’m kind of over getting told to throw my hands up in the air/So there.”
Like the most successful artists, whether through photography, words or music, Lorde effortlessly reveals her uneasiness with certain parts of society. For example in Glory and Gore, she admonishes our fascination with violence, in Still Sane, the issues concerning fame and living a normal teen life are discussed. It is in this vein where we can argue that despite her sound, Lorde is not a pop artist of today, she positions herself as an outsider, someone that was not produced in the Pop Music-Industrial complex, a la Britney Spears or Katy Perry. This unique position allows her to essentially be a trailblazer for this fusion of minimalist-pop-alternative music and she executes so well.
Pure Heroine is an album made for the people she refers to in the line fromTennis Court, “It’s a new art form, showing people how little we care,” a generation that is slightly skewed off-center, prematurely feeling disconnected and mature, yet still overwhelmingly vulnerable.
Must listens:
400 Lux
Tennis Court
A World Alone
—Jessica Yarvin
Reach Jessica at jyarvin@wiux.org or follow her on twitter @yarvsy
(10/04/13 12:18am)
Contact: Milana Katic
Tel. 812.855.7862
Cell: 219.789.6320
Email: mkatic@wiux.org
FOR IMMEDIATE RELEASE October 3, 2013
WIUX RELEASES ITS FIRST-EVER ALBUM
Album entirely produced by student radio volunteers
BLOOMINGTON, In.-- On Thursday, October 10, WIUX will be releasing its debut album WIUX Presents: Live from the Black Box for free Internet download. The album release is part of a promotion for WIUX’s Annual Pledge Drive fundraiser.
The album was originally live-recorded at the Live from the Black Box concert showcased by WIUX and the University Players this past February. The two bands that will be featured on the album are Bloomington’s own Charlie Patton’s War and The Broderick. The album will come in two parts: one with full audio of Charlie Patton’s War performance and the other of The Broderick’s performance. Live from the Black Box was re- corded and produced entirely by the talented student volunteers of the WIUX engineering committee.
Additionally, a full video of the Live from the Black Box performance will also be released for online viewing on the same day. Live from the Black Box can be downloaded at the WIUX Bandcamp page at http://wiux- 991fm.bandcamp.com/.
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For more information about this topic or to set up an interview, please contact WIUX Station Manager, Joe Heath at jheath@wiux.org or Engineering Director, Dan Cantlin at dcantlin@wiux.org.
(10/01/13 12:19am)
Contact: Milana Katic
Tel. 812.855.7862
Cell: 219.789.6320
Email: mkatic@wiux.org
FOR IMMEDIATE RELEASE September 30, 2013
WIUX KICKS OFF ANNUAL PLEDGE DRIVE
Student radio volunteers begin their biggest week of fundraising
BLOOMINGTON, In.-- WIUX is hosting Pledge Drive, its annual fundraising week, from October 7-13. Pledge Drive money helps to update the station throughout the year and maintain its progressive outlook on media.
This year’s Pledge Drive goal is $5,000. To reach this amount, WIUX is increasing its fundraising efforts by having daily events both on and off campus, not only to reach out to the student body, but also to the entire Bloomington community.
On Tuesday, Buffa Louie’s is sponsoring a split profits day and remote sports talk show broadcast from open to close. On Wednesday, students and community members are invited to play board games and purchase $5 food vouchers from Sweet Claire’s food truck at the station starting at 7 p.m. Thursday, WIUX will be releasing its first-ever album that was produced and recorded solely by its engineering committee (details to follow). Starting at 8 p.m. Friday at Rachael’s Café, WIUX will host a concert and split profits night featuring the local bands The Pirate Flags, Escher and The Bonesetters.
At various events throughout the week, guests can also enter to win prizes such as local restaurant gift cards, Secretly Canadian CDs, and University Theater tickets.
Along with Pledge Drive events, WIUX will be offering special programming throughout the week, including remote broadcasts and a compilation of the history of WIUX made by station alumni. WIUX encourages the entire Bloomington community to please come support student-run programming during Pledge Drive and build community fellowship in the process.
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For more information about this topic or to set up an interview, please email WIUX Special Events Director, Jen Samson at jsamson@wiux.org or Sales Director, Carolyn Suna at csuna@wiux.org.