EMMIE Magazine Fall 2014

EMMIE FALL 2014

COVER

THE GLITCH MOB

IGGY AZALEA: LOVE / HATE

KESHA VS. DR. LUKE

BRETT DENNEN

MADISON RECORD STORE GUIDE

PSYCHEDELIC HIP-HOP

A

T G BI

N A H

T S K

U O O

P S R

S N O

S: R O

megan OPPERMAN EDITOR-IN-CHIEF

LAYOUT CONTRIBUTORS: katelyn SALZBURGER allison GARCIA

aj BECKER LAYOUT/GRAPHICS EDITOR madeline KELLY FEATURES EDITOR molly GILBERTSON FEATURES EDITOR abbey SCHNEIDER SHOWS EDITOR becca MELDMAN SHOWS EDITOR allysa GALLONI SHOWS EDITOR collin KIRK ALBUMS EDITOR mia SATO ALBUMS EDITOR lauren CHOJNACKI SOCIAL MEDIA MANAGER bambi SHORE SOCIAL MEDIA STAFF hannah FRANK SOCIAL MEDIA STAFF katelyn HANSMANN SOCIAL MEDIA STAFF

CONTRIBUTORS: abbey SCHNEIDER ali GRIMES allysa GALLONI amelia OHM andrew MACKENS bailey SALAMANCA bambi SHORE collin KIRK emily NEINFELDT evan FLYNN evan VERPLOEGH hannah FRANK iphigenia KYRIAKAKOU john MCCRACKEN kasey MARGELOFSKY kelsey WALLNER lauren BORITZKE lauren CHOJNACKI lily HANSEN lindsay KOTTWITZ lisa KOHLMANN madeline KELLY megan OPPERMAN mia SATO molly GILBERTSON nick POGORELEC nik HEINEMANN olivia MAGNANINI rachel BARUCK rose LUNDY ryan PERLIC tamar LASCELLE teymour TOMSYCK tom FREDERICK

Dear EMMIE reader, You probably found this magazine around Madison and are wondering, “What is EMMIE?” Well, in short, we are UW-Madison’s student-run music magazine. The real story? We are a bunch of students, from every niche of campus life, and we all have one thing in common - our love for music.

Here at EMMIE, we spend as much time listening to music as we do on homework, and we review anything possible, from the newest albums to shows in the Midwest to the latest and greatest artists.

This semester, we have gotten some great opportunities to chat with the artists we love. The Glitch Mob stopped in Madison, and we were able to catch up with them on touring, the evolution of The Glitch Mob, and what is next for the band. Our writers have gotten the chance to talk to Julia Stone of Angus & Julia Stone, Rubblebucket, Brett Dennen and The Drunken Catfish Ramblers. We’ve argued why we really don’t like Iggy Azalea, what Kesha’s claims towards Dr. Luke mean for the music industry, and what’s the deal behind the racism toward One Direction’s Zayn Malik.

We also dived right into the local music scene with this issue. You can find the guide to the best music stores in Madison and meet our favorite new up-and-coming local artists like Madison Malone and The Sharrows. Don’t forget to check out our playlists in case you are in search of new music, guilty pleasures or music to avoid.

Fall 2014 has presented us with many exciting chances to explore the music we love, and with this issue, we have taken it to the highest level design, writing, photography and number of pages than EMMIE ever has. Our social media is new and improved and our new website is set to be unveiled in December. Our writers, editors, layout staff and graphic designer have spent hours upon hours making sure this issue is the best possible product we could make, and we couldn’t be more proud of the outcome. A special note to our incredible graphic designer, AJ, who has been with this magazine for four years and is the creativity behind all the beautiful pages you see. We will miss him dearly as he graduates onto bigger and better things, but we know this is just the beginning for him.

So, our lovely EMMIE reader, jump in, and we hope you love this issue as much as we do.

Best,

megan OPPERMAN

FEATURES

8 The Glitch Mob 10 Iggy Azalea: Love vs. Hate 12 Julia Stone 14 Playlists 16 Brett Dennen 18 Hip-Hop and Psychedelia 20 The Drunken Catfish Ramblers 22 Kesha vs. Dr. Luke 24 Beatlemania: A Male’s Perspective 26 1D - You Don’t Know You’re Racist 28 Madison Malone 30 The Sharrows 31 Is STN MTN & Kauai Inspired by 808s & Heartbreak?

32 EMMIE Guide to Madison Record Stores

ALBUMS

68 Owl John - “Owl John” 69 FKA Twigs - “LP1” 70 Hoodie Allen - “People Keep Talking” 71 alt-J - “This Is All Yours” Generationals - “Alix” 72 Tony Bennett / Lady Gaga - “Cheek to Cheek” Nehruviandoom - “Nehruviandoom” 73 Azealia Banks - “Broke With Expensive Taste” 74 Lana Del Rey - “Ultraviolence” 75 Single Mothers - “Negative Qualities” Greensky Bluegrass - “If Sorrows Swim” 76 Haerts - “Haerts” Lykke Li - “I Never Learn” 77 Milo - “A Toothpaste Suburb” 78 Caribou - “Our Love” 79 Code Orange - “I Am King” Maroon 5 - “V” 80 Ab-Soul - “These Days…”

Dillion Francis - “Money Sucks, Friends Rule” 81 Alvvays - “Alvvays” 82 Dolores - “Nectar Fields” 83 Thom Yorke - “Tomorrow’s Modern Boxes”

SHOWS

36 Ed Sheeran 37 Twin Peaks 38 Lorde 39 Elephant Revival 40 Snarky Puppy 41 KONGOS 42 Rubblebucket 43 Australian Pink Floyd 44 Of Montreal 45 Mayday Parade 46 Brett Dennen 48 Dirty Heads 49 You Me at Six 50 EMA & Spoon 52 Panda Bear 53 The Preatures 54 Swooning for Timeflies 55 The Glitch Mob 56 The Living Statues 57 Ingrid Michaelson 58 Township at Quarters 59 Bastille 60 Porter Robinson 61 Pixies 62 Chromeo 63 RAC Mixes It Up 64 Umphrey’s McGee

FEATURES IN

NSERT

SENDING OUT 2K14 WITH A BANG

EMMIE sat down with Edward Ma of The Glitch Mob to discuss life on the road, the evolution of their music, and plans for the future.

8

EMMIE: I know you guys have been together for a while as a group so I was interested in one of the best experiences you’ve had developing and growing as a group over the years.

Edward Ma: I mean, I think overall, the best experience is being able to share the gift of music with people and being able to inspire people in a positive way. Music is very powerful and I think over the years, the music that we made has had the power to affect people and touch people in positive ways. That’s just something that money can’t buy, and it’s something we don’t take for granted and we are very honored and grateful to be able to do what we do.

I agree, I think that’s definitely very true.

So your latest tour started a week ago with Austin City Limits, how excited are you to be on the road again?

Yeah, I’m stoked. You know, this basically is our third US headlining tour this year and this is our sixth tour that we’ve done this year. It will be our final one for the year [as well] so I’m pretty excited. It’s been an amazing year and I’m really grateful that the reception of our album has been so wonderful, and I’m just really stoked to send this year off with a bang.

I’ve been looking at photos of your previous shows and it just looks insane, what exactly goes into preparing for a tour?

So with the type of music you make, do you just sit in a recording studio and mix a song? How does that work for you guys?

There are really no rules for us. We all have studios, but the bulk of everything actually happens in my studio. Sometimes, we make the music with all of us sitting in the room. It starts with all of us being there and conceptualizing it together. Or it may start from a sketch one of the three of us had written… We really just have no set way of doing things. It’s all just a matter of what works and whatever happens to be going with the flow, or tells the musical story the best. So yeah, there’s really no right or wrong way to do it.

promoters booking us in big rooms, and we realize the music that we had written didn’t really necessarily translate that well live and on big sound systems. So after touring two years of Drink the Sea, we kind of figured out how to make it all work but with this record, we kind of went into it with the mindset of “OK, let’s take the best storytelling aspects of Drink the Sea but try to approach it from the standpoint of we are going to be playing this music live and playing it on massive festival stages in front of massive crowds.” Like, that was our approach from the get-go. So the evolution of The Glitch Mob as changed a lot for sure, but the heart and soul of what we do is always still there.

How much feedback have you guys gotten between the album that came out in February compared to your Drink the Sea album in 2010?

Yeah, I think that’s great because you are still learning all the time. So do you guys work on any new materials on the road or do you try to just focus on the shows?

To be entirely honest, I have no idea. I kind of stopped reading record reviews or fan feedback a long time ago because I believe it can be very destructive to the creative process.

Like, one of the worst things that can happen to you is that you can get really caught up in the negative feedback and forget all the positive feedback. So I actually don’t read any feedback or criticism about us anymore at all anymore. Maybe people love it or hate it, who the hell knows [laughs].

No, we don’t really write music on the road.

You know, when we are on tour, being on tour is a full-time job. There’s not really any time to get into that creative mindset of working on music. While we are on tour, there’s a lot of time spent troubleshooting and improving the live show, and that’s something we constantly work on in sound check. Yeah, so there are not really any moments to just get in the zone and write some music on a laptop [laughs], you know. Unfortunately, it doesn’t really work like that.

On a personal level, do you feel like you improved or have things really changed since Well, I think the biggest thing for us is, basi- your last album and this album? cally, all the time spent preparing for the live show. You know, it’s like a very involved and Oh, absolutely. You know, it’s always an intense process of after we are done writing evolution. Obviously, as The Glitch Mob the the music, getting the music ready to be per- band, we are way bigger than we were when formed, learning how to perform it, ironing out we toured in Drink the Sea. The show has all the technical difficulties. It’s actually a very changed quite a bit… our whole ethos, the involved process. We just finished our album way we approach live performances and what last November, and it was like a mad dash to we are trying to say in the live performance, basically get it ready to be performed, learn like yeah, it’s all evolved ten-fold. You know, how to play all the songs from Love Death we try to take the best bits of what we learned Immorality, re-learn how to play all the songs touring Drink the Sea and bringing them from Drink the Sea, and make sure everything with us to Love Death Immorality. We have, I worked properly. Yeah, it was just a completely don’t know, like really tried to craft for the live insane mad dash within just a two and a half experience and really make something really month period to get it all up and ready prop- memorable, powerful and something people erly. It’s a lot of work because we don’t DJ. We walk away from as being like “Wow, that was just get up there and play our music like any really amazing” and are really inspired by it. band would play. A lot goes into it. I think if we One thing about Drink the Sea is that, you did DJ, life would be a lot easier [laughs]. But, know, when we wrote the record, we really you know, we love performing and we love did not think about how the music would work what we do – we take a lot of pride out of it in a live situation or how we would perform and we take it seriously. It’s just a lot of hard the music live, we just wrote the music and work and effort. kind of said that whatever came out was going to come out. It just so happens that we couldn’t really shake the festival circuit or

What are you most looking forward to with this tour?

Me personally, I would say playing House of Blues Boston because that’s originally where I grew up. So, you know, I’m looking forward to playing that show and seeing my family.

My parents are going to come out and my dad owns a restaurant in Boston, and always caters food for the show so I’d say that’s probably what I’m looking forward to the most.

I’m also looking forward to a few days off in Montreal, which is an incredible city to have a few days off in [laughs]. So yeah, definitely looking forward to those.

That sounds great. So how long will we be kept waiting until you release more new music?

Well, we are going to go back to the studio, after this tour, and work on some new music through the wintertime, and hopefully put out some new music in the first quarter of next year. And then, yeah, just basically hit the road again. bambi SHORE

LOVE

vs.

HATE

IGGY

AZALEA LOVE

• Her feud with Snoop Lion, lol • The Long Live A$AP tattoo on her hand she got while she was dating A$AP Rocky, and then put an X over the A$AP part when they broke up • Second best Iggy • She’s from Australia, cool.

• Her imitation southern black rap accent #shetriedit • The “Food that looks like Iggy Azalea” tumblr page • Her butt • I bet her mom likes her… emmie STAFF

10

There’s a reason that the music we hear on pop radio is on pop radio: the songs are catchy, light, and easily loop through our heads long after the car radio is off or the station has been changed. Pop songs are a way to form a temporary friendship, where the conversation will only last as long as the repeated chorus of Miley’s latest and greatest. To say that Iggy Azalea’s music isn’t catchy would be wrong; it’s a perfectly crafted popmachine version of what she calls hip-hop. However, in a decidedly and obviously not post-racial America, Iggy Azalea and her popularity give me the heebie-jeebies. The white, Australian born-and-raised Azalea has found a way to wedge herself into the world of mainstream hip-hop. Her “art” does not coexist with, but rather appropriates and overshadows the work of her peers in a culture of which she is not a part.

HATE

Her inauthenticity is majorly problematic, and many would not hesitate to call her curious change in accent between speaking and rapping racist and appropriative. As a white, middle-class university student, my opinion on what is being appropriated should be taken with a grain of salt, as I cannot speak on behalf of an identity that I (like Iggy Azalea) do not share. However, her widespread popularity amongst young people disturbs me. Hearing Iggy’s relatively unoriginal bland filler lyrics over an annoyingly repetitive beat is enough to turn me off and wish better for the young people who listen to her music. I am careful to remove myself from the camp of writing female performers off as silly and manufactured. But when she raps, all I hear is a mediocre high school drama performance seasoned with insensitivity, capitalizing on the work that amazing artists have done before her. I am uneasy and sad for Azalea’s audience, especially the huge group of young people to whom she appeals. I hope for their sake (and for Iggy’s as well) that the music industry wises up soon- appreciating hip-hop by supporting those who care about it, not just its money, and letting it continue to be fostered by those who had a part in making it great in the first place. Iggy’s cultural appropriation sets a horrible example for the young people who consume her over-the-top image; we need to be teaching cultural sensitivity and appreciation of music in a genuine, educated way, instead of presenting someone’s interpretation and co-optation of a culture that makes them money, but doesn’t come with any of the lived experience of that identity. Pop music is fun, but Iggy Azalea freely dances on the line where it crosses over into dangerous, ignorant territory.

Another reason that Iggy’s level of popularity leaves a bad taste in my mouth is her lack of stage presence and poor live performance. Nothing signals inauthenticity or gross lack of talent more than horrible stage presence. Take her May performance on Dancing With The Stars; chalking it up to in-ear mic problems, Iggy is a mess on stage, and once she finds the beat again, the performance in general is a flat, awkward dirge of a stage show.

More recently, Azalea appeared on Saturday Night Live’s Halloween episode, performing a medley of two of her songs with singers MØ and Rita Ora. The show was painful to say the least, ending with many critics and fans alike throwing accusations of lip-syncing.

Iggy Azalea needs a reality check; she’s not a part of the world of hip hop, and her presence in the pop industry is lack-luster (granted, her record sales tell a different story). Her live presence needs a major tune-up for me to take her at all seriously. madeline KELLY

11

- a chat with -

JULIA STONE of duo Angus & Julia Stone

October 17th was a less-than-seasonal blustery day in Madison, quite far from the summery warmth of Australia. But the grey skies made for sweater weather and a crowd willing to huddle up snugly into the Majestic and wait for Aussie duo Angus and Julia Stone to grace the stage with their warm vibes, unique voices, smoldering energy, and extreme talent. Before the show I sat down with Julia Stone, half of the brother-sister pair, to talk about artistic creation, familial collaboration, and more.

12

“Well, Angus and I know each other so well that there’s not anything to hide, you know.

With music, there’s never been anything to hide.”

EMMIE: I know that you’ve played shows in the Midwest before, and y’all are from Australia and spend time on the West, and you just announced dates in France.

How does the energy compare?

JULIA STONE: It’s interesting question, I guess we get asked that in different places, what makes each place unique y’know…It’s so hard to measure, a lot of whether we have a good show is dependent on how we feel and like, the sound we have onstage and the connectedness we have to each other, and then I think certainly an audience can change that. If you have a great audience you just can’t not have fun, and every show in America on this tour, we’ve played about six shows and it’s been amazing, the crowds are incredible. But we’ve played mostly the west coast, and last night was Denver, and they were amazing….just really enthusiastic audience, really fun to play.

I think because we don’t tour very much in America, the people who have tickets are the people who want to see us.

Yeah, the Majestic is such a great venue and it’s great energy. I wanted to talk about your new album, Angus and Julia Stone. Some have been saying it’s a departure from your old sound, and I was just wondering how you react to that?

Do you feel like reinvention is a natural part of the musical process?

I don’t know, when I think of the word “reinvention” I think of like, Madonna, or something, changing the whole style… and that’s important for pop music…it depends what music is to you as an artist.

And I think for us it’s always been about… we write songs and we record them and play them, and it’s pretty straightforward.

It’s not too calculated in the sense of… how we can get into the market. Its such a complex thing, the music industry, and I think to break it down and try to figure it out is a misuse of my energy. I think Angus and I feel the same way—we just create, and play the music, and see what happens.

Do you think about when you sit down to write music, do you have a message?

Do you want a certain message to come across?

That seems like a sort of epic moral task…I have no sense of responsibility for something like that. I really want to be a good person, but I don’t know how or why. Just try to do my best, and music’s a part of that, and I think it does make me a better person. I always try to get better at my instrument, and always try to be a bit more honest. Yeah, what people take from it is totally up to them and totally personal, and I really respect that.

Music as art, and creation in general, are such important things.

Yeah, I think having people just listen to each other, even if we don’t understand what the other is saying, is such an important part of a community…I think that it’s something that everyone has a right to as a human-expression and creativity.

There isn’t one human on the planet who isn’t an artist. I don’t think of myself as “I’m an artist” it’s that…we are all artists.

Whether we remember how to do it or to your family it isn’t as important, it still happens.

In the vein of family ties-obviously you and your brother Angus are playing together, and I just am curious how collaboration works with a family member, and how does it contribute to your relationship? How do they play into one another?

Well, Angus and I know each other so well that there’s not anything to hide, you know. With music, there’s never been anything to hide. It’s kind of the one space in my life where I don’t ever limit what I say. In conversations with strangers you…navigate your emotional boundaries but in music it’s a place where those all sort of disappear. And to write with Angus is nice because there’s such a sense of knowing and trust and that’s, I guess, rare to have that much knowledge

about somebody. He knows everything that’s happened throughout my life, and that certainly makes it a nice experience.

With family you have such an opportunity. It’s not necessarily always that way but we’ve worked hard to find a space to be able to use that.

Kind of a safety in vulnerability?

Yeah, I don’t feel like there’s anything to hide from Angus.

Do you think that translates to when you’re actually performing?

We’re both very sensitive, I think, to each other and each other’s moods and experiences, so that can be really positive but it can also be really difficult. If I’m having like a low experience, it’s hard when you’re united in the music and singing these songs together. The other person’s experience of the night is definitely affecting the other person, and when it’s just you singing you’ve got to find your way through it. And it’s sometimes easier that way because you can sort it out in your own head, but when it’s the both of us, sometimes it’s really amazing. But sometimes I know that I will affect him and he will affect me. That’s the biggest challenge of it: you’re super sensitive to each others’ moods and you care so much, you want everything to be good and okay. I guess that’s the challenge of all love. When you love somebody you just…they’re always there in your mind and in your heart, affecting the way you operate in the world. We’re meant to as humans be connected and in that way.

I guess the art of happiness and living well, it’s letting the clouds in your mind [when you love someone] be something beautiful and not something negative.

You can appreciate an overcast day and realize it’s actually something lovely. It’s nice to have a day without sun.

madeline KELLY

13

14

15

AN EVENING WITH

BRETT DENNEN After comin’ down the mountain (well, down the mountain and then out of Los Angeles), Brett Dennen came back to the midwest for his 2014 tour, and the “Wild Child’s” first stop was at the Majestic on September 24th!

Emmie had the chance to chat with Brett about his latest album, what it means to be a musician, and of course, his watercolors.

“The older I get and the more I see, the more I realize that if you really want to change the world you’ve really got to start changing your own life.”

16

EMMIE: So in August you finished up the Soulshine tour with Michael Franti and Spearhead. What did you enjoy most about touring with them? Any favorite concerns or moments from that tour?

Brett Dennen: Well, Michael Franti is one classy fellow, and I’ve known him for a while so I knew it was going to be a good time. I thought I was going to have a lot more time to chill with him, but it was so busy we didn’t get much time to hang.

But what was really my favorite thing was the yoga element of the festival. The fans could pay extra to come to the show early for a yoga class with a world renowned yoga instructor, but the bands all got to do a private yoga class on their own with that same instructor every day. So I got my yoga on hard!

And speaking of relaxing, you’ve said you lived in the mountains while you were writing your latest album, Smoke and Mirrors. Where was that again?

Up near Yosemite in California.

So obviously that setting was pretty conducive to the feel of the album, but was there a central song or theme that the album was arranged around?

Yeah, I wrote the album around the song “Wild Child.” I’ve been living in the mountains on and off my whole life, but I just felt like after having put my roots down in LA, working so hard, touring so much and dealing with journalists and media, I was getting way too involved in all that and I needed a break. So I started working on the song “Wild Child” and as I was writing it these words were just all coming out about trying to get back to who I am and not trying to live up to anyone else’s standards. Like holy crap! I need to get back. So I moved into the mountains and just started writing. I kind of got back to the good old days.

And getting back to yourself… I know you’re a huge Paul Simon guy, but are there any other artists or musicians that have had a great influence on your work?

Absolutely. I love Van Morrison and I think you could probably hear a lot of that in there, also Joni Mitchell, some of that might come through here and there. Really, all that good 70’s folk rock type of stuff, Grateful Dead, the bread and butter kind of stuff! I could listen to new music I guess, but I don’t feel like venturing. I’d rather just listen to the stuff I know.

So you seem to be pretty busy in the nonprofit world with organizations like the Mosaic Project and other projects that work with kids. Do you find any of those experiences informing your music?

Hmm…nobody’s ever asked me that before, it’s a good question though. Definitely indirectly, because the work is all about making a connection with a person. And those connections really inspire me in life. They remind me of what’s important. It’s all about what you have already, the gifts you have that can help others. And that might not make me think of a song or make me

want to write a song, but it makes me a better person and as a better person it probably has an influence on my art.

So you’re coming to Madison next week, and we’re so excited to have you!

Yeah, it seems like that’s where it starts. So turning to this current tour, I’ve been perusing your Facebook page and have seen all of these fantastic watercolors that you’ve done for each stop of the tour. What was the inspiration for the idea or is it one of those things that just happened?

I’m super excited, I frickin’ love Madison!

What’s your favorite thing about playing here?

It’s hard for me to put my finger on it. Ever since I first came through, I thought it was great. It’s kinda like a college town, kinda like a capitol city, it’s the perfect size, the water is nearby, there’s a culture, people from different backgrounds, really smart people, good food. It’s beautiful. It reminds me of a small Washington D.C.! Like D.C. with more nature.

And being that it’s a college town I wanted to ask a bit about your college years. I know you studied Community Studies for Social Change at UC Santa Cruz, so do you find your music career to be partly furthering what you learned in that field, or furthering the goals of social change for the better?

Yeah, definitely. It was when I was in college that I had the idea of “Well, if I want to play music I want it to have a message.” That’s what was sort of being born at the time. I was hanging out with a lot of people that wanted to make change in the world. It was something that naturally turned into it. And I don’t know if I’m really furthering it or doing more than I could if I had taken the straighter path of working with non-profits or something like that. But I know I still try to link my music, my self and my concerts with good causes. So it’s possible that I am furthering it. But being a musician definitely helps me have access to more of that stuff than I think I might have without being a musician. So it’s definitely in line with what I was studying in school.

Well it is awesome, for those of us who really want to work for the better good, and are dabbling in music also, it’s great to see that you can do both.

Well, you can! And I think it’s tough to know, who does the most change? The people who are out there inspiring others to change for the better, the musicians and artists, or is it the people who are out walking the walk? But the older I get and the more I see, the more I realize that if you really want to change the world you’ve really got to start changing your own life. You’ve gotta lead by example and create communities that build a pattern. It’s way easier to do that and way more meaningful than to go around picketing and trying to get other people to change their minds.

You’ve really just got to start with yourself and so that’s what I’m trying to do.

Well, it’s kind of like the conversation before about “Wild Child,” how I’ve been just focusing so much energy on touring, writing, my career, and there are other interests in my life that have just been on the backburner. I’m finally feeling like branching out, like not being this guy that only plays music and is torturing himself over it. So one of my old interests and passions is watercolors and I needed to put that back into my daily life. And once I started putting them on Instagram, people began to really expect me to post things all the time, and because I couldn’t think of something new to paint every day, I thought, why don’t I just do one every time I do a show, and it could be a concert poster. So that’s even more fun because I always try to either paint the first thing that comes to mind but if nothing comes up then I do a little research. For my show in Madison, I did this hippy farmer guy because that’s just what I think of with Wisconsin, since it’s always been on the cutting edge of organic dairy and things like that. For a long time it seemed like that was the place people would go to get out of the city and have their little organic farm commune. I wanted to try to do something along those lines.

Yeah, we’ve got a little granola in us, I suppose. Do you dabble in any other art forms?

Not really, I play music, paint and draw. I’m interested in acting and I feel like I’m always doing voices, but other than those, no.

So at the end of this tour you’ll have been on the road quite a bit! What’s the first thing you want to do afterwards?

Well, when I get done with the tour it will be winter, so I’ll come home to LA for a little while where there will be really nice waves, so I’m gonna surf every day and hang out with my girlfriend. Then once it starts to snow, I’ll go back to the mountains and ski and write.

I wish our winter had waves! But are there any future projects in the works, or not even in the works, that you just can’t see your career being complete without doing?

Yeah, I want to start collaborating more. I want to do a song with a DJ, write songs for other artists and different genres, maybe with a country artist.

Outside of music there is things I want to do also, like I want to have a brand wine, because I love wine and I love California wine. Not a Brett Dennen wine or anything but to just be involved in a wine company would be great. I also love food, and my girlfriend is a really good vegan chef so working with music, food and wine sounds good.

And I also want to keep going with this art thing!

I could maybe do some gallery shows, or not gallery things, something just on my own, like an online Instagram gallery. Who knows! kelsey WALLNER

HIP-HOP PSYCHEDELIA I’ve been finding connections between hip-hop and Psychedelia music for the last few years now, not as a fan or critic, but as a producer. If I could tap into that hazy, acid-inspired sunshine pop as an aesthetic, then I’d certainly be able to make money. Hard psych is out of question, partially due to recording quality, however, soft psych, especially with a jazz tinge, is only a few degrees of separation removed from the jazz-rock and Rhodes heavy blue note recordings that hip hop masterminds like Pete Rock and Q-Tip mined to create their finest records. Most importantly, I thought it hadn’t been done.

Nowadays, I approach hip hop and psychedelia more as a fan. Though it’s hard to compare a genre spanning 30 years to a fleeting moment in music history, there are parallels to be found. They thrive on the same mind-bending element of surprise and esoteric lyrics. The best psychedelic artists seamlessly appropriated culture from faraway lands and bygone eras into their music - they created sonic collages. The aesthetics of psychedelia were ever changing, unified by stream of consciousness. This is also the case with hip-hop. Both genres provide the artist with an unlimited palette.

i

18

P

As it turns out, a number of hip hop artists have been able to find opportunities in psychedelic rock. Rather then outlining an extensive history, I think it’s worth exploring a few records in depth. The melding of psychedelia and hip-hop has been achieved in many capacities, but two of the boldest examples are De La Soul’s 3 Feet High and Rising, and A Sufi and a Killer, by Ganjasufi.

When Psychedelia melded with the musical and spiritual traditions of the East, the result was always filtered through a Western lens. A Sufi and A Killer focuses on the other end - it’s a story told from the perspective of the Eastern sage. One who has to compromise his ways in order to survive. How does the real life Ganja Sufi (Sumach Echs) make a living? He teaches yoga, of course.

De La Soul did it first. In 1989 they broke boundaries with their debut, 3 Feet High and Rising. Prince Paul kept his production grounded in funk, while exploring vast sonic territory, from contemplative R&B ambience, to 1960s sunshine pop, to oldtimey vaudeville piano. Through all this, his work evokes the imaginative eclecticism of the psychedelic era - especially the years in which psychedelia began to seep into soul and funk music. He was one of those pioneers (along with Dr. Dre, The Bomb Squad and the Beastie Boys) who could weave together a variety of elements throughout a single track. On the track “Plug Tunin”, he begins with a baritone sax loop, and transitions into arpeggiated soul vocals and wind chimes. The second verse then introduces a melodic loop best described as railroad funk. Very Cypress Hill-esque. Other tracks follow a similar blueprint. 3 Feet High and Rising is music for cookouts and neighborhood block parties. The kind of record you put on late on a summer night, and decide to keep spinning through the next week. Perhaps more then anything, 3 Feet High and Rising borrows from psychedelia, a carefree and imaginative sensibility.

3 Feet High and Rising and A Sufi and a Killer are just two examples of how hip hop artists have incorporated psychedelia into their music. As hip hop became increasingly saturated in the late 80s/early 90s, producers began to broaden their horizons and the art of crate-digging reached new heights. This marked the beginning of psychedelia in hip-hop, but from there it becomes harder to trace. There has never been a unified psychedelic hip hop movement.

In contemporary hip-hop, we’ve seen the rise of psychedelic leaning rappers such as Action Bronson, Chance The Rapper, The Underachievers, Ab-Soul and Flatbush Zombies. Psychedelia seems more viable then ever, espescially with YouTube serving as a goldmine of obscure records.

Though it’s certainly been done before, the opportunities to be found in psychedelic hip-hop seem endless.

When I began producing, I thought hard psychedelic rock had limited sampling potential. But you can never underestimate the vision and ingenuity of experienced artists.

Gaslamp Killer and Ganjasufi, on their 2010 collaborative LP, A Sufi and a Killer, melded hard psych with eastern influences, creating a potent aesthetic in the process.

Gaslamp Killer’s use of psychedelia is comprehensive, ranging from fuzz toned surf rock, to colorful, organ heavy sunshine pop, to the hypnotic vocals of post Psychedelic French lounge. On the track “Duet”, he amplifies a woozy Hendrix inspired guitar loop, with a phaser, and sparse analog synth effects. The result is a hazy, astral rendition of the blues.

The record is steeped in lo-fi dissonance - the marriage of jangly electric guitars and rugged far eastern zithers.

Gaslamp Killer makes songs for the weary desert traveller, whether in the canyons along Route 50 or the dunes of Arabia. In either case, open road freedom is outweighed by the stark realities of life.

Overall, it’s hard to fully digest, but Ganjasufi helps put the record into perspective with his haunting vocals and introspection. He has a wholly mystical presence - it’s hard to find any clear influences other than the stark tonality of Middle Eastern song and chant. His voice is withered and abrasive, as if he bears an unfathomable burden.

nik HEINEMANN

BONUS List of Psychedelic Hip-Hop Records: 3 Feet High and Rising - De La Soul Buhloon Mindstate - De La Soul Indigoism - The Underachievers Temple of Doom - Cypress Hill Livin’ Proof - Group Home (prod. by DJ Premier) Tackle Box - The Cool Kids Beauty and the Beat - Edan Nocturnal - Heltah Skeltah Word.Life - O.C. Street Level - The Beatnuts Watching Movies With the Sound Off - Mac Miller Vodka & Ahuayasca - Gangrene Dr. No’s Ethiopium - Oh No Duality - Captain Murphy Psycho Realm - The Psycho Realm Stankonia - Outkast Atliens - Outkast Aquamini - Outkast Madlib Medicine Show - Madlib The Unseen - Quasimoto Further Adventures of Lord Quas - Quasimoto Paul’s Boutique - The Beastie Boys 36 Chambers - Wu Tang Clan July Heat - Flying Lotus Deltron 3030 - Deltron 3030 Petestrumentals - Pete Rock A Sufi and a Killer - Gonjasufi

19

THE

DRUNKEN

CATFISHRAMBLERS

The musicians who perform in the crowded streets on hot summer days in Madison connect us to an extremely authentic musical experience. When I stumbled upon the not-so-modest crowd gathered around The Drunken Catfish Ramblers at the farmer’s market, I knew I had to talk to the group of musicians and spread the word. This music is real, it’s exciting, and though most of what they perform was written in the ‘20s, watching The Drunken Catfish Ramblers perform is anything but outdated. I dare you to try to keep from smiling and dancing as The Ramblers show you how it’s done, straight out of New Orleans (with quite a few stops in between). I sat down with The Ramblers over cheeseburgers and fries while the guys talked about their music, what it’s like to be street performers, and why they do what they do.

20

EMMIE: Thank you so much for meeting with me, I’m really excited.

What brought this group of people together, how did you meet, why are you here together at this table?

GREG: Right, well originally the band was me, Bob, and another guyMatthew Dominguez. Bob was playing ukulele, I was playing guitar, Matt was playing banjo and we were just traveling around. And then we meet Roy in Boston, he’s 17, and he’s like, “All I wanna do is join a ragtime band and ride freight trains.” And we were like, “Hey, we’re going to New Orleans.” When we got to New Orleans, Scotty had lost his band…or misplaced, for the record [laughter].

ROY: We were thrilled by that because he was such a better musician than all of us, [he] still is, so we’re still thrilled.

GREG: So we came back to New Orleans, met up with RC…and Aaron joined us at the same time, a little earlier. That’s the Reader’s Digest condensed version, so yeah, the rest is history. This has been the regular lineup for almost two years now. Although Roy spends most of his time in Arkansas, but he’s still like a satellite.

Because you play old music, based on stories written by other people, how does that connect you to your audience?

GREG: Every song that we sing, and I think all of us feel this way, directly relates to our experiences.

ROY: I’ve found that everything in our music is so applicable to so many peoples’ lives today. All the things they were singin’ about in the ‘20s can always be applied to a modern day context, you know.

AARON: It’s resonating with people because we’re kind of in the same boat now as people were back then.

What are your biggest influences as a group musically?

ALL: Memphis jug band, Cannon’s Jug Stompers, Salt and Pepper, there’s too many to list. The Mississippi Sheiks.

ROY: I’d say if there’s one single greatest one it’d be Memphis Jug Band. Part of our cause is to let people know, you know, how music started here.

How often do you come to the Midwest, or how often do you make it to Wisconsin?

What’s the most interesting thing you’ve encountered while busking?

GREG: The last time The Catfish Ramblers were in the Midwest was on that first trip, 2010 or 2011.

ROY: But certain members of us come annually.

GREG: The craziest thing—we were busking, and this was the early days of the Catfish Ramblers, and we were busking and there was this pretty girl, and in the middle of the song I just said “kiss me!” and she did, while I was playing the song. Her mom actually talked her into it…and then she went away. But she came back at the end of the song. That was the craziest thing.

ROY: What about that time in New Orleans on Royal Street, when those brass band guys came and set up right by us?

GREG: We got in a fight with a jazz band when they set up [to play] like on top of us…We were playing the same song they were playing…they came up all around us and were shooting daggers at us with their eyes, and we were this close to getting in a fist fight which we guarantee we would’ve lost. There’s not even a question about that…it was funny because we got a huge crowd of tourists who thought we were just interacting and playing with each other…that’s not what was going on.

ROY: No, they were like f**k these white boys.

BOB: There was another time when someone grabbed a bunch of money from our case, and we chased them down. It was like the Wild West.

What do you think of Wisconsin?

GREG: I like the beer cheese soup!

That’s good! You’re in the land of beer and cheese here. I saw that you guys just finished a kickstarter, how did that go for you?

BOB: The best part of doing the kickstarter is making the funny video.

SCOTTY: No—the best part is the special gifts that everyone gets who helped us out.

AARON: Especially the date with Greg.

RC: …which no one took unfortunately [everyone laughs]. It’s good for morale, you see there’s a lot of people supporting you.

ROY: You notice a lot of musicians, y’know your peer musicians who also don’t have any money, and you see them contribute and then you’re like damn, my homie Feral Foster in New York who doesn’t have any money contributed money, and next time I see that motherf****r…[more laughter] SCOTTY: It’s like the bands and the fans are in it together, you know?

AARON: It’s like…we have superbands down in New Orleans and we kind of raise money for our friends. So with crowdfunding…we weren’t super comfortable with doing it but you do what you have to.

How would you loosely define what kind of music you play?

ALL: [debating] Pre-WWII Blues…Pre-war American Vernacular music…yeah, pre-war vernacular music.

Do you find that [your genre] pigeonholes you to a certain type of audience?

BOB: I feel that not many people listen to the type of music that we play, so it’s old, but it’s new.

GREG: There’s a mix- a lot of people like it because they’re super into old music, but a lot of people who listen to bluegrass music think it’s bluegrass, it’s so eclectic so people sorta hear what they want to hear.

SCOTTY: It’s interesting. They don’t know what it is but they like it.

RC: We’re also educating people; we’re going to be playing at an elementary school in Louisville.

ROY: One thing that I love about playing on the street is that…people get a taste of where we come from musically and culturally, and I feel like playing on the street is a way to share that with people who wouldn’t know how to seek it out or even know it exists. So we shove it in their face.

If you could say there was an objective or goal to your music, what would it be?

GREG: I feel like there is no other group of musicians that I could make this music as well with. But other than that everyone’s on their own track. My goal in life is totally separate-though this band is part of it. My goal in life is to make people as happy as possible, and do whatever I want with no exceptions as long as it doesn’t cause anyone else to not be able to do what they want. This is the only job I can think of where I can make money without f**king people over.

BOB: My goal’s pretty simple and shortsighted and typical, but I just want to make music and have fun and get better at my instrument.

AARON: I want to prove to myself that I can do what I want in this world. And I’d like to record myself on a 78, listen to it a year later and forget that I did it, and think it was an old recording.

SCOTTY: I want to go on a date with Beyoncé [laughs].

ROY: I want to grow every day to be more accountable for my actions, and for my behavior in the world. Be more of an accountable friend, and I wanna do my best to fill my role as an entertainer, in whatever community I am in. Like to use my gift to help other people out, having a good time, and celebrating and dancing together. Live accountably, try to do right by everyone, not have a serious negative impact on people around me.

madeline KELLY

21

KESHA vs.

DR. LUKE Until 2014, pop starlet Kesha, born Kesha Rose Sebert, was fairly one-dimensional to the general public. The singersongwriter delivered electropop party-starters that we all accidentally learned the words to, from career kick-starting megahit, “Tik Tok”, to the chart-topping Pitbull collaboration “Timber”. The mastermind behind the rise of Miss Sebert?

Lukasz Gottwald, better known to the music industry as Dr. Luke, who is responsible for a slew of hits over the past decade for artists including but not limited to Katy Perry, Kelly Clarkson, B.o.B, Britney Spears, Nicki Minaj and Jessie J. Dr. Luke signed Kesha to his RCA-imprint label, Kemosabe, when she was a young age of 18 in 2005. It wasn’t until 2009 that Kesha found her niche and began to take the world by storm, shortly thereafter releasing her debut album, Animal, on Luke’s label and achieving worldwide success. Following a brief rehab stint due to an eating disorder in January of this year, rumors circulated of causation on behalf of Gottwald; in late October, a full-fledged lawsuit cracked open in the media. In this lawsuit, Kesha details multiple forms of abuse from her producer and hitmaker, Dr. Luke, including sexual, physical and psychological abuse.

22

Kesha’s Side

Dr. Luke’s Side

Who do we trust?

It’s been a long time coming – Kesha’s biggest fans are thoroughly unsurprised by the news of this case, although many examples brought to sight are quite vile, and no one could have predicted them. In one scenario, Kesha outlines a time when the producer gave her the date rape drug, ending with her waking up naked in his hotel room bed. In another, the producer takes the singer down to a beach and threatens her and her family if she speaks of his abuse. In many other instances, Kesha outlines statements where Dr. Luke tells her she would be ‘nothing without him’, saying that ‘he owns her’ and alike sociopathic statements. Inside the case are numerous other specific examples of intense physical, psychological and sexual abuse that almost seem far too specific to fabricate, even spilling over into Dr. Luke’s personal life and family (one example outlines a situation where Luke forced his wife to have an abortion).

The objective of the case serves one purpose: to separate the two and end the seven-album contract. The many examples of Kesha being restricted as an artist are very prevalent throughout her career. The many singles released by the singer seem to live in the wake of her “party girl” image, to which the artist has on numerous accounts tried to break, but her label (to which Luke controls) continually decides to avoid the release of ballad-like singles to prevent public disinterest. Additionally, Kesha’s work with other producers is almost always scrapped by her label and her albums are visibly overpowered

by Gottwald and his production teams.

Kesha’s work with producers such as Wayne Coyne (The Flaming Lips), Matt Squire and a number of other hitmakers is continually shelved. Kesha’s case also spells out the deep-rooted abuse in the studio, including Dr. Luke forcing her to sing what he chooses leaving her with little say in the creative process. In late 2012, Kesha took to Twitter to explain that the hook of the hit song, “Die Young,” was not what she wanted to sing, but that she was ‘forced to’. Most recently, the star went to rehab where she wrote letters to fans explaining that she had undergone horrible abuse from Dr. Luke, who is likely the one who put her there in the first place (the producer has been under fire for calling her fat and misshapen, even once comparing her to a refrigerator). Many signs point to the idea that the star has had limited say in her career from day one.

Following Kesha’s case against him, Dr. Luke immediately counter-sued Kesha and even her mother on behalf of slander and supposed extortion: the producer claims that Kesha’s mom, Pebe Sebert, made numerous threats to bring the truth to the public eye, and also that they are trying to get money out of him. In 2011, the peak of Kesha’s career, the singer lied under oath that the producer had ‘never sexually or physically assaulted her’ and indicated that they may or may not have had an intimate relationship. Also, Kesha’s mother did indeed threaten him via email (although the threats still match up with Kesha’s case). Without Dr. Luke, Kesha may never have become the star she is today, as he is responsible for a strong majority of the singer’s hits (excluding a few features and “Tik Tok” follow-up “Blah Blah Blah”). Latest, in 2013, a “Free Kesha movement” was started by fans, and Luke is pointing fingers at Kesha for going incognito to start it to garner negative buzz around him. The petition winded up receiving several thousand signatures and becoming an online phenomenon, bringing the situation between the two to the forefront before any of the case hit the media. It seems natural for him to be defensive, being the man behind the curtain throughout the entirety of her slow-but-sure rise to fame.

Music fans everywhere are torn. Kesha, a seemingly harmless and innocent singer-songwriter – would she fabricate such intricate lies like these? Why on Earth would it be in her interest to lie about this and potentially end her career? Seeming as the court case doesn’t arrive until 2016, the singer is almost putting an end to her career by just stepping into the court case (following the slight underperformance of her most recent studio album, “Warrior”, the general public might not have as large an interest as before). By this, it makes sense to trust Kesha – she just wants out of an abusive contract and to be free, spiritually and creatively. However, it’s hard to believe that Dr. Luke, an extremely talented producer who has worked with numerous women in the industry, would perform such crazy acts against the singer. Dr. Luke also has a young rising star on his label, Becky G (her song”Shower” became her breakout hit this summer) who doesn’t seem to be having any problems. Other artists such as Katy Perry, Kelly Clarkson, P!nk or Avril Lavigne have never said anything negative about him (although the latter 3 have stopped working with him for many years now, an eyebrowraising fact). Kesha’s lawyer states that people ‘will come forward’ – only time will tell which side of the case is the one to believe. It seems like either way, these two are better off separated.

What does this mean for the industry?

Under the table abuse in the industry is now a bit less strange as we watch this case materialize and gain traction. Stars whom are being controlled and manufactured in detrimental ways could very certainly gain inspiration from Kesha. Awareness is also raised through this horrible circumstance: secrets that lie in the music industry are often very grimy, but it’s a good thing that instances like this one are being brought to public attention to show just how dirty the industry really can be. Regardless of who is going to win this case, the entire situation is a grand showcase of the scummy nature of big business music, the rise and fall of stardom and the things people need to do to rise to fame. Hopefully, Kesha can be a pawn in ending industry abuse and dirty secrets hidden under wraps of labels and controlling producers. collin KIRK

23

24

BEATLEMANIA: A MALE’S PERSPECTIVE MILWAUKEE, WISCONSIN | SEPTEMBER 4, 1964

BEATLES INVADE MILWAUKEE ARENA TODAY IN THE NEWS “Ladies and gentlemen, The Beatles!,” Ed Sullivan exclaimed on February 9th, 1964, when over 23 million households turned on their television to see the Beatles’ first live performance on U.S. soil. Performing “All My Loving,” “Till There Was You,” and “She Loves You,” The Beatles left a lasting impression on a nation that immediately fell in love with the four mop-tops from Liverpool. Therefore, when the band began a U.S. tour in August of 1964, pandemonium at every stop of the 25-city tour ensued. Milwaukee, Wisconsin was Hand,” “She Loves You,” “Yesterday,” and “From Me to You,” no exception.

Marty admitted, still to this day, there isn’t a Beatles album he doesn’t own.

On September 4, 1964, The Beatles’ plane landed at Milwaukee County airport, now called Mitchell Airport, where Marty’s voice sped up with excitement when he talked they were welcomed by hundreds of screaming fans. The about the show, recounting specific details from an event band’s upcoming show at the Milwaukee Arena had sold out all 12,000 seats in nearly a week. The thousands of fans, that happened 50 years ago. He remembers the Righhaving bought tickets five months before the show, showed teous Brothers were supposed to be the opening band, but cancelled last minute due to illness. He remembers the up screaming when the day had finally arrived. However, hotel the Beatles stayed at that Friday night- Coach House when looking back at historic photos of the Beatles’ live Motor Inn, which is now a renovated Marquette dormitory. events, one can’t help but notice the plethora of girls in He remembers girls throwing jellybeans on stage because attendance. Girls were screaming, climbing on the band’s limo, and even passing out when the Beatles came to down. George Harrison once claimed he loved the sugary candy.

But most importantly, he remembers the four men from So what was it like to be a male fan in the midst of the Liverpool, standing on the stage in the crowded Milwaukee mayhem? arena, wearing matching suits and smiling in the midst of “I’ll tell you one thing. They played a 35-40 minute set, and the chaos.

I could hardly hear a thing over the sound of the screamOnly ten girls fainted at the Milwaukee concert. The morning girls,” Marty, a male from the Milwaukee area, said ing after the show, girls jumped on their limo as the band of The Beatles’ concert in Milwaukee. After paying $5.75 (about $25 in today’s money) to see his favorite band, Marty rolled away from their hotel. Fans raided The Beatles’ suite at the Coach House Motor Inn to grab any memento they admitted the screaming girls had not ruined the concert for him, which was about two weeks before his fourteenth could after the band had departed. But, for Marty, a night full of memories and a picture of Ringo Starr, which is curbirthday. “It was an experience I’ll never forget, and one I rently on display in his home today, were the only souvenirs don’t believe will ever happen again,” Marty said. he needed.

Sitting in the middle of the stadium with a good view of the stage, Marty attended the concert with a friend and his When I asked him to if he had any comments about the concert to add, Marty simply said- “They put on a great friend’s mom. Marty, thirteen at the time, still remembers the songs The Beatles played, even if their music was barely show, The Beatles.” audible above the screaming. In the midst of listing songs abbey SCHNEIDER they performed at the concert such as “I Want to Hold Your

25

You Don’t Know You’re Racist, Oh Oh

(And that’s what makes you racist) Members of bands are always given labels, either by fans of the media, that identify their outstanding traits. While these identifiers are sometimes accurate, they are never holistically representative of the artist as a human being. In the case of One Direction, however, it has even at times turned racist. Disturbingly, the five members of the pop ensemble have been categorized as: Liam Payne (The Dad), Louis Tomlinson (The Leader), Harry Styles (The Flirt), Niall Horan (The Boy Next Door), and Zayn Malik—“The Ethnic One.” While the other four members are given traits related to their personalities, Malik is only recognized by his ethnicity. This racist categorization of Malik, whose father is of Pakistani heritage, at times even originates from a subset of the One Direction fan base.

“The Leader”

26

“The Boy Next Door”

“The Ethnic “The Dad” “The Flirt” One”

True, Malik is the only person of color and Muslim in the group, which does set him apart from his band mates. However, this is not justification for his alienated identity. While this would be viewed as disgustingly racist in any other context, it is treated as endearing within the fraction of fans that knowingly participate in racist dialogue surrounding Malik. The “jokes” range from referring to Malik as a terrorist, to taking stabs at his religion. Because these comments come from fans who treat the insults as “endearing,” not much is said criticizing this blatantly racist behavior.

Attacks not only come from a minority of the otherwise supportive fan base, but from other sources in the public sphere as well. When Malik tweeted a declaration of his Islamic faith, he was criticized for “advertising Islam to young fans” by conservative bloggers.

This situation would be unthinkable had he been declaring something “white,” such as Christian faith. In a separate incident, he temporarily deleted his Twitter account after receiving racially charged threats. Malik is under scrutiny just as the rest of the band members are, but his racial identity is enough to draw backlash and downright bigotry. The other four members have received more trivial attention—dating habits, drunken antics on nights out—but criticism Malik received is undeniably racially charged. Like the vast majority of People of Color, simply being is enough of a reason to receive hostility. Malik, who is the most reserved of the five members, perhaps keeps his private life to himself for a reason: anything he does is subject to abuse regarding his race. And yet, negative attention on his race still happens.

Malik is only one of the many artists in the music industry today who face unwarranted backlash that white counterparts do not experience. Earlier this year, Nicki Minaj called out critics of her promotional image for her single “Anaconda” and the accompanying music

video for their underlying racism. Her comments are spot on—when white bodies are hypersexualized, it’s seen as more socially acceptable than when black bodies present similar images in the same context.

Consumers decide what is acceptable to them on their own, but it’s fair to say Iggy Azalea wouldn’t have received the same kind of press as Nicki did had it been her on the cover of the “Anaconda” single.

In Malik’s case, his entire existence and personhood is reduced to being “ethnic” when his only identity is the “not-white-one.” Anyone in the public eye understands that they will receive unwanted comments, but being a musician or a celebrity does not give fans or the media a free pass to perpetuate casual racism. Nothing is ground for casual racism, and ignorance is no longer a valid excuse for saying incredibly hurtful things under the guise of “I didn’t know it was offensive.”

To fight against casual racism, it is important that people to speak up when they witness it. In the instances leading up to Malik’s departure from Twitter, many fans rallied around him, reporting the abusive tweets and sending supportive messages his way. While this is good to see, it doesn’t directly address the problem of racism in our society today. Despite what we’d like to imagine, we do not live in a post-racial society. It’s the microaggressions, the casual racism, that allow bigotry to stay alive while going relatively unnoticed.

Racism doesn’t look like what it did in the 1950’s.

Although a member of a boy band getting racist media attention isn’t the biggest of concerns for the equality cause, it’s indicative of what attitudes are held by the public, and occurrences like this signal that our society still has a lot of work to do in the realm of equality. mia SATO

27

LOCAL ARTIST ALERT:

MADISON SHARROWS MALONE EMMIE Magazine recently sat down with up-and-coming local singer Madison Malone. Fun fact: whenever Madison finds spare Emmie magazines, she spreads them out on display for public consumption. If that’s not enough to love, her four track EP, fantastic live performance skills, and crazy musical talent, will sell you in no time.

28

EMMIE: I know this information is on your website, but just to get it out to EMMIE readers, what began your love of music?

Plus Madison is so full of talented up-and-coming musicians.

You’d have a ton of support in getting that started! But on that note, how do you like the Madison Music scene?

Madison Malone: My family is really what started it all. My mom is a really talented pianist, and when I was just a toddler, she bought a huge red piano. That’s the piano I learned how to play on. From age five to twelve I had piano lessons, until I was ready to move on from typical sheet music into playing what I really wanted to play. On the other side of my family, my grandma was an incredible singer. She’d performed on Broadway, and even opened a theatre of her own.

I think it was the combination of my mother and grandmother’s musical talents that really inspired me to begin working on my music.

I love it! It’s bubbling! Bands like PHOX, and Dolores are so great…just full of genuine people who don’t care about fame, they just want to make music. I almost moved to Denver a few months ago but things really started working out for me here. I actually met Monica Martin (lead singer of PHOX) at a show, and she told me how proud she is of keeping the band in Madison, but touring elsewhere. It helped me realize I’d love to do that as well.

That’s awesome; it’s great that you’ve had so much support in both aspects of your music. At what age, exactly, did you begin performing?

Well, Disney songs and ‘performing’ with my siblings was a huge part of my early childhood. At age ten my first official show was my school’s talent show, where I sang “Part of Your World”. This song is still such a humbling reminder for me; whenever I hear it I’m brought back to those early years. At age fifteen I started doing local shows. I didn’t really have any ‘band members’ at the time, and I didn’t play guitar yet either. So at one of my first shows, a concert in the park, my singing was accompanied by karaoke tracks.

What or who inspires you the most as you write music? Anything in particular?

It’s not really anyone in particular, but many things. The love and support I receive from everyone in my life is huge. Obviously my boyfriend, family, and friends are major sources of inspiration. But there’s more than that, I’m really inspired by many things: just the little happy things in life. I love hearing other people’s life stories, and I get a lot of inspiration seeing how different types of people overcome difficulties to find happiness What are your current plans for this year, or goals you’d like to accomplish?

There’s so much! I’ll be touring in Nashville for a few nights this month, and I’m so excited! Two nights will be shows and the third will be dedicated to networking. I’m also planning on recording a full 10-track album in the upcoming year!

Hopefully I’ll begin recording in February and the album will be out by April and May. Two other things I’m incredibly excited about are Girls Rock Camp and Musicians on Call. Girls Rock Camp is a fantastic organization: it’s a camp for girls age eigth to fourteen who are interested in music. For a week, a group of local female musicians help campers write, record, and perform a song.

It’s a great time for everyone! Musicians on Call is something I’m even more excited about. It’s an organization that’s already well established in many major cities, like New York, LA, and Nashville- but I’m trying to bring it to Madison. The goal of the organization is to bring musicians to hospitals to perform for patients. Music is such a powerful thing, and it can be so useful to help and inspire people in need.

That’s fantastic! Where would you most like to visit?

Definitely Seattle! New Orleans, St. Louis, Baltimore, and Denver are also very high on my list.

You currently have a four track EP, and it’s wonderful! Can you tell me about the songs on it and the stories that go with each one!

Of course! “Just Tonight” is the first song. It’s about a little fling, just a brief bit of happiness with someone. Just enjoying the moment and not questioning when it’ll end. “Valley of the Lost” is the second song, and it’s really meaningful to me. It can be about any difficult choice in which both options seem difficult, or even impossible. For me it was inspired by a failing relationship, but it could really be anything. “Simmered” was inspired by someone who I longer wanted in my life trying to win me back with sweet talk. And “Not Enough”, the final track, was spontaneous inspiration. I was stressed with school and just couldn’t find a balance. I realized in that moment how important it is to follow what makes you happy and go for what you truly enjoy in life, and that inspiration powered the song.

I love how personal each song is for you. That’s wonderful, and your music is so relatable. As far as the sound of your music goes, I know there are moments where I hear some Norah Jones/Regina Spektor, but that’s just me. Are there any musicians in particular who’ve influenced your music?

Actually, Regina Spektor and Norah Jones! Other than that, definitely Ella Fitzgerald and older jazz musicians, Linda Ronstadt, Alicia Keys, and Sara Bareilles. Adele… The Beatles… and of course…Beyoncé!

So many great musicians! One last question…if you had to get coffee with any musician, living or dead, who would you choose?

Honestly… Avril Lavigne! She was such a middle school icon for me, I think a ton of people would agree with that. And I’d love to ask her about the development of her music careerbeginning at age seventeen must have been incredibly challenging!

Well, thanks so much for taking the time to meet with me!

We love your music at EMMIE, and can’t wait to see where you go in the future.

I’m a huge fan of EMMIE! And thanks so much, that means a lot! ali GRIMES

29

LO CA L A RT I ST A L E RT:

SHARROWS EMMIE: So, just to start out with a little background information… what brought the group together?

The Sharrows: We actually met through UW-Madison. At the time, three of us were students. It was winter of 2012.

Phil’s friend saw a flier Matt had posted seeking a fun group to play with. The keyboardist, Joe, is actually Phil [Sharrow]’s cousin, and our cellist, Sylvia, was Phil’s roommate. Jake, our drummer, also saw the same flier. Our first gig was actually an EMMIE production! The Battle of the Bands.

Ah, awesome! On the subject of shows, how has touring been going? How was opening up for The Weeks?

We’ve actually opened for quite a few groups! The Weeks were all really nice guys. They actually had one of their biggest shows recently, with over 25,000 in attendance.

We’ve opened for Caroline Smith’s band, which we also enjoyed. Basically since May we’ve been playing about three to four shows a week.

I really loved your terrace show a few weeks ago! Have you had any shows in particular that were especially great? Or are you looking forward to any in particular?

The Hideout in Chicago had a great crowd. We opened for The Donkeys and it was our first totally sold out show.

We’re definitely looking forward to the festival scene this year. We’ll be at Bubblefest and Flannel Fest, and we’d love to be a part of South by Southwest this year.

About our songs, each one is inspired by something. Phil wrote “Yours and Mine” after a talk with his ninety-year old grandpa about life.

Basically his grandpa told him, “Even at 90 I haven’t figured it all out. You can figure out yours and I’ll figure out mine.”

Phil also wrote “Echo”, which, if you listen to it, is really about relationships.

Jake’s song “Been There Before” is essentially about prostitution. It was also kind of inspired by Dearhunter. It has a similar story line of a boy in a strange situation emotionally, physically, and sexually.

Joe wrote “Slips Away” when thinking about time, and how quickly it really goes. He also wrote “Passionate Man”, which is a more fun, rowdy song looking back at a lifetime of relationships as…well, a passionate man! The jam session at the end somewhat represents letting go of these relationships and the past as a whole.

Awesome! You guys have come a long way since your Battle of the Bands…any major goals for the next year?

Definitely South by Southwest… Or Madison Square Garden! Gotta go big or go home!

Overall, definitely just introducing our music to larger crowds and improving on our sound. Lots of regional shows and new songs as well!

Alright, now for a few fun questions. When you guys are all hanging out, what’s your favorite music/artist to listen to?

Moving onto your music, what artists/music styles would you say influence you the most?

Ahh… that’s a tough one. Definitely Zeppelin, Wilco, JJ Grey, Deer Tick…and John Fahey.

Blues, Bluegrass and Folk… definitely R&B and Soul as well.

And finally… if you had to pick just one band/singer, living or dead, to be stranded on a desert island with.. who would you choose?

Tell me about your EP Days of Yore- how did recording the music go? And were any songs inspired by particular events or feelings?

The Allman Brothers, or Count Basie and His Orchestra. I bet Phil would say Wilco.

Overall, I guess we’d say…Beyoncé and John Bonham.

We actually recorded our EP at the Zebra Ranch in northern Mississippi, at the same recording studio the North Mississippi Allstars use. We worked with Keven Houston, the producer of the Allstars. They actually tour all over the world. We were able to learn a lot and have fun at the same time.

30

Thanks so much guys, I’m looking forward to hearing more from you all in the future! ali GRIMES

IS STN MTN & KAUAI INSPIRED BY 808s & HEARTBREAK?

In 2004, Kanye West released to the world his life’s work, The College Dropout. The album took off and launched Ye into superstardom. His career following that point has been a series of steps into new realms for hip-hop, for music, and for American culture. Hip-hop dominated the Billboard charts in the early 2000s with a heavy or exclusive emphasis on gangster rap, as the underground efforts kept the artistic passion alive. This conscious rapper sought to keep the genre’s heart alive, but the popular rapper sought to put their name where the money was. When Dropout finally bridged that gap, the opportunities were endless.

Four years following the release of The College Dropout, Yeezy dropped one of hip-hop’s most influential albums of all time, 808s & Heartbreak. Shredding the notion that rappers can’t be “emotional” or “feminine”, Kanye broke through the noise with this minimalist tale of fear and lost love. Literally putting his heart on his sleeve, Ye proved once and for all that hip-hop was more than the money: it was a regeneration of the human spirit, including the realities of heartbreak. 808s’s musical and lyrical influence can be explicitly heard in much of today’s music. Artists like Drake, Kendrick Lamar, Frank Ocean, and Big Sean have sought to capture that familiar essence that 808s revealed to the world, but no work has come quite as close as Childish Gambino’s latest EP/mixtape release: STN MTN /Kauai.

On paper, each part of the release doesn’t seem to musically align with the other. The first, STN MTN, is a sample-heavy hiphop record with an old school vibe and classic, albeit clever, phrasing, which is something we have come to expect from a Childish Gambino record. Donald Glover’s dedication to a “hipster” sort of hip-hop makes his music more accessible, encircling the listener with a strong sense of atmosphere and feeling. Much like Kanye’s work outside of 808s, STN MTN focuses on Gambino’s unique style and flow. The beats revolve around Glover’s ideas rather than the common idea that lyrics should be superimposed into a pre-existing beat or bassline.

Take for example, “All Ya’ll”, the tenth track on the mixtape.

There is hardly a structure to the tune, despite the fact that the beat itself is a sample. The main keyboard line is repeated and overlapped multiple times. The swirling phrase builds as Gambino’s frustrations grow: “This the new mixtape, but its still the same game/ how you gonna be the goat when we are not the same?/ I’ve been feelin’ all of this money, but f*ck the fame”.

With this borderline pompous attitude, it is hard not to relate this to Kanye’s work on Yeezus. With relatively simple/ minimalist beats, the words and frustrations are fleshed out and speak for themselves.

Behind the lyrics and individual beats of STN MTN lies a greater concept. The entire mixtape, as validated by track number seven, “Childish Gambino @ The Atrium”, is a dreamlike fantasy. It is Gambino’s idea that fame and wealth are the peak of what he wants out of his musical career. The song depicts him as a headlining money-maker singing his “classics”.

However, what STN MTN fails to resolve is compensated for in Kauai. The soul-inspired other half of this concept record, purposefully released three weeks after the mixtape, sets the record straight.

With Kauai, Gambino fans were blindsided by a strictly R&B repertoire. The use of keyboard/synth patterns are eerily reminiscent of 808s. The literal stripping down of the music is directly representational of the stripping down of human emotion. Kanye West perfected this minimalism with repetitive computer (emotionless, heartless) drum tracks on “Say You Will” and “See You In My Nightmares”. Although Gambino’s Kauai has a livelier vibe, there is no doubt that the shift toward strictly R&B songwriting is a more emotional and painful representation of Donald Glover’s dreams and ambitions. In 808s, Kanye expresses his frustration with his love, as shown in “Heartless” (“In the end we’re still so lonely/You’ll never find nobody better than me”) and “Paranoid” (“Why are you so paranoid?/You really want to spend your whole life alone?). However, in Kauai, Gambino struggles with the realization of his love. He cannot convince himself that he is in love and the heartbreak of this unrealized feeling tears him apart. The hesitation is expressed in “The Palisades” and “Sober”: “The Palisades” “I don’t know why but every time I see you smiling/ I’m tired of running, tired of playing, tired of hiding/ If we could be together, would that make you happy?/ And If it would, tell your girlfriend to get at me/ (I’m just playing though) Love don’t really happen” “Sober” “Girl, if it’s done right Well you know it’s got to be, something wonderful to me/ Oh honey now girl, give it one night/ If you just give it a chance, loving you is not my plan/ ‘Cause I know one day you’ll see/ All the things that we can be” Regardless of position in an emotional relationship, both of these artists attack a sensitive part of the human element. It is shown that in these songs of solitude and angst, the climax of Gambino’s career has nothing to do with being a headliner or the money-maker. He proves that he not only WANTS to evolve out of this preconceived path toward success and glory, but that he has the ability to do so. His versatility and command of the musical and conceptual spectrums on this project certify Gambino’s slot in the upper echelon of today’s hip-hop scene. tom FREDERICK

31

EMMIE’S GUIDE TO MADISON RECORD STORES Want to get into the physical music game, but don’t know where to go in Madison? Well, EMMIE has you covered with our guide to our favorite record stores in the area that carry a wide variety of music from metal to indie-rock to used vinyl.

STRICTLY DISCS

*STAFF FAVORITE

On the corner of Monroe and Harrison sits Madison’s treasure, Strictly Discs. Established in 1988, Strictly Discs was the first all-CD store in the Madison area. It was the year of Rick Astley’s “Never Gonna Give You Up,” and all the baby boomers were heading to Strictly Discs to buy used, new, and collectible compact discs. While some customers went to buy the latest CDs from 80s favorites such as George Michael, Guns N’ Roses and George Harrison, others were in search of the “golden nugget.” You know, that one CD tucked in between some old Janet Jackson albums that you didn’t know you needed until you found it.

However, about twenty years later, the analog to digital switch seemed to reverse itself. America’s youth began paying a mint for the records 80s students considered obsolete. It was this transition that made your religious Uncle John regret burning all his Beatles albums in protest in the 1960s. In turn, the transition also inspired Strictly Discs to begin selling vinyl records in the early 21st century.

When you walk in the doors, you first see a quaint record store filled with brand new records and CDs that are ready for somebody to love. However, a bright beam of light shines from Strictly Disc’s basement, inviting you to be surrounded by a gold mine of vintage records.

For any record connoisseur, the mere magnitude of used records is enough to make you feel like a small child on Christmas morning. With vinyl ranging from essential jazz to country and rock-and-roll bootlegs, Strictly Discs truly has something for everyone. With nonjudgmental employees who will help you look for that obscure Paula Abdul album without embarrassment, Strictly Discs is never a place to feel intimated about entering. Hipsters are not going to raise their brow at you, but you may make a friend or two in search of your golden nugget. abbey SCHNEIDER

32

B-SIDE RECORDS If you have been around Madison for a couple years, you are likely to have walked by B-Side on at least a weekly basis. Conveniently located on the 400-block of State Street, B-Side was founded in 1982 and has a large collection of rock and indie CD’s, as well as popular indie-rock and classic rock new vinyl. If you are looking to visit for a wide-variety of used vinyl, you are better off going to one of the bigger stores out of the downtown area. But if you want the most recent Vampire Weekend album or decide you absolutely need that old Radiohead or Beatles album, B-Side has you covered.

On weekends after the farmers market, some of the more popular albums will go out of stock, but the owner, Steve, is very helpful and will order it for you no problem. Since it is a smaller store and there isn’t room for every album you could ever want, they are also able to order records not usually stocked for a very small fee. B-Side Records is the best option if you want a new indie-rock album on your way home from class. megan OPPERMAN

EAR WAX Located on the second story of 245 West Gilman there is a very, very noisy place. Ear Wax Records is a store that centralizes the need for punk, metal, noise, grind, death and all things that make will destroy your eardrums. This record store has a very awesome brick and mortar presence where their customers can get any and every vinyl, CD, cassette, or memorabilia for any metal band. They offer a lot of collectible items and vinyl while also staying up to date on current releases. You can also sell and trade records there and help expand your collection while contributing to the darkness. If you’re looking for a place to find out where local punk, metal, and alternative shows are happening, the staff will help you find your destination. This store receives a lot of demos and flyers for local and regional bands trying to build a fan base in the area. Ear Wax Records is the place to go to find new, old, or disturbingly awesome metal records in downtown Madison. john MCCRACKEN

MADCITY MUSIC EXCHANGE Located on Willy Street, towards the east side of Madison, lies the MadCity Music Exchange. Established in 1982, MadCity is by far the best hub in Madison for exchanging CD’s and vinyl for some cold hard cash. Because of the music exchange, they have an extremely large collection of used vinyl. You can find anything from old classics to obscure one-hit wonders to relatively new vinyl for a discounted price. The staff is very knowledgable about the music selection and can help you find whatever you are searching for, but they also don’t bother you as you do some searching on your own through the stacks for a hidden gem. MadCity Music Exchange is the location to visit if you live on the east side, want to sell music or if you don’t want to pay full-price for relatively new albums. megan OPPERMAN

33

ED SHEERAN

PLEASES AND PLEASURES AT A L L STATE A R EN A I N C H I CAG O

Have you ever attended a concert where your heart freezes up, you can hear your pulse, and feel your blood pumping through every vein when the artists steps out on stage? That’s what I experienced when Ed Sheeran took the stage.

Attending an Ed Sheeran concert is, surprisingly, not only about listening to the soulful lyrics and clever wordplay, though both are definitely a highlight.

An Ed Sheeran concert is a chance to witness one of the most engaging and mesmerizing artists I have ever had the pleasure of watching. Ed Sheeran lives to perform, greeting the crowd with, “My job for the next several hours is to entertain you. It is my goal that when you walk out of here, it will be without a voice.” My god, did he succeed.

Halfway through the set, during “Give Me Love,” Ed split the audience in half, assigning stage

36

right the lower harmony and stage left the higher harmony. However, if you did not lose your voice belting those notes out at the top of your lungs, you would have during “Sing” when Ed ended the show by asking the audience to never stop singing, not as they walk out the doors of the venue, not as they get into their cars, and not as they drive home.

And I can tell you now, Ed, I haven’t.

Despite the large venue of the multipurpose Allstate Arena, Ed Sheeran shows can only be described as an intimate experience. During “Give Me Love” Ed asked the entire audience to “be very quiet.” For Ed Sheeran, everyone does. As silence fell, I was able to hear each and every individual note.

Each show of the tour is a unique and personal experience. Ed Sheeran

performed two different songs in Rosemont and an individualized set list for the Allstate Arena. “All of the Stars” was a tour debut, and Ed revealed he had never played “Nina” live to an audience before and asked us to “bear with him” as he worked it out. Trust me, it was no hardship.

When you attend an Ed Sheeran concert, you are witnessing him create music as he records vocal tracks and beats on his loop pedal while overlaying it to create a sound that would take other artists a whole backing band to create.

This was my second Ed Sheeran concert, and after witnessing a near religious experience, this most certainly will not be the last.

emily NEINFELDT

TWIN PEAKS

wild vibes with

On September 26th, The Frequency was filled with the sounds of Chicago’s up-and-coming garage band rock group, Twin Peaks. If this concert proved anything, it is that rock’n’roll is very much still alive. Twin Peaks played with a passionate energy that revitalizes a classic genre. They shared their tight-knit culture with the crowd, which made the show personal and intimate, but also excitingly wild.

laidback fans were receptive to Twin Peaks’ vibe; they danced around with as much energy as the mosh-pit.

for their energetic, gritty, garage rock sound, Twin Peaks showed their true talent by mixing more mellow, soulful, and psychedelic songs into their set.

In addition to their ability to draw This mix showed the variety of musienergy from the crowd, the personalcal styles between the four members ity of Twin Peaks accompanied with to range from retro rock to light and a unique sound warrants their rising gritty, to deep and full-bodied. When popularity. Their live performance had combined, these style differences emotion that could not be felt on a create the unique sound that is Twin recording. The give-and take of energy Peaks. They play original, fun music between the band and the crowd gave that exudes carefree youthfulness and The show opened with three bands their music an intimate feeling that good vibes. native to Chicago, who each carried can only be created in the moment. a unique energy that prepared the Between songs, the guys would make The Chicago rock community is a crowd for the night to come. Later on, comments and jokes to the crowd. At strong one, and Twin Peaks is spearseveral members of the opening bands one point the bassist said, “We’ve got heading its growing popularity. Their were in the audience, taking part in the three more songs for you, and they’re performance embodied the true spirit excitement of the concert. Some of the all Coldplay covers.” It was this person- of rock, something that seems foreign openers would even jump on stage to able humor that made the show so in today’s culture of big stadium shows take part in Twin Peaks’ set. great. Their humble attitude contriband large scale EDM rave parties. The uted to the friendly atmosphere. These friendly camaraderie between Twin By the time Twin Peaks came on guys aren’t rock stars playing up on a Peaks, the other bands’ members, and stage, the crowd had been rocking pedestal; they’re truly talented musithe crowd was something I have never out through three sets, but the energy cians doing something they love. seen before. The music was refreshlevel was set to an all time high. From ingly wild, and the concert was a truly the moment the band began playThey covered a wide variety of their good time. ing, the crowd was super pumped music, playing plenty of songs from from their energetic jams. A mosh-pit both their first album Sunken (2013) formed, and the energy of it escaand their newest release Wild Onion lated with every song. Even the more (2014). While they are primarily known molly GILBERTSON

37

LORDE LIGHTS UP MILWAUKEE It was a beautiful evening along the shore of Lake Michigan, where Lorde performed at Milwaukee’s BMO Harris Pavilion. The show began with the Canadian electropop duo, Majical Clouds, made up of Devon Welch and his sound mixing partner, Matthew Otto. Their performance consisted of soft beats that perfectly mixed with Welch’s vocals, giving the audience an intense experience that successfully set the scene for the remainder of the night.

It has been over a year since the 17-year-old, indie pop star Ella Yelich-O’Connor, a.k.a. Lorde, released her smash hit single “Royals.” Since then, the young artist released her debut studio album, Pure Heroine (2013), which peaked at number three on the United States Billboard 200 and was nominated for the Grammy Award for Best Pop Vocal Album. Thankfully, her success doesn’t seem to have gone to her head as seen with her ability to express great vulnerability to the audience. Maybe it was because she was so comfortable in the city. Lorde had a cordial stage presence and made the audience feel welcome.

She started off the show by saying, “I just like this place so much. There’s something about people in this part of America. You’re so polite, and you have such good manners. You’re really fun to play shows for. I really appreciate it.”

And in return, the audience showed their appreciation for the star throughout her performance. She let us know that this was the “biggest show on this leg of the tour,” but you wouldn’t know it by how closely she seemed to connect with everyone.

The show began with the track “Glory and Gore,” with Lorde giving a first glimpse at her sporadic dance movements.

As the artist became consumed by the music, she lost herself in a

38

series of convulsive movements while flipping her hair to the rhythm of the songs. Her vocals were on cue throughout the entire performance, proving that she belongs among modern music royalty. After experiencing Lorde in a live setting, it became clear to the audience that she is not an artist to be taken lightly.

Lorde sang with great command and her theatricality was expressed through each song.

Her creative lyrics were well known enough to be heard echoing throughout the audience over the course of the entire 77 minute set.

The show included all of the songs from the standard edition of Pure Heroine, along with two cover songs, Kanye West’s ”Flashing Lights” and “Heavenly Father” by Bon Iver.

Prior to performing her song “Ribs,” Lorde recited a Kanye-esque monologue to the audience where she revealed that she’s “constantly thinking about the passing of time” and that she’s “running away from growing up.” She describes Pure Heroine as a journey that is “cataloguing my life as a teenager so far.” It was a truly rewarding experience to hear someone so talented and well known express her deepest insecurities and connect with the audience on an emotional level.

After “Ribs,” Lorde reappeared in elegant red cape and performed her most popular song, “Royals.” Her penultimate song, “Team,” was the night’s most energetic performance and filled the arena with flashing lights and beautiful instrumentals. For an atypical conclusion, Lorde closed the concert without an encore.

She ended the night with “A World Alone,” and then the show was over; leaving enjoyable memories for all those who experienced it. kasey MARGELOFSKY

The entrancing melodies and earthy vibe of Elephant Revival returned to Madison for a second time in late September The Majestic’s crowd welcomed the string-oriented quintet with hearty cheers and swaying dance moves, echoing Revival’s Madison debut at the High Noon Saloon last year.

“Where words fail…music speaks.” The band invites readers with this quote in their Facebook description, as well as several other online profiles written. The history and motives behind their music is existentially important to understanding how their sound can fill a room and change those within it.

The ensemble showcases five extraordinary individuals who connected back in 2006, juggling performances between cities until settling in Colorado. Each instrumentalist brings something to the group, whether it’s Bonnie Paine’s darkly enchanting vocals and unique percussion performance on the washboard, or Bridget Law’s incredible ability to make her fiddle sing. The male members, Sage Cook, Daniel Rodriguez, and Dango Rose all effortlessly flow from vocals to several instruments, displaying incredible versatile talent.

As the clock ticked past eight, opener The Lowest Pair welcomed the audience with their easy country-hillside sound.

Kendl Winter and Palmer T. Lee make up the banjo-duet with their seamless harmonies and beautiful lyrics. As they cooed their wise words, “living is living, and living is dying,” the ground level of the Majestic’s venue really started to fill in.

The lights dimmed and the empty stage fueled excitement for the concert to come, a buzzing energy spread amongst bearded men, dreaded hair, flowing skirts, and smiling couples. Soon enough, the heavy red curtain at the back of the stage ruffled and Elephant Revival emerged, smiling as they walked onto the stage in their slow, flowing manner.

They began with a song few seemed to recognize as the crowd stared face forward and bright-eyed. However, as they moved into some tunes from their most recent album of 2013, These Changing Skies, the crowd livened up.

Hands to the air, swaying hips and 50’s-style partner jives were everywhere to be seen. The set moved effortlessly from one piece to another, albeit the ease of this stems from Revival’s signature sound. Though some criticize the continuous mellow chords and haunting themes, listening to them live feels like experiencing 24 hours of emotions in the time of a three-hour concert.

Smattered between the mellow songs and enchanting vocals were instrumental pieces like “The Rakers” and “The Pasture,” which stem from good ol’ folk-on-the-fiddle melodies and feet-stompinbeats. The crowd was clapping along and Law was dancing herself as she moved with her instrument.

Paine’s lead female vocals were enhanced by both Cook and Rodriguez’s smooth vocal duets and solos, not to mention her elegant dedication to a unique percussion style.

Not only did she sport black and white, long-sleeved gloves while she played the washboard, but a microphoned platform she was standing on spread a deep reverberation through the concert hall every time she stomped her foot.

Revival continued to capture attention in increasing degrees. Rodriguez dedicated “Grace of a Woman” to all the mothers out there, and the crowd cheered in satisfaction, dancing and clapping to the catchy tune. Suddenly, it was starting to get late and there was a shift in the band members as they prepared to sing their last song. Each of them put down their instruments, resting them in their stands or to their chests. The crowd went silent.

“Raven Song” closed the show, beginning with Paine’s ethereal vocals and quick vibrato, soon after joined by Cook. As an a cappella piece, the versatility of the group was made known as each of them put their soul into the lyrics. It was a beautiful song, but the audience was robbed from a fully engulfing experience; only two of the members were singing close enough to the microphones. The transcendental mood and emotion of the piece was lost to the air space, for the most part.

Loud applause accompanied Revival’s stage exit. As the clapping continued, slowly joined by shouts, catcalls, and eventual vigorous stomping, the band slinked back on stage. Their appreciation and excitement for such an enthusiastic audience was shown plainly in their bright eyes and humble smiles.

Fans shouted out names of songs, hopefully wishing to hear their favorites before the night came to a close. To start the three-song encore that would ensue, Revival invited The Lowest Pair back onto the stage. Then came one of their most popular songs, “Sing to the Mountain.” The majority of the hall sang along, coming together every chorus in a wild-spirited wolf howl as the lyrics urged them to “sing to the moon.” As anticipated by the audience, the last song Revival chose to sing was “Ring Around the Moon,” a favorite both vocally and instrumentally by fans. Paine wowed many as she yielded an extraterrestrial-esque tone from a musical saw.

During the final applause of the night, Revival gathered center-stage to stand arm in arm and smile at their crowd, full of people from all walks of life who were connected by the gifts this band shared with them inside the Majestic.

lauren BORITZKE

39

As the sun set on Lake Mendota, the final rays of natural sunlight snuck its way through the brand new Shannon Sunset Room at the Memorial Union while dozens of fans waited patiently, or impatiently, in line to see one of the modern era’s greatest musical acts. Snarky Puppy took the stage last Thursday for the first installment of WUD’s Isthmus Jazz Concert Series, and the bar could not have been set higher.

In terms of musical cohesiveness and ability, there are few bands that come close to the prowess that Snarky Puppy has attained.

Hailing from The University of North Texas’ jazz studies program, bassist Michael League started the band in Denton, TX in 2004.

Affectionately nicknamed “The Fam”, the band’s 40 piece recording ensemble has produced eight studio albums, five of which were recorded live. Now based in Brooklyn, Snarky Puppy has been regarded as one of the greatest jazz groups of the 21st century. With an eclectic mix of jazz, blues, funk, soul, gospel, world music, and pure rock and roll, Snarky Puppy have set themselves apart from the enormous field of jazz artists in today’s music scene.

Fresh off of a Grammy-winning year in 2013, Michael League and the touring ensemble of eight incredible musicians took to the stage of the newly renovated Shannon Hall shortly after 9 pm.

The show began with a delightful surprise; League addressed the crowd and introduced Clyde Stubblefield to play the opening tune with the band. For those of you who don’t know, Stubblefield is one of America’s greatest drummers, a pioneer in the funk and soul community heralded for his decades of work with the legendary James Brown. Brown’s “Funky Drummer”, which includes a percussive breakdown performed by Stubblefield, is one of hip-hop’s most sampled musical segments. Stubblefield, 71, a current Madison resident, showed he still knows how to get down (or Get On Up for that matter) and provided a lifetime memory for the whole crowd to enjoy.

From there, Snarky Puppy took the energy and ran with it. A rendition of “Shofukan” from their 2014 album, We Like It Here, included a brilliant crowd participation segment and a blistering percussion solo by Nate Werth.

“Skate U”, a tune written by Milwaukee trumpeter Mike Maher, followed. Led

by League’s impeccable bass riffing and melodic improv, the band took the song to a breathtakingclimax.

“34 Klezma”, an Arabicesque melody

with an affectionate bouncing beat allowed guitarist Bob Lanzetti to shine with an extended solo consisting of creative, rhythmic chord voicings and scorching riff speed on the fretboard. To close the first set, the band dusted off a fan favorite classic, “Thing Of Gold”, from their 2012 album ground UP. An undeniable highlight of the show, “Thing Of Gold” contained a beautifully enchanting call and response segment between Michael League and keyboardist Justin Stanton. The complimentary playing showcased was a perfect microcosm of the band’s unity. When they were in sync, the music emanates through the crowd, making the intimate Shannon Hall a perfect setting.

After a twenty-minute intermission, the crowd was antsy for more, and The Pups did not disappoint. As many fans of the band know, the second set is all business. It is a musical playground with an array of varying ideas and themes being bounced off of each member and eventually absorbed and incorporated to completely change the feel of the songs. Logistically, it makes sense that Snarky Puppy only played three songs in this set, each one lasting well over 15 minutes. The set included monster renditions of “Binky”, off of groundUP, and “What About Me?”, off of We Like It Here. “Binky” clocks in at 9:30 in the studio, but the band took it even further. Featuring a flugelhorn solo and an octave-pedal induced bass display, “Binky” once again proved itself to be a megahit amongst fans.

Clocking in well over 20 minutes, the set closer “What About Me?” was the band’s peak. It felt as if the whole show led up to this song. The percussion-driven saga contained just about everything on the musical wish list: a gospel-infused organ break, a deep synth layering technique by Justin Stanton, horns abundant, and of course, a drumming showcase. Robert “Sput” Searight (who has played for Justin Timberlake and Snoop Dogg, among others) provides the backbone that keeps Snarky Puppy erect. His unwavering dedication to timing and flawless fills is work to be regaled by all musicians, let alone drummers.

Showcased in the song’s ridiculous time signatures and breaks, keeping the beat is a task, of which Sput executed to perfection.

As their New Orleans themed “Quarter Master” celebrated and wrapped up the show, the crowd was sufficiently satisfied.

With the appearance of a funk legend, a fabulous display of musical cohesiveness, and a dance party on the floor of the wonderful Shannon Hall, Snarky Puppy continues to prove itself to be in the upper echelon of today’s music scene.

Look out world; this band is a raging fire that is sure to burn bright for a very long time. tom FREDERICK

SNARKY PUPPY

BREAKS GROUND AT SHANNON HALL

40

KONGOS PICK UP THE PACE Ah, Sunday nights. After a day spent watching football, lounging around, and procrastinating on homework, I can think of no better way to end it than with an amazing concert.

On September 21st at the new Memorial Union Theatre, Kongos put on such a show.

Before I get to the main event, let me first discuss the openers. Kicking off the evening, local band The Sharrows performed songs from their EP Days of Yore (2014). This is actually the third time I’ve heard the band perform live, and each time is better than the last. Relatively new to the local scene, this talented group has already opened for The Apache Relay, The Weeks, and now Kongos. Combining the twang of bluegrass with a bluesy “The Black Keys”-esque sound, this band is certainly on the up-and-up.

Following The Sharrows, Young Rising Sons took the stage.

With a lighter, “pop” music vibe, they seemed like a bit of an odd fit for Kongos, but their song “High” was a definite crowd pleaser nonetheless.

And finally, it was time for Kongos to take the stage.

Combining well-timed lighting effects, a giant banner depicting the album art of Lunatic (2012) and the lovely ambiance of a brand new theatre, the setting was perfect.

While the room was not quite filled to capacity, it was a lively and large crowd, and the band took time to comment on the notable increase in their Madison fan base since a previous visit. “Last time we were here I think five people showed up.

It was a Packer game, or something like that.”

Jumping right into a high energy show, Kongos kicked it off with “Hey, I Don’t Know” and “Sex on the Radio”. Dedicated fans jumped around, while the more reserved concertgoers nodded their heads to the beat. Incorporating African elements from their South African homeland with powerful alternative rock and even hints of bluegrass at times, the sound of Kongos is indescribably unique. I’ve explained them as a more upbeat Kings of Leon, but really, they have such an original sound, that it’s difficult to label them as such.

I have to say-and I’m sure many Kongos fans would agree- I first became hooked on the band with two songs in particular: “I’m Only Joking” and “Come With Me Now”. Fittingly, Kongos’ performance of these songs was impeccable. We’ve all had those disappointing concert experiences in which our favorite song just doesn’t sound as great live. Not so for Kongos. Rather, it was a satisfying moment of discovery that these two hit songs are even better live than when heard via ear buds. The buildup to each chorus was phenomenal, and with every “I’m only joking, I don’t believe a thing I’ve said” and “Whoa, come with me now. I’m gonna take you down” the crowd went wild. As did I, albeit in a more reserved, hipster fashion.

Although Kongos’ up-tempo, fast-paced songs are fantastic, I was so impressed with the beauty of their slower songs, particularly in concert. The live renditions of “Take Me Back”, “Escape”, and “This Time I Won’t Forget” demonstrate not only Kongos’ amazing artistic range, but also their powerful stage presence. It can be difficult to keep crowd energy up while performing slower songs live, but Kongos did just that. Mixing up each song, slow and fast alike, with excellent improvised ‘jam’ sessions, Kongos kept even the most dedicated fan guessing on what musical invention was to come.

On the note of musical surprises, I would be remiss in neglecting to mention one of the best moments of the concert: Kongos covering a mash-up of Beatles hit “Come Together” with featuring freestyle rap by Moe’z Art. The crowd loved it, and I was incredibly impressed by the creativity and talent of both artists. Another memorable moment was Kongos’ cover of their father John Kongos’ song “Tokoloshe Man”. Performed as part of their encore, it was a lovely way to end the show.

From up-beat excellence to slower-paced beauty, Kongos is the total package. Next time they come to town, I’m not ‘only joking’. All of you music-loving hipsters are coming with me for a fantastic evening of live music. ali GRIMES

41

RUBBLEBUCKET

DOMINATES THE STAGE

I couldn’t see anything. There were blue and red lights blinking, the crowd was scrabbling, ducking, and putting their hands in the air in an effort to raise the translucent parachute that Rubblebucket trumpeter, Alex, had just thrown over the audience. Everyone grabbed an edge and pushed it up onto their fingertips until it was spread over the top of the entire crowd, and I could finally see Rubblebucket up on stage again. I had never seen anything like it; the crowd went wild as everyone danced under a huge parachute that brought all the fans and the band together.

Most people had been dancing and jumping, and going crazy from the beginning when Rubblebucket opened with “Shake Me Around” followed by “Rewind” off of their new album Survival Sounds. Rubblebucket’s stage presence was amazing. They were able to fit seven people on the stage, plus they danced as much as the audience. Every member always looked like they were having fun. Alex, Adam and Kalmia even had choreographed dance steps they would do together during choruses and instrumental sections. Lead vocalist and sax player, Kalmia, would talk to audience members often and went over lyrics before performing the songs so everyone could sing along. “Came Out Of A Lady,” “Carousal Ride,” and “ Bikes” were some fan favorites. They performed a good mix of old

42

and new songs, and the fact that the audience knew so many of their new song lyrics was incredible- Survival Sounds just came out August 26th after all. The whole environment was very inclusive and made me feel like the audience and band were old friends coming together for a jam session.

Towards the end of their set was when Alex threw the parachute out. Even the 6’5” stoic giant in front of me, who was barely nodding along for most of the show, started dancing like crazy. Everyone looked like a fool and it was awesome! Next, the audience parted as the band members snaked down through the audience. Alex was riding a bandmates shoulders and became the center of this big, wild circus tent created by the parachute. The crowd then formed a conga line behind Rubblebucket, and followed them all around High Noon Saloon.

As everyone danced and ran around, balloons and confetti flew everywhere, and Rubblebucket kept jamming until finally they finished their show on top of the pool table with everyone completely out breath, exhausted, sweaty, and ready for a drink. Rubblebucket delivered an excellent performance and fun show that everyone, fans or not, should definitely check out next time they come to Madison. lindsay KOTTWITZ

A U S T R A L I A N P I N K F LOY D What…Pink Floyd in Wisconsin? No way..... Yes Way! Or at least the next best thing.

On a chilly October night, the Australian Pink Floyd Show took over the Riverside Theatre, and for two hours, die-hard Pink Floyd fans allowed themselves to be swept away by the dead-on Pink Floyd covers. Not only were the covers spot on, so much so that a person could close their eyes and truly feel like Pink Floyd was indeed playing live, but keep your eyes open and the light show was reminiscent of legit Pink Floyd light shows, oval screen and all. The only give away was an Aussie kangaroo flying on the screen where the Pink Floyd pig would normally be taking flight.

So what albums did they play tracks from? All of them! They didn’t skip a single one, even going back to Syd Barrett’s days, they played “Set the Controls for the Heart of the Sun” from their 1968 album, Saucerful of Secrets. On the song “Money” out danced an energetically charged saxophonist, clad in the most rocking purple tuxedo, playing his head off; the audience screamed with enthusiastic delight while the band blew up the stage. Aussie Floyd did not stop with songs limited only to Roger Water’s time either, playing hits like “What do you Want from Me?” from the 1994 released album The Division Bell.

This Pink Floyd tribute band has been at it since 1988, and they are well received worldwide. They are one of the only tribute bands accredited for playing for Pink Floyd when David Gilmour attended one of their shows in 1994. They were so well liked by Gilmour that they were invited to join the end of The Division Bell tour and they were invited to play for his 50th birthday party!

The seats were filled for the show that night, mostly by people 30-years-old plus. Never before have so many grandmas and grandpas been seen closing their eyes and swaying their heads back and forth to the groovy tunes authored by the beloved and infinitely famous Pink Floyd music. The band played for an hour, took a 15 minute break then resumed for another hour. The night opened with the amazingly intricate, unique and beautiful: “Shine on You Crazy Diamond”, and the night was closed with the perfect encore: “Comfortably Numb.” These are timeless, ageless songs that leap genres and generations, bringing together the least likely of friends. lisa KOHLMANN photos by lisa KOHLMANN

43

OF MONTREAL KEEPS IT INTERESTING It was a quiet Sunday night in Madison on the first cold, wintry weekend of the year. While the majority of the town was busy studying, watching football, or merely recuperating from the weekend festivities, a select bunch came out to the Majestic Theatre on October 5th to end the weekend (or start the week) with a true bang. With fans of all ages out to get weird, Of Montreal took the stage in their typical unique manner.

The band’s usual emcee entered wearing a redman suit and telling a story of an interesting girl he met. As the story became increasingly creepy and hard to follow, he ended by explaining that the girl is a ghost. For any other concert, this would be quite an odd introduction. However, it was the perfect setup for lead singer Kevin Barnes to take over, face caked with makeup and wearing aspects of a wedding outfit while opening with “Suffer for Fashion.”

With the entire audience already boppin’ and singing along, the energy of the night was only to escalate with what was to come. Rather than focusing their show on the promotion of their latest album Lousy with Sylvianbriar (2013), Of Montreal filled the nights with all of their greatest hits. Between “Coquet Coquette,” “The Party’s Crashing Us,” and “Bunny Ain’t No Kind of Rider,” the concert was clearly set up with the audience in mind. And the audience was definitely pleased.

As the band played hit after hit, they also filled the night with odd videos, costumes, props, and sketches.

Entertaining? Definitely. Weird? Of course. Funny?

Sometimes. Creepy? For sure. With every song, there was something else going on, keeping both the band and fans alert. Immediately, the show started with a backdrop video of the band wearing semi-terrifying masks prowling about the forest in nude bodysuits. As the concert moved forward, the seemingly supplemental actions became progressively more perplexing and eerie. From a giant

44

paper mache body with a massive eye as a face, to two superhero American politicians fighting for the stage, to some random people dressed in armor and gas masks surfing through the crowd, the show definitely never had a dull moment.

The main set came to an end with “Heimdalsgate Like a Promethean Curse” which seemed to be the pinnacle of energy for the night. “Chemicals, don’t mess me up this time…Come on chemicals!” These were truly lyrics to encompass the ultimate ups and downs of what felt like the craziest trip of a show.

While a great ending, Of Montreal could not say “goodbye” just yet. The band continued the night with two lively encores. Kicking the first off to a mellow groove with “Gronlandic Edit”, the second encore opened with the redman emcee introducing his two sons. They had a “special” song to share with us, which was the traditional “Don’t fuck the candyman, he’ll get mad, and you’ll get stabbed.” Something I had heard last year when they played Halloween, I thought it to be only for the holiday, but I was mistaken. Every fan began to sing along as the Majestic built up with an ominous feel. Suddenly, the mood took a 180 as Of Montreal blasted out “The Past Is a Grotesque Animal” and the entire crowd violently moshed about.

The night was full of ups and downs, great emotion, high energy, and honestly could not have been weirder.

Expecting a more mellow show than what occurred last year on All Hallow’s Eve, I was quite satisfied with my time spent with Of Montreal this time around. It was a kooky time, and I cannot wait for what they have to bring next.

allysa GALLONI photos by: hannah FRANK

It was a brisk fall evening in Palatine, Illinois when Florida natives, Mayday Parade, played a sold-out show at small town venue, Durty Nellies. The evening began with the new up-and-coming synthrock band PVRIS, followed by pop-punk rockers Major League and Tonight Alive. PVRIS’s five song set list was able to give a brief introduction of their first studio album, White Noise, which became available on November 5th. Major League was able to start warming the crowd up with their energetic pop-punk sound, giving the audience a feel for the performances that were yet to come. Tonight Alive was the perfect musical transition from the familiar sound of Major League to an intense, emotional rollercoaster of passion and vigor. Each band seemed like a seamless transition that was able to successfully set the tone for the remainder of the evening.

If you’re looking for a band that will remind you of your awkward adolescence, yet still make you feel more in touch with yourself than you’ve felt since high school, look no further than Mayday Parade. Derek Sanders, the lead singer, stood before the audience with his flowing brown hair, forearm completely covered in handmade bracelets and bare feet, preaching about the importance of loving yourself, loving others, and loving life. Even though they formed in 2005 and have been a pop-punk staple since their 2007 debut album A Lesson in Romantics, it was interesting to see the age demographic of the audience hasn’t changed and consisted mostly of teenagers.

The crowd was packed tightly to the point that it was nearly impossible to work your way to the front of the room.

However, the connection between the band and their audience was so strong that anywhere you stood offered an enjoyable experience and a level of intimacy that is lost with most sold out shows. The band played their most popular tracks from all six of their albums, totaling 16 songs, resulting in what has been considered one of the strongest set lists produced by this band in years. Everyone in the venue was spirited and rowdy, but not to the point of aggression or rudeness. It was a seemingly pleasant evening for everyone in attendance. Derek sang with great command and the audience followed his every word, whether it was to sing along, hold up a light, or “get crazy.” Although the band’s sound has changed a bit over the past few years, their lyrics remain powerful and their performance was as energetic as ever.

There may have even been a few tears shed.

The night closed with the ever so popular “Jamie All Over,” and it was the first time the audience became reckless and a small mosh pit broke out in the center of the crowd. The fact that their music can spur such passion in people who, a few minutes before, were singing in union to a slow song, to a point of pure adrenaline and energy is one of the main reasons a Mayday Parade show is a truly wonderful experience. kasey MARGELOFSKY

BRETT DENNEN

BRETT DENNEN AT THE MAJESTIC SLOWS THINGS DOWN

46

The early sunset of September 24th brought with it Brett Dennen on the first stop of his solo tour. Straight out of the L.A. jungle, he appeared on stage with nothing but his elephant-laden acoustic guitar and a couple rustic wooden tables on which sat his signature watercolor paintings, among them a must-have concert poster. Since his debut in 2004, the folk/pop songwriter has traversed quite a few styles leading up to his latest album in 2013, Smoke and Mirrors, so I was excited to see how his explorations would translate into a solo, acoustic show.

Working high on the fret board with poppy, fresh arpeggios, Dennen flaunted “She’s Mine” as one of his opening songs. Even though it’s a bass-heavy tune on Dennen’s second album So Much More, the Wild Child’s obvious acoustic skill was an adequate substitute. The song, with lines like “His mouth spat out a fist of daggers / And his tongue swirled in a southern swagger”, is also one of my favorites in terms of Brett Dennen’s lyrical fuckery, a signature of that naughty, naughty ginger.

You see, I like Brett Dennen. More accurately, I’m amazed by the fact that I hate his voice, but I can’t stop listening to it. “Only Want You” is a perfect example. Dennen’s sharp tenor is surely unique, and that nasal-y, squeaky-screendoor-slam quality of his voice only cuts through to your eardrums more swiftly in the live setting. Subtract the usual instrumental backing of “Only Want You” and part of me finds it intolerable, but the single is so damn vulnerable and simple and sensitive it makes my nuts quiver (and I don’t even HAVE nuts!).

While the Watercolors tour allows for a ton of acoustic beauty to shine through in songs like “Make the Most,” the songs blended together a little too easily. I certainly wouldn’t want a live show to be a direct recreation of an artist’s recordings, but I really felt the show lacked that full band, sweet syncopation groove that you find on songs like “Only Rain.” Dennen’s flyaway falsetto here was nothing short of impressive, but I was feigning for just a hot little base line; I would’ve taken an additional anything, even some bongos, for God’s sake.

And maybe I’m too cynical, but as he sipped out of a speckled tin mug you’d find at a campsite while a full bar was 30 feet away, and sat on a chair upholstered in a style Urban Outfitters might call “Navajo,” the plaid-wearing, barefoot Brett Dennen represented the kind of staged authenticity that our generation so often clings to, a down to earth-ness that if you really need to project, might not be there at all. But the man writes good tunes, what can I say.

After a lull where the air in the room got a bit thicker and the tipsy chatter got a bit louder, Dennen once again demanded all the attention with “When You Feel It” that got the crowd head-bobbing and singing along once again.

Predictably, everyone woo-hooed their ass off to “Wild Child,” the formidable single off of Smoke and Mirrors. The

song lost a bit of its punch when Dennen had to slow the tempo to keep pace with the crowd who was intent on singing every word, but I must have been the only one who noticed. Without pausing for applause, Dennen leapt right into another favorite of mine, “Sydney (I’ll Come Running)” off of Loverboy, where heavy hints of Van Morrison bloom especially in the chorus.

The energy stayed on a steady crescendo and peaked with “Comeback Kid (That’s My Dog),” which he dedicated to some chick named Lexie (omg who is she). I kind of heard this underdog anthem over the off-tempo clapping and shout-singing of the die-hard fans that filled the venue.

What made the song so much fun, besides the rousing, playful chorus that only half makes sense, is how much fun Dennen was having in witnessing the crowd’s revelry as they sang “na, na, na, that’s my dog” over, and over, and over. It was one of those great live-music moments where people keep singing along after the song has clearly come to a close. He quickly skipped off stage and didn’t make us wait long for an encore of “I Asked When,” a sneaky condemnation of colonization that let us down easy for the night.

So if you’re not a fan to the point of knowing every opening line of every song, an acoustic Brett Dennen set might not be the most exhilarating show. But with a crowd that wild about the act and Dennen’s unvarnished renditions of fan favorites in addition to his quiet gratitude, it was an evening well spent.

kelsey WALLNER photos by amelia OHM

DIRTY HEADS AT THE BARRYMORE Overhearing talk of a band name like the Dirty Heads most likely conjures up ideas of a grimy dreads-filled audience, silently nodding to slow reggae beats, uninvolved and lost in a sea of tropical acoustics and drugs. While some elements of such a scene were present, when the Dirty Heads took on Madison at the Barrymore Theater on October 25th, they re-invented what it means to attend a reggae concert. By projecting such a contagious energy of both relaxed acoustic and slow-rock undertones, intertwined with occasional synthetic beats and bass drops among other songs, they seemed to enliven even the most spaced-out concert-goers.

While the Majestic and the Orpheum remain fan favorite concert halls amongst the music scene in Madison, it is truly a treat to venture off-campus to escape the underclassmen hipsters and dude-bros that try way too hard and push too aggressively for a band they don’t even know, just for something to do. At this concert, twenty somethings, thirty-somethings, old hippies and more united.

Most of the audience seemed to know nearly every song, groovin’ out under a ceiling of faux-constellations, contrasted with eerie tribal masks scattered on the walls around the corner of the bar nearby.

The entirety of the show boasted three musical acts in total, beginning with Fargo, a 3-years incoming foursome musical group born out of Geneva, IL. The band claims to lend its sound to the influences of the Talking Heads, Animal Collective and Radiohead, showcasing this eclectically bold sound with confidence. Fargo brought the audience together into a groove-tastic indie pop-rock dancin’ mood, to foreshadow the rocky undercurrent and grooving vibes of the two acts that would follow.

Next, Rome, named after lead singer/guitarist Rome Ramirez, took the stage. The band’s full name is Sublime with Rome, an ongoing project of the former band Sublime, which ceased to exist in its original state when the previous lead singer Bradley Nowell passed away. A lawsuit prevented Rome Ramirez from continuing the band to being called just Sublime, without the previous lead singer still a member; thus they (Rome Ramirez; Eric Wilson, bass; and John Freese, drums, percussion) annexed “with Rome” onto the title.

Rome himself resembled a punk-rocker, donning a ripped jean vest, and he had a performance style to match. While the band Rome typically plays much of Sublime’s old music, at this particular concert, they delved into an edgier realm of their repertoire, with intermittent acoustic reggae to, you know, slow things down a bit and perhaps prevent possible moshing. Later in the night, Rome joined the Dirty Heads themselves in the singing of the huge hit “Lay Me Down”, which had topped the Billboard’s Alternative songs chart as soon as its release in 2010.

As the clock rolled past 11:15 pm, the crowd grew antsy, shifting in their moccasins, too scared to grab more beer for fear of losing their spots. Finally, the Dirty Heads bounded onto the stage, opening

48

with “Franco-Eyed,” a song off of their new album Sound of Change (2014). The term “Franco-eyed” (internet meme, pop-culture image reference) refers to the state of being so inebriated that one’s eyes resemble that of James Franco: very squinty when smiling. It seemed a strange song to open a show, but Dirty J (Jared Watson, singer, rapper) appeared to acknowledge a laid-back culture the audience embodied and yearned for, setting the scene for a night of letting loose and letting go. Sound of Change seems the band’s experiment into a more progressive reggae sound lending to a heavier rock and hip-hop infused element, more akin to Any Port in the Storm (2008, deluxe ed. 2010) than the other Heads’ albums. Right after the opening song, the band segued right into “Neighborhood”, off of the 2008 album, with lyrics chiming “In my neighborhood/ I never sweat it when I’m/ in my neighborhood.” The audience roared in approval, immediately chanting back, put at ease that the band was truly comfortable in their own musical realm or “neighborhood” for the night, as well as in the crowd’s actual, physical neighborhood.

This was not one of those concerts where the band is so bored of playing the same crowd favorites from old albums that it just plays new songs to push an agenda. Instead, the Dirty Heads satiated the fans’ cravings by relishing in all of the big hits that brought the band’s stardom to what it is today. If the hip-hop and rocky songs acted as the bookends and undercurrent feel of the entire set list, then songs such as “Sloth’s Revenge” of Phantoms of Summer (2013), “Cabin by the Sea” of Phantoms as well, and “Higher and Higher” of Cabin by the Sea (2012) tapped into the summery, tropical visions and laid-back Southern Cali attitude that lie at the heart and soul of how the band began.

Duddy B (Dustin Bushnell; vocalist, guitarist) danced with an inherent joy, inspiring others’ dancing as well. While Dirty J had limited interactions with the audience, besides periodically checking in, “You guys doin’ alright?”, his last question after the band’s two encores made up for the lack of intimacy. As the echoes of “Sound of Change” drifted through the smoky, light-dazed air, the encore performance of “Medusa” –featuring a stage-wide tapestry of the mythical Greek monster’s trippy face and eyes- pounded beats deeply into everyone’s chest leading into “My Sweet Summer.” Dirty J then asked, “So why you guys like this city?”, followed with, “Well goodnight…unless you want to stay a lil’ while and hang around with me.” This pushed one overzealous fan-girl literally over the edge, as she leapt up on stage- catalyzing a frantic crowd rush onto the stage, jumping and raving to the “My Sweet Summer” Borgeous remix. After a week of being “Spread Too Thin”, it felt sublime to “Stand Tall” and rock out like “Medusa”, giving everything up to these eclectic bands who showed all a swell time. tamar LASCELLE

YOU ME AT SIX TAKE THE MAJESTIC

On November 2nd, 2014, British rockers You Me at Six (YMAS) and support act Young Guns ended their North American Fall Tour at the Majestic Theater. The Majestic is a cozy venue, offering a more intimate experience for performers and their fans. With the popularity of both bands on the rise, one would have expected a larger crowd, yet on the Sunday concluding “Halloweekend,” the normally closequartered venue was oddly roomy. Upon looking around it was apparent that most in the audience were high-schoolers, their parents watching from bar tables in back, while several groups of college students mingled about. Despite the interesting demographic, the concert proved to be a good night.

Young Guns, an alternative rock/punk band comprised of five lads from London, brought a strong start to the final night of the tour at the very place the band first performed in the United States. When lead singer Gustav Wood informed the audience of this, the crowd erupted into hoots and hollers, becoming even more excited than the opening songs had made them. It was clear many in the audience knew the band as they sang and shouted along to tracks like “I Want Out” and “Bones,” but even those who didn’t know the lyrics were screaming and jumping around from start to finish.

Young Guns rocked their set so much so that they could have been the headlining act themselves.

Following Young Guns’ head-banging performance, You Me at Six was less punk-y which seemed to cause a drop in the audience’s energy levels. That’s not to say their performance wasn’t every bit as good, the crowd just lost their hype, perhaps because it was 10 o’clock on a Sunday night and there was a half hour of downtime before YMAS took stage.

The band re-excited the crowd with old fan favorites such as “Underdog,” “Reckless,” and “Loverboy” to which almost everyone under 25 sang along to. In fact, as this was their first headlining tour in the US, about half the songs YMAS performed were from older albums, Hold Me Down (2010)

and Sinners Never Sleep (2012).

The band even performed “Bite My Tongue,” a single released in 2011 that features the strong vocals of Oli Sykes, lead singer of metalcore band Bring Me the Horizon. Lead vocalist Josh Franceschi proved his vocals could indeed reach a similar screamo-range when he successfully shouted out Sykes’ bridge. All the while, guitarists Max Helyer and Chris Miller violently flipped their long hair as Dan Flint pounded the drums and bassist Matt Barnes jumped along with the audience. It was at this point that the crowd regained that same hype inspired

by Young Guns and the show became something reminiscent of Warped Tours past.

Soon enough, the band was making jokes about Franceschi having too many Fireball shots and humping the floor at the previous nights’ show.

In comparison, it seems Madison had a rather uneventful night despite the brief interference from crowd security when the band requested the crowd climb upon each other’s’ shoulders; apparently doing such was too dangerous, to which the audience booed and Franceschi was quick to claim “You are ruining the fun! C’mon!” Unfortunately, the shoulder-climbing was still not permitted to ensue.

The night came to an end, the tour to a close, after Franceschi expressed the bands’ gratitude for their dedicated fans and thanked the audience for attending the tours’ final show date. The band performed “Lived a Lie,” their first single off Cavalier Youth (2014) to debut at Number 1 on the iTunes chart, before again thanking the audience and fleeing off-stage, clearly thankful to be returning to the UK. Despite being a smaller show than their other stops this tour, Young Guns and YMAS didn’t disappoint, again proving their standing as excellent pop punk/rock performers, all the while reaffirming their ability to rock out with any audience size. lily HANSEN

49

50

EMA &

SPOON

photos by bailey SALAMANCA

51

PANDA BEAR ALTERS MINDS AT MAJESTIC

The feeling of excitement in the Majestic on September 26 was noticeably higher than any concert I’ve been to before, because the audience had no idea what Panda Bear was going to perform. The long anticipated release of Panda Bear vs. The Grim Reaper, the follow up to his 2010 solo EP Tomboy, had the entire audience on their toes. At that moment, we were unaware of the euphoric feeling that would simultaneously come over all of us by the end of the show.

First up was a band named Blues Control. The band name was a little misleading, because the name sounds reminiscent of a mediocre BB King cover band that plays at local pubs. However, when they came out on stage, it was clear that wasn’t going to be the case.

After a few minutes into Blues Control’s set, everyone knew they were looking at incredibly hardcore guitarist. She was extremely intense, with long bangs that blocked her eyes while she threw a guitar on the stage and pounded on the neck. Their sound was similar to Dylan Carlson’s band Earth, a sound once popular in the 1990s that is re-emerging now. They had a similar droney sound that gave you that feeling your whole body was vibrating and pulsating slowly, yet violently. Then suddenly, they stopped, leaving you with a ringing memory of the synchronized drone guitars in your ear.

Then Noah Lennox stepped onto the stage. The music that came from his set up was undeniably some of the best work I’ve ever heard by him. Playing songs from his pending EP Panda Bear vs. The Grim Reaper, song after song had a mind-altering effect. It was as if the music somehow entered your body and you could feel it gently flowing inside you. The visual aids were a trip within themselves. At moments there was a video of a beautiful woman gracefully dancing and smiling at you, and then it would change to a group of dancers with the most terrifying facial expressions moving in strange ways about the picture plane. A robust selection of strobe lights enhanced the music’s psychedelic vibes, and made the experience even more creative if you closed your eyes and moved to the sounds.

52

He only played two songs from his last EP Tomboy, “Surfer’s Hymn” and “You Can Count On Me.” The rest of the 45 minute set was filled with beautiful ballads and up-tempo jams that made the whole room jive and sway. After the encore, where he fabulously played “You Can Count On Me” and another high quality new song, the loudness came to a sudden halt which left everyone standing there for a solid few minutes trying to comprehend what just happened. The performers masterfully executed the whole experience, and I’d like to believe that, like me, everyone left the venue impatiently waiting to relive the moment again when the new album drops. nick POGORELEC

THE PREATURES EXCITE AT THE FREQUENCY On a cool Thursday night in October, Australian five-piece band, The Preatures, graced Madison with their presence at The Frequency. Opening support came from the praiseworthy Milwaukee-based electro-rock group GGOOLLDD, leaving the stage and audience feeling warm and ready for The Preatures. By the time The Preatures came on stage, any free spaces within the crowd were quickly filled and the snug back room was quickly ready for a performance from the Aussies. And a performance they got.

After a brief period of anticipatory applause, The Preatures jumped right into their performance, beginning with their most recent album’s title track, “Blue Planet Eyes,” which had the audience bobbing their heads to the tracks slowburning soundscapes and wispy vocals. They picked up the pace with the album’s single, “Somebody’s Talking.”

Full of in-your-face, but delicate guitar chord slams and a rolling bass line, this track was signature to their style. From this point on, singer Isabella Manfredi frantically jumped and rolled around the stage with high intensity, oftentimes getting up close and literally in people’s faces singing and dancing without missing a beat. This caused quite a spectacle for many in the audience who were surprised by the Morrison-esqe stage antics. Manfredi, as the band’s frontwoman, displayed moments of crazed energy, while never once missing a note. Manfredi, clad in a jet-black leather jacket and white tee, was dressed vaguely reminiscent of a Ramones or Velvet Underground member, but when her voice roared, she created a unique persona of her own.

Manfredi commanded the stage and band with extreme energy and poise, leading her band through psych rock jams like, “Rock & Roll Rave.” On this track, guitarist Jack Moffitt demonstrated his adept dexterity and mesmerized the audience with his psychedelic riffs in a calm, col-

lected demeanor. Only slowing down briefly for songs like “Threat” and “Two Tone Melody,” The Preatures maintained their energy and intensity by burning through old songs for long-time fans like “Manic Baby and “Take a Card” and newer releases like epic, alt-rock jam “It Gets Better” and almost-folksy “Cruel”. Energy was kept at a high until they capped off their set with their alternative rock hit, “Is This How You Feel?” At this point, it felt like the moment everyone was waiting for, as the entire audience was singing along and getting down.

Overall, The Preatures put on an exciting show full of masterful musicianship and a lively stage presence. The guitarists’ grooves sounded like they had been pulled from the quick, precise guitar riffs of Prince, while also having an extra kick of blues and psychedelia injected into their sound. However, a couple times the bassist, drummer and guitarist would seem almost bored or disinterested, having side conversations at a couple points during the show while Manfredi was entertaining the audience. This wasn’t a serious distraction; it just seemed to be unprofessional.

Also, at points, it seemed Manfredi’s voice was lost somewhere in the reverb and seemed to take a backseat to the power of the guitars. These were slight distractors, but in all, the band played cohesively as a unit and performed with excitement and musical prowess.

That being said, the show was received by the audience with high praise. In good spirits, the crowd left more than thrilled with the performance and eager for the future return of The Preatures to Madison. evan FLYNN

53

SWOONING FOR TIMEFLIES Monday, October 13th wasn’t your typical dreary Monday.

After standing in the pouring rain and waiting for the doors of the Orpheum to open the floodgates and let in the masses, everyone was greeted with gusto by the Canadian rap/rock group, Down With Webster. It was a surprising opener, considering their sound is so different from Timeflies’. However, this had no negative effect on the energy. The feeling of anticipation was overpowering.

Half an hour later the EDM artist Kapslap took the stage and the crowd started filing in. There was dancing, jumping, and hands in the air, but the night was young.

Cal and Rez of Timeflies started their show with a bang.

Immediately Cal started crooning “All The Way” and the crowd went wild. Everyone started singing and dancing, the stage lights going crazy. The atmosphere was electric and loving, with good vibes resonating throughout the theater. The set quickly switched to “SMFUW”, one of their songs from their Warning Signs EP. The songs kept flowing one into the other, with some throwbacks from their The Scotch Tape and One Night EP such as “For You”, “Turn It Up” and “Wild Ones.”

Perhaps one of the greatest things about Timeflies isn’t just that they are talented musicians and are excellent performers, but that they have created a thing called “Timeflies Tuesday.” Every Tuesday they post a video of themselves performing a cover, remix, freestyle, or all of those combined. They performed some of their greatest hits, like “Under The Sea” (while proceeding to throw water on the crowd) and a Paranoid/We Can’t Stop/Etc. mash-up. Monday, October 13th was deemed a Timeflies Tuesday and to the delight of the crowd, we were asked if we would like to be a part of a Timeflies Tuesday video.

The shouts, clapping and enthusiasm were deafening.

Cal and Rez performed “All The Way” once more. You can see us Badgers having the time of our lives on Timeflies’ “Cool Kids.”

Towards the end of the show, Rez sat down and started playing a guitar, with Cal singing “Monsters,” “Wagonwheel,” Bruno Mars’ “Marry You,” and a remix to R. Kelly’s “Ignition Remix.” They then picked up once more with the energetic “Yeah” and crowd favorite “Swoon,” and heartbreaker “I Choose U.” It was a night to remember, one that was just a good old time and felt like we were with a group of your closest friends, not one amongst a couple hundred strangers. bambi SHORE

54

THE GLITCH MOB JOURNEYS TO MADISON Even though it was late on a Sunday night, the Orpheum was filled. After Chrome Sparks mellowed everyone out with their experimental and calming electronic sound and The M Machine quickly whisked the mellow atmosphere away with heartpounding EDM, the crowd eagerly awaited the arrival of The Glitch Mob. They were not disappointed.

One week into their tour, their energy at an all time high and the electricity pulsed through the air. Everyone immediately went into dance mode. The crowd moved like an amoeba: all jumping, fist-pumping and swaying simultaneously. The lights moved with the crowd, with the fog creating a blanket that enveloped everyone. There was nothing but smiles in the room.

The Glitch Mob started the night off with their highly anticipatory and jittering “Mind of a Beast.” The crowd went wild and the vivacity was kept alive with “Our Demons” and “Can’t Kill Us.” Fortunately they didn’t just feed us their whole Love Death Immortality album, but rather threw in quite a few of their older songs as well. Extremely popular songs “Drive It Like You Stole It” and “Fortune Days” were definitely crowd favorites.

With the deep bass and interweaving piano and drums, the eerily beautiful songs enthralled the audience. Each song was different, but they all managed to hit everyone’s inner core. The

music was reminiscent of the ebbs and flows of life, with the intensity of moments generously sprinkled in the little crevices of a picture of life that was being generated in our midst. The Glitch Mob took us on an adventure- and a stunning one at that.

“GLTICH MOB! GLITCH MOB! GLITCH MOB!” As soon as they left the stage, chants for their return immediately roared. After what seemed like forever, they graced the stage once more.

“We Can Make The World Stop” made the world, well, stop. It felt like this was the only thing happening at that moment. The hands punched the clouded air, heads bobbed, hips swayed and everyone yelled every time “WE CAN MAKE THE WORLD STOP” flashed on the screen. The song I had been waiting for all night, “Animus Vox,” was better than I could have ever imagined.

You can hear the heart and soul in their music which makes it all the more special. The Glitch Mob made a huge impression at the Orpheum, and people are still talking about the show on campus. We were just some of the lucky few that got to experience this, and I trust that as they get bigger and their venues get bigger, they will continue to move people. Their touch will be everlasting. bambi SHORE photos by bambi SHORE

55

THE LIVING STATUES

bringing classy back

“A lot of performers will tell you what you want to hear, but this is our very favorite place to perform,” Tommy Shears of the Living Statues exclaimed about the Majestic on Nov. 6. Dressed in suit coats and ties, he four-piece rock-and-roll band from Milwaukee, Wisconsin looked as sharp as they sounded.

Opening with an energized version of “Extra Day” off their EP, Knockin’, The Living Statues got everyone on their feet.

The cool crowd from the bar slowly gravitated towards the band’s electric sound until the dance floor started shaking like a magnitude-9 earthquake. After singing along to the catchy, hard-hitting lyrics of “Foolin’ Around,” and “Time For Me to Go,” the crowd was a bit taken aback when The Statues erupted into a cover of Amy Winehouse’s “Valerie.” Keeping their edgy style, the phenomenal rock-and-roll cover of an originally slow and soulful song was memorable, to say the least.

However, the main highlight of the night was when Shears dedicated a song to a long-time friend who was celebrating her anniversary with her boyfriend at the show. Shears dedicated a song to the couple, claiming, “This is the closest thing to a love song we have.” The crowd, expecting a slow love song, once again, was surprised when The Statues busted into the upbeat and powerful “Stay in the States.”

The quartet, consisting of Chris Morales on drums, Alex Thornburg on bass, Zak Rickun on guitar, and Tommy Shears on guitar and vocals, was not always a quartet. The Statues recently inducted Rickun to the band, adding a whole new level of musicality to the band’s performance. However, by the look and sound of it, Rickun had no trouble fitting in- sporting a tie and black skinny jeans, tearing up his solos and playfully interacting with the crowd.

The Statues’ unpredictable style of performing always keeps the audience guessing, and draws fans, old and new, back to their shows. Closing their set with “Our American Cousin,” everyone seemed likely to come “Knockin’” at The Living Statues’ door for the new EP. abbey SCHNEIDER

56

on

els a h c i M d i Ingr

Brightens Up Shannon Hall

“You should build a square garden here in Madison, and I’ll tell everyone I played at Madison Square Garden,” Ingrid Michealson joked at Shannon Hall on November 7.

Michaelson’s sold-out show, equal parts music and comedy, highlighted both her musical ability and quick-witted sense of humor.

The evening began with a performance by Chris Koza of Rogue Valley. Koza, along with supporting guitarist, Peter Sieve, set the mood for the evening, combining folk songs with a sharp sense of humor. After introducing one song by the wrong name, Koza exclaimed, “What kind of performer announces his own song by the wrong name? I’m sure Vanilla Ice never says, here is my song, ‘Ice, Ice... Ice cream.”

The duo’s impeccable harmonies and charming lyrics defined their acoustic performance and prepared the audience for a night of musical bliss with songs that lived up to their hit, “The Wolves & the Ravens,” which is featured in the film The Secret Life of Walter Mitty.

After a long, anxious wait between sets, Michaelson took the stage in her signature glasses, performing “Home.” Taking the stage with three other talented musicians, the acoustic quartet entertained the Wisconsin audience from start to finish.

During the first half of her show, Michaelson performed slow songs such as “Wonderful Unknown” and “Ready to Lose,” off her latest album, Lights Out, which she released last April.

However, Michaelson lightened the mood when she broke into the hard-hitting rock-and-roll anthem off her latest album, “Time Machine.”

While many musicians struggle with crowd participation during newly released songs, Michaelson’s loyal fans were singing along, proudly supporting and celebrating her latest album.

Half way through the show, Michealson’s backing musicians left the stage as she performed a uniquely beautiful version of “Somewhere Over the Rainbow” on her ukelele.

After the cheering subsided, Michaelson’s band returned for a new set, which featured many of her top hits.Before performing “You & I,” Michaelson exclaimed, “Never tell a performer you like ‘her one song.’ I’ve written more than one song. Three at least.”

Then, with one microphone in the middle of the stage, each musician on stage sang a line from the cheerful song, “You & I,” then rotated out for a fun sing-along version of Michaelson’s hit. The fun continued with songs like “The Way I Am,” “Parachute,” and “Be OK.” Michaelson garnered laughs after changing the lyrics of “Be Ok” from “Just give me back my pieces,” to “Give me my Reese’s Pieces.”

Michaelson closed the show with “Girls Chase Boys,” before reentering the stage for an impressive encore. The encore consisted of an acapella version of “Warpath,” with percussion provided by the quartet’s hands in the form of a complex clapping pattern.

Just when the audience thought she was done, Michaelson surprised everyone with a vibrant version of “Afterlife,” inviting about 20 people on stage to dance and celebrate with her.

Overall, Michaelson’s incredible vocals and bubbly personality made for a memorable concert. The acoustic nature of the show highlighted her true talent and left everyone with a smile on their face, even after the “Lights went Out.” abbey SCHNEIDER

57

TOWNSHIP AT QUARTERS Quarters is a little bar on the east side of Milwaukee that hails itself as the “Rock & Roll Palace”. Palace might have been a little bit of an embellishment; the venue was extremely small, but that made it quite a special experience. Perched up on the bar, I was no less than four feet away from the performing bands. Being so close to enormous speakers that deployed massive sounds to the crowded audience, I was afraid that the quality of the music would be lost in reverb and over-resonation due to the small venue. However, the last act, a band called Township from Fond du Lac, Wisconsin, evaded this because of their skill and style.

Their sound was appeasingly unique. They were identifiably pop-punk, however their charm was their ability to work with musical elements from outside the confines of the genre. Methodically, the musicians weaved the ferocity of punk with a droning experimental sound. It created an experience during which I found myself rocking out at one moment and then slowly nodding my head and body to a slow psychedelic beat.

Their pop-punk sound was brought out by their punching rhythms and quick tempo. The sound was further accented by frontman Nicholas Halverson’s vocals that were as impassioned as they were vigorous. In their song “Rinsed” they demonstrated their rapid melodies over quick and steady drums provided by Zacoda Glass, which had an urban feel. The swift movements of the music made the cramped audience move into each other and made everyone at the bar quickly bob their heads. The punk

58

vocals and the pronounced lead guitar reminded me of a grittier, grungier version of Cymbals Eat Guitars, but Township was less polished which gave them a more authentic feel.

However, to my pleasant surprise, the ballads brought in a sound I’ve only heard done well by a few bands. Drone is a hard sound to make flow, but Township’s lead guitarist Matthew Weinberger and bassist Dallas Reilly intertwined the sound of their instruments together to produce a subtle psychedelic feel reminiscent of the acclaimed 90s drone band Earth’s first albums. The band worked well to create a drone rhythm that fit well under punk vocals, which gave their music an innovative sound. These elements are best exemplified in their song “Hole Up Here”, in which their uniqueness truly stands out.

Plus, their stage presence and ability to bring out the best of even the smallest venues, left me with the notion that’d I’d be comparing all my nights in Milwaukee to when I stopped by the Rock & Roll Palace and heard the disparate and unique music played by Township. Their sounds were impressive and created the desire to share the songs with all the alternative rock music fans in my life. By combining elements from distinct genres, Township gave the Quarters something new and quality, a very difficult combination to produce. nick POGORELEC

The stage was smoky and dark. The crowd was already thrumming with excitement thanks to energetic Los Angeles opener, Grizfolk, with their fuse of country and indie rock. The elaborate set and light structures in the RiverCentre in St. Paul, MN suddenly lit up with images of wolves dashing across the enormous triangular screen.

The projection screen displayed clips from Bastille’s cinematic track “Things We Lost in the Fire” as lead singer, Dan Smith, slowly incorporated his vocals with the majestic violins. Racing drums filled the arena as the crowd rang with hundreds of singing 20-year-old women.

Without pausing for breath, Bastille moved effortlessly into their next song, “Weight of Living Pt. II,” as Smith continued the infectious energy with his ceaseless jumping and dancing. The three other members rotated between multiple instruments, with everyone taking turns playing the keyboards and various drums scattered across the stage.

The result was an experience very different from Bastille’s album, Bad Blood (2013). While remarkable and incredibly successful, Bad Blood can sound a little too constructed and computerized at times. However, the four-piece band from England demonstrated their strength as live performers by easily interacting with their audience and maintaining incredible energy for the entire night.

Bastille even mixed in a new track, “Blame,” from their forthcoming album, which was met with a strong audience response even though the track has yet to be released.

Much darker and heavier, “Blame” showcases new influences as well as a new emphasis on guitar riffs, providing a contrast with Bastille’s previous work.

They took a breather in the middle of the set with what Smith called, ‘By far the most depressing’ of their songs, “Oblivion.” Before starting, the Londoners asked the crowd to indulge them in their corniness by holding phones, lighters and ‘torches’ in the air. Accompanied only by a single piano, it was evident that Smith’s unique raspy voice is just as strong live as it is on the album.

Next, Bastille did a cover of TLC’s “No Scrub” from their unofficial record, Other People’s Heartbreak Pt. 2 (2012), one of the free mix-tapes that Bastille created before they became famous. However, due to “several impending lawsuits,” the music has been taken down. The mix-tapes featured covers of popular songs with fellow artist friends, many of whom have now found a level of fame.

A definite highlight came towards the end with “Icarus.”

The triangle projection screen lit up with clips from their various cinematic music videos as audio clips from movies spoke to the crowd. It felt like a movie theater, but with brief drum breaks that would pierce the silence as each member pounded on their individual tom-tom drum.

Slowly the drum hits became closer together until they continued into a string of complicated interactions, building into one epic drum break that sounded more like a movie soundtrack than an indie song.

Bastille ended the main portion of their set with “Flaws.”

Smith has a tradition of venturing out into the crowd and, regardless of stadium size, dancing with audience members. Of course, for Smith that means a mix of flailing and bobbing up and down. He weaved his way in and amongst the crowd, bravely entering a sea of females while still successfully carrying out a tune.

The roar of the fans brought Bastille back for an encore of “Get Home” and “Of The Night.” During the mash-up of “Rhythm of the Night” by Corona and “Rhythm is a Dancer”

by Snap!, the crowd was asked to crouch down until the chorus when everyone leaped up for some synchronized jumping.

They ended the night, of course, with their massive hit, “Pompeii.” The song was impossible to avoid during all of 2014, so it would be impossible to leave it out of their setlist. “Pompeii” worked the crowd into a frenzy, ending the night on an exhilarating note.

Bastille’s self-deprecating and earnest stage presence quickly won over the audience, while the strength of their musicianship, the cinematic elements and the overall energy made Bastille the best live act I’ve seen in a long time. rose LUNDY

59

PORTER ROBINSON BRINGS THE FUTURE TO MADISON

Since the beginning of Porter Robinson’s Worlds tour, he has stressed that his shows are not raves, and while this may seem odd coming from a producer whose fame arose exclusively out of the EDM scene, one need only listen to the Worlds (2014) album to understand why we shouldn’t expect a dance party. Further emphasizing his departure from EDM is Robinson’s choice in openers, namely the Norwegian band Lemaitre and DJ Giraffage – neither of which are the typical pump up opening DJs one would expect at an EDM show. On top of all that, Porter says he attempts to perform his songs as live as possible, rather than DJing.

The crowd that filled the Orpheum, while noticeably excited, seemed a little bit incongruous, with some people dressed in neon tank tops, others looked like they had come to see a jazz show, and a tiny enclave of diehard fans at the front already dressed in Worlds merch. Clearly, not everyone was aware of Porter’s new artistic direction, but this crowd seemed determined to make the most of it.

After a brief Intermission following Giraffage’s alternative electronic DJ set, Porter Robinson finally emerged on stage to thunderous cheering. Clad in a long hoodie that gave him a wizard-like quality, he approached his specially built transparent table, not with a smile, but with a fierce look of determination. At this point the crowd had begun steadily chanting, “Porter! Porter!” and with a little ceremony, Robinson quietly began playing the synth line to “Sad Machine”. After an initial outburst of loud approval, the crowd grew quiet save to sing along. Appearing on the main screen was a fractured futuristic cityscape, with a sad looking animated girl on both secondary screens. These visuals, combined with the mournful sound of the synth, drew the crowd into an excited yet melancholy mood for the duration of the song.

Just as the scenes of sorrow faded away in time with the song, the Japanese lyrics of “Flicker” began to repeat, accompanied by Japanese characters on the screen. Just as quickly as the crowd had lulled, it erupted with shouting as everyone recognized the happy, pop-like sound of “Flicker”. The rest of the show proceeded in roughly the same fashion, with the

60

audience quieting at appropriate intervals for the most part, and the visuals helping convey a sort of story.

From the almost poignantly morose rendition of “Fellow Feeling” to the heart pounding songs such as “Lionhearted”, Porter kept the audience captivated, all while adhering to the album’s theme of escapism through fantasy. “None of this is real, but it can still be just as beautiful as anything found in reality” seemed to be Porter’s message throughout the show.

Once the final stream of confetti had fallen and Porter left the stage, the smiling audience reluctantly began to disperse with an air of fulfillment. Porter aimed to show the world that he was more than just an EDM DJ, and, at least in Madison, he succeeded. teymour TOMSYCK

PIXIES It is an exciting time for Pixies fans everywhere as the band once again rocks stages all over the globe. Close to home are happy Wisconsinite Pixies fans, elated that the Pixies chose Wisconsin as one of their North American stops. This latest tour is due to the fact that they released a new album in April of this year: Indie Cindy. It has been more than twenty years since the Pixies released a full studio album; so many fans are screaming enthusiastically, “It’s about time!”

Without a doubt, there are some long time Pixies fans skeptical of the band putting out a new album and going on tour without founding member Kim Deal. Currently, Deal has been busy doing her own work with a band she founded back in 1990, the Breeders, so she decided to back out of the Pixies for the time being. With that being said, the other 3 members: lead man and guitarist Black Francis, lead guitarist Joey Santiago and drummer David Lovering, decided to continue making music in Deal’s absence. This lead to the band working with a variety of bassists for the first time ever, including the uber talented Paz Lenchantin who played like a pro with the Pixies at the Orpheum. Paz has played with an array of bands spanning genres including (but not in the least limited to) A Perfect Circle, Queens of the Stone Age,

Zwan and Brightblack Morning Light. If skeptical fans came in to the theatre initially with eyebrows raised, missing their beloved Kim Deal, only one song was needed to wash the doubt away. The happy roars from the packed house at the Orpheum declared Paz indeed up to the task.

On this night of October the 12th 2014, what did the Pixies play? It will certainly be a real time saver to list what they did not play! For a solid 2 hours plus, the Pixies played, and not a b-side or a deep cut was left unturned. Every old favorite was jammed to perfection as well, including “Gauge”, “Caribou”, “Debaser”, “Monkey Gone to Heaven”, and literally nearly every other song they have ever released! The band had smiles from ear-to-ear, and it was very apparent they did not want to be anywhere else but where they were: playing on-stage together. The Pixies appeared timeless this night, as if untouched by the past decades and unaffected by age.

Though they did play songs from their newest album like “What Goes Boom”, Indie Cindy and Snake, there was nothing old sounding about their old songs. It is music that truly stands the test of time and does not grow old, just like the Pixies themselves. lisa KOHLMANN

61

Chromeo Gets Funky at The Riviera, Chicago 10/17

ChroMEo. OOOOOO. ChroMEo. OOOOOO.” The Riviera Theatre shakes with the chants of a cult-like, sold out, and eclectic rowd anticipating the appearance of the one-and-only duo of Funklords in the music business, Chromeo.

or those of you who haven’t encountered Chromeo just yet, the duo consists of two Canadians who have been best friends nce high school, and this friendship (or brotherhood, more like it) is clearly reflected in their stage presence. Dave 1 is your lassic skinny jean-wearing rock star heartthrob who gets the crowd going while owning the stage. P-Thugg is his more reserved ut hilariously cool counterpart, rocking a chest-length braided beard and effortlessly singing into a talk box that transforms his oice to give Chromeo their signature funky sound.

WaveRacerMusic was Chromeo’s opener at The Riviera and frankly, an opener was all he really was. As the crowd filed in to see he main act, there was barely a head nod of acknowledgment for WaveRacerMusic’s elementary and basic remixes. Background music to say the least…but perhaps this was Chromeo’s plan all along: pumping some un-funky music into the crowd just to get hem even more jacked for the #FNKLRDZ (definitely seems like the type of thing these two would do).

inally, as the cult-like chants grew more intense and the crowd grew restless, Chromeo took to the stage with an unforgettable ntrance. A thumping beat and glaring white lighting raised the crowd’s anticipation to an all-time high as the duo stepped into osition to the tune of their opening jam, “Intro.” Dave 1 amped up the crowd, letting everyone know how fantastic it was to e back in Chicago, as it was their third time back in the city for 2014. Chromeo has had an outstanding year of touring and uccess as they played a sold out show at the Lincoln Theatre in May and funked 50,000 revelers at Lollapalooza in August. It’s a afe bet that Chromeo has found a funk home in Chicago.

CHROMEO GETS FUNKY AT THE RIVERIA

Chromeo’s stage appearance is bold and mesmerizing, filled with background mirrors, pulsing lights outlining the set, and that idescent pair of two-legged keyboards that compliment the theme of their newest album, “White Women.” The chrome fixures that engulfed stage accessories extremely fitting, chrome guitar that Dave 1 rocks know during solo jam “Chromeo.the OOOOOO. Chromeo.are OOOOOO.” The Rivieraespecially Dave 1the amped up the crowd, letting everyone how shakes with the chants” of a cult-like, sold Boy. out, ” When fantastic it was to be the back in Chicago, as it was their essions onTheatre “Old 45s, ” “Night

by Night, and “Momma’s the light catches guitar and chrome reflections shine out and eclectic crowd anticipating the appearance of the third time back in the city for 2014.

Chromeo has had an nto the crowd, it is an explosion of funk all over everyone and everything. one-and-only duo of Funklords in the music business, Chromeo.

outstanding year of touring and success as they played a sold out show at the Lincoln Theatre in May and funked The night was an immense success for Chromeo with not a moment of down timeatfor the exuberant Chromettes 50,000 revelers Lollapalooza in August.

It’s a safeand betFunkaFor those of you who haven’t encountered Chromeo just eers. From Dave 1 encouraging every girl in the venue to climb onto shoulders for “Over Shoulder” to the that someone’s Chromeo has found a funk home Your in Chicago. yet, the duo consists of two Canadians who have been

rowd losing for “Jealous, ” Chromeo’s setthis wasfriendship one impressive funk rock production. These guys truly encompass the definition bestit friends since high school, and (or stage appearance is bold and mesmerizing, f “getting brotherhood, down” and itmore will like be an immense pleasurein to follow rest of their funkalicious future. it) is clearly reflected their stagetheChromeo’s filled with background mirrors, pulsing lights outlining presence. Dave 1 is your classic skinny jean-wearing rock auren CHOJNACKI star heartthrob who gets the crowd going while owning the stage. P-Thugg is his more reserved but hilariously cool counterpart, rocking a chest-length braided beard and effortlessly singing into a talk box that transforms his voice to give Chromeo their signature funky sound.

WaveRacerMusic was Chromeo’s opener at The Riviera and frankly, an opener was all he really was. As the crowd filed in to see the main act, there was barely a head nod of acknowledgment for WaveRacerMusic’s elementary and basic remixes. Background music to say the least… but perhaps this was Chromeo’s plan all along: pumping some un-funky music into the crowd just to get them even more jacked for the #FNKLRDZ (definitely seems like the type of thing these two would do).

Finally, as the cult-like chants grew more intense and the crowd grew restless, Chromeo took to the stage with an unforgettable entrance.

A thumping beat and glaring white lighting raised the crowd’s anticipation to an all-time high as the duo stepped into position to the tune of their opening jam, “Intro.”

62

the set, and that iridescent pair of two-legged keyboards that compliment the theme of their newest album, “White Women.” The chrome fixtures that engulfed the stage accessories are extremely fitting, especially the chrome guitar that Dave 1 rocks during solo jam sessions on “Old 45s,” “Night by Night,” and “Momma’s Boy.” When the light catches the guitar and chrome reflections shine out into the crowd, it is an explosion of funk all over everyone and everything.

The night was an immense success for Chromeo with not a moment of down time for the exuberant Chromettes and Funkateers. From Dave 1 encouraging every girl in the venue to climb onto someone’s shoulders for “Over Your Shoulder” to the crowd losing it for “Jealous,” Chromeo’s set was one impressive funk rock production.

These guys truly encompass the definition of “getting down” and it will be an immense pleasure to follow the rest of their funkalicious future.

lauren CHOJNACKI

t

n

MIXES IT UP A Monday night in Madison: Any other town would seem a dull and slow evening, but here, we like to mix things up. There is always something to do on a Monday in Madison and it was especially poppin’ when RAC (formerly known as Remix Artist Collective) came to town, gracing The Majestic stage with his presence.

RAC is the solo project of Andre Allen Anjos, a Seattle native, who remixes songs for musical artists.

RAC’s remixes are not your typical dance-pop, bass-thumping jams, but instead throw an interesting twist onto each song, bringing out the artist’s vocals in a way the listener never thought possible.

Since RAC is a solo venture, one did not know what to expect going into the concert. Would it just be Andre standing up on stage like your typical DJ behind a spin table? Or would he break the mold and present us with musical genius like that from his most recent album, “Strangers.”

Luckily for the crowd, RAC performed to his full potential. The show was a compilation of artists from opening to close, with the feel of a true “remix artist col-

lective.” To open the show was Austin-based band, Speak. While playing to a relatively small crowd, Speak did a wonderfully humble job of getting the early arrivals amped. These guys have something of a quirky Two Door Cinema Club-esque vibe going on, and their music is definitely something to be heard. They had such a fun presence on stage, emulating a connection with their songs that RAC also makes apparent. Following Speak, The Knocks took to the stage. If you haven’t heard their hit single “Classic,” you’ve been living under a rock. These two owned the stage as they played off each other’s humor and had a great time doing so. Their banger “Dancing with the DJ” got the crowd bumping and as they hit “Classic,” the room went wild.

You cannot help but dance to that song.

When RAC hit the stage around 10:30, it was nothing like you’d expect. Instead of a solo show behind a spin table, Andre brought out all members of Speak to play live music for his remixes. He also brought out an extra special guest—his wife, Liz Anjos, who has collaborated with RAC and

whose vocals are as flighty and beautifully breathless as you’d expect…and who is also an exceptionally talented on the keyboard.

RAC opened with a live remix of Joywave’s “Tongues,” collaborating both the thumping of the bass and the stark white lighting to make for an ultra-intense beginning sequence.

From there on out, the night was a success. An RAC original, “Hollywood,” got everyone jumping up and down, shaking The Majestic.

For a smaller crowd at their show, the fans were no less rowdy. They showed appreciation and love for RAC’s talent and Speak’s vocals as would any loyal fan base. As a way to close the night, a singa-long remix of Edward Sharpe’s “Home” was the perfect showcase of RAC’s ability to combine live music and enhance the artist’s vocals to create an entire new sound. The artist collective of RAC, The Knocks, and Speak certainly made everyone’s evening, and I’ll bet you’re wishing you spent your Monday night at The Majestic. lauren CHOJNACKI

63

64

Umphrey’s McGee has now reached a feat that many bands will never come close to. Playing 2,000 shows is something even touring juggernauts like Phish and Widespread Panic have yet to achieve. Since their formation in 1997 the band has averaged 118 shows a year.

Dedication like that comes from variety, strong personal bonds, and an insatiable desire to melt faces.

To celebrate the milestone, the Chicago-based ProgJam band booked a weekend at the Orpheum Theater for their seventh and eighth shows at Madison’s historic downtown venue. It was clear this would be a special weekend as the Saturday show (Nov. 8th) sold out in just a couple weeks. The first night sold out soon thereafter and the stage was set for a full on weekend banger, and that’s exactly what we got.

The mood in the smoky haze of the Orpheum buzzed as the icy blue lights that have become so synonymous with Umphrey’s slowly shifted to a blinding white light that signaled the arrival of the band. The sextet slipped into their instruments as bassist Ryan Stasik led the crowd in a traditional display of rock hands that UM fans have adopted as their own. The band counted off “Educated Guess.” A song fresh off their new album that contains a groove metal-like breakdown that sent the crowd into a united headbang that set the tone for the rest of the dark, brooding 1,999th show.

What fans love about Umphrey’s McGee is their ability to wear a multitude of hats. From tour to tour, show to show and song to song, the band prides itself on taking their audience through blissful, triumphant peaks, and dragging them through gritty, schizophrenic valleys.

Some nights they feel like being funk band, others, a jazz band. Saturday was time for celebrating. But that Friday night, make no mistake, Umphrey’s was a rock band.

We got our first taste of the evil that UM was channeling in the fifth song of the first set, “Resolution.” The bipolar song trades off between a bouncy, optimistic major key riff, only to abruptly shift into a death metal passage, complete with guttural screaming and demonic red lighting. If one was unfamiliar with Umphrey’s McGee, “Resolution” is not exactly the track to ease them in. I have a friend who claims to have “talked to satan” during a version of this song from a couple years ago, but that is a whole different story…

“Resolution” also marked the band’s first dive into extended improvisation for the evening. The band was quick to find a slinky groove with keyboardist Joel Cummings and drummer Kris Meyers locking in to allow

guitarists Brendan Bayliss and Jake Cinninger to fiddle around with funky, single note lines. Tension and pace began to gradually grow before culminating in a full on signature Umphrey’s shred fest. No one can deny that UM is a guitar oriented band, and the two talents that occupy that instrument are truly a treat to hear. One more trip into the verse/chorus and then it’s back to the funk, with bassist Ryan Stasik laying down a line that allows audience member’s hips to start moving side to side instead of heads pounding up and down. The groove catches some steam and Cummings gets in on the action, flicking some pedaled out clavinet notes. 16 minutes later we’ve landed and a smooth transition into “White Man’s Moccasins” has commenced.

This was my first time witnessing the spectacle that is Umphrey’s McGee’s light show indoors. And let me tell you, what a spectacle it is.Being an avid attendee of “jam band” shows I am unquestionably spoiled by the magnitude and improvisational effort that is put into the luminescence of these concerts. But I have to say that lighting director Jefferson Waful is the best in the business. His use of outward facing lighting is revolutionary, albeit tough to photograph.

The second set stuck with villainous, yet danceable nature of the first, with UM weaving bits of their latest hard hitting number “Puppet String” in through the other song selections. In the middle of one of these “String” sandwiches came a surprising and much welcomed cover of Iron Maiden’s “The Trooper.” In only the band’s second effort ever at the galloping classic rock staple, Umphrey’s proved why many dub them “the world’s greatest cover band.”

The members of Umphrey’s McGee are all true wizards of their respective instruments. But this is also what I deem to be their downfall. Their shows are both visually and sonically fierce. Whether it be Cinninger’s fingers dancing along the fret board as if possessed, or the intricate light show lulling you into a psychedelic trance.

You won’t find a missed note or a botched lyric when listening to an Umphrey’s show even in their catalog of over 500 songs. Most would consider to be a commendable trait, but I find it takes away from the charmingness that seems to be ingrained within the jam band culture. Umphrey’s McGee is one of the most talented and most exciting live acts you can spend your money on right now. But to me, their expertise and technicality leaves me feeling exhausted as opposed to inspired. evan VERPLOEGH

65

8,000

OWL JOHN owl john

[ATLANTIC RECORDS]

The lead singer from Scottish melancholy alternative rockers Frightened Rabbit has released his first solo project under the name Owl John. Scott Hutchison has been the heart of Frightened Rabbit since 2003 and on his solo record, Owl John, he doesn’t stray away from his signature brutally honest lyrics and harsh melodies.

However, this record is definitely not a mimic of Frightened Rabbit. Dark, self-loathing subject matter is not new territory for Hutchison, but with Owl John he is beginning to move away from indie and into heavier rock. “Hate Music,” the track most unlike Hutchison’s previous work, uses pounding drums and buzzing bass guitars to bring out a whole new, stronger side that is powerfully resonant in a way that preceding songs never were.

Hutchison’s debut album is also more crisp and polished than early Frightened Rabbit releases. The rough sounds on records such as The Midnight Organ Fight that created a sense of harsh reality have now been replaced with a sense of maturity and confidence. Owl John is not necessarily better than earlier works, but it successfully showcases Hutchison’s growth as a musician.

He also explores a wider range of emotions on tracks like “Los Angeles Be Kind,” bringing out a delicate uncertainty. Hutchison murmurs, “You exhaust me you know,” in his distinctive Scottish accent, referencing his recent move to Los Angeles and the sense of alienation that comes with being an outsider in a big city.

68

Despite a stout sense of ambition, the self-titled album manages to explore a new side of Hutchison as both a songwriter and lyricist, yet refrains from veering off in a completely new direction. Similarities can be heard between the projects, but the medium is different.

On “Don’t Take Off the Gloves” he practically spits, “That sucker punch/ That brittle touch/ And the clock keeps ticking/ But the blood won’t thicken/ There’s poison in the tap water.”

Part of the charm of Frightened Rabbit has always been the selfdeprecation and honesty, which is still evident on Owl John. On “Songs About Roses” Hutchison states simply “We don’t need your terrible blues/ We don’t need songs about roses/ All that we ask for is truth.”

This is what Hutchison has always strived for. His songs have never been clean cut and pretty, but his heartbreak can be felt reverberating with every note.

Although it would have been nice to hear Hutchison branch out even more from previous work, as a longtime fan of Frightened Rabbit, Owl John is an exciting mix of the classics from his previous work and edgier rock. rose LUNDY

“I’m a sweet little love-maker.” These words are cooed from the untouchable breakout musician Tahliah Barnett, FKA twigs, on standout track, “Pendulum” – and they sum up the novelty of this little love-maker quite interestingly. After a slow-but-sure rise in the electronic music scene, Miss Barnett has finally released her much-anticipated debut, cementing her role in… well, music as a whole, supposedly (and Robert Pattinson’s heart, of course). “F**k alternative R&B,” speaks twigs, who believes she was categorized in such a genre based on her racial background.

“If I were white, they wouldn’t be calling what I make R&B.” Strangely enough, this makes sense, and LP1 (although not free of its’ R&B-infused moments) is much more than an R&B record, but an electronic one, an experimental one, a hip-hop one, a house one… creating such an astonishing melting pot of sound that effectively paves its own little nook in the music world.

Through the spotty, energetic and eclectic universe of audio on LP1, the listener is brought to all sorts of planets – one as bleakly unfamiliar as the next. In supplement to the genre-bending musicality on LP1 is the media-defying aesthetic, mixing pop culture musical themes (sex, love, and the like) with extremely untraditional instrumentals and vocal patterns. The album kicks off with the hymn-like “Preface”, literally fit for the acoustics of a chapel – but the album quickly slides away from religious. “When I trust you, we can do it with the lights on,” chants Barnett in track two, “Lights On”, a twisted, melodic and bouncy record with a hook that borders on radiofriendly. The element of sex as utilized in LP1 is so incredibly unique, having almost no boundaries or limits in explicit content. Dripping in sultriness and seduction, yet still beloved and classy, like a temptress

that kills after sinking her teeth in.

“Two Weeks”, the lead single from the record, is possibly most indicative of this style, each lyric smothered in sex. At the album’s half-way point, things change: sonically, not so much, but vulnerability kicks in and the audience is let in a little bit more on what FKA twigs wants us to know about her. “Video Girl” somberly recalls a darker time in Barnett’s life, making side cash as a girl in music videos. “Numbers” hopelessly croons about a meaningless relationship. The closing tracks on the album take the album full-circle to a more hymn-infused sound, this time around mixing elements of heartbreak, deep intimacy and sex.

At the end, it’s apparent why FKA twigs has been all over everyone’s mouth, critics and casual listener alike, for quite some time. Although many of the songs don’t stand alone very strongly (unlike the tracks on her first two EPs), the album as a whole is like an orgasm in the audio [YOUNG TURKS] form.

8,641

FKA TWIGS lp1

Upon release of LP1, Barnett took to Twitter: “I want to clarify that Twigs is not a character that I’ve created, Twigs and Tahliah are one and the same. 1 girl, 1 personality, 2 names.” Hearing the nearly alien soundscape presented within LP1 and attaching that to a real human being is partially what makes the album so beautiful and hard-hitting.

Weirdly and unconventionally sexy, superbly experimental and aesthetically pleasing by definition, Tahliah Barnett/FKA twigs effectively crafted an album that knows itself inside out as well as she does, effectively putting her in a league of her own. The numerous slew of influences and versatility showcased in LP1 makes her one to keep an eye on (and here’s to hoping for a Pattinsoninspired sex jam for LP2). collin KIRK

69

8,000

HOODIE ALLEN

people keep talking [SELF RELEASED]

While Hoodie Allen’s first full-length studio album, People Keep Talking, finally dropped last week, the New York native is no newbie to the music scene. Since 2009, Hoodie has released three mixtapes, an EP, all the while touring cross-country. His fans have been anticipating this album since 2012 when Hoodie posted a teaser video of himself singing the track “Numbers” on his Facebook.

With a catchy, up-beat, pop/hip-hop style and his usual “f**k it” attitude, Hoodie pulls through with another impressive release for the Hoodie Mob (A.K.A. his self-proclaimed best friends, his fans).

wondrous additions on an average wake-up/dancing-around-my-apartment-naked playlist.

If you’ve been following Hoodie for a while now, you’ll appreciate that the album features many songs like “Dumb for You,” “Act My Age,” and “Show Me What You’re Made Of” that are reminiscent of his All American (2012) days. All of the aforementioned make for solid tracks on your party playlist. Unsurprisingly, Hoodie continues his usual game of lyrical genius with sly sexual innuendos in tracks like “Get It on the Low” and “Sirens.” While his sound hasn’t changed much, don’t make the mistake of thinking Hoodie lacks talent - his lyrics are as catchy as ever with beats to match. Some songs add to Allen’s artistry as well: “Overtime” has a very R&B vibe, while “The Real Thing” sounds something like Aer’s “Floats My Boat,” done via plucky guitar.

Complete with heavy sexual innuendo, “Sirens” kicks in with a bouncing beat and features a solid rap bridge by Alex Wiley, proving to be one of the stronger hip-hop tracks on the album. Hoodie again challenges the music industry for trying to make him into something he’s not as the song ends with a voicemail from “Gigantic Records,” mocking how major labels want to change Hoodie’s sound and image. In fact, that’s the whole point of this album; released under his independent label, People Keep Talking proves Hoodie Allen is all about the music for his fans, and he’s completely unaffected by other’s opinions. Inspiration is easily accessible through Hoodie’s catchy choruses, fast raps, and house-partyesque beats – all the while, topped off by the fact that he does this for the humblest of causes. As stated by himself in an album promo video on his YouTube channel: “This is my conversation. This is the story of learning to listen to myself before listening to others. People keep talking.”

“Won’t Mind” is a stand-out grower, likely to get the listeners spinning it every morning while scrambling to get dressed. It’s catchy, rhythmic, and with the melodies of singer/songwriter Max Schneider (known by his stage name MAX), seemingly soulful. “All About It” serves as another upbeat track, this time featuring the flair of It-Brit Ed Sheeran. Both make

70

While surprisingly not the strongest track on the album, the title track “People Keep Talking” is worth mentioning as it demonstrates Hoodie’s reckless attitude with lyrics such as, “I don’t hear nothin’/ when people keep talking.” The song concludes with a clip from a voicemail featuring a crazed fan pleading to Hoodie, albeit in a terribly annoying voice, “YOU HAVE TO COME BACK TO WISCONSIN.” Either Hoodie is mocking us or he realizes we are his biggest fans.

lily HANSEN

The moment that alt-J fans everywhere have been waiting for has finally arrived.

This Is All Yours was released to millions of fans that found their solace in the unintelligible mumbles, haunting synthesizers, hand cymbals and an offbeat drum kit that forever changed the indie-rock scene in 2012.

Upon first listen, the sound is as pleasing to all hardcore alt-J fans as it was on their mega-hit debut album, An Awesome Wave. The perplexing rhythms and lyrics remain the same, as well as the same general sound. Upon second, third, and fourth listen, the mistakes of the album become increasingly clear.

This is by no means a bad album. It is a solid attempt for arguably one of the most anticipated sophomore albums of any band this year. It just has major flaws that cannot be ignored, especially when considering it as a follow-up to an album that pioneered a new type of music (Emmie scored it as a 9325 back in 2012 – one of the highest scores EVER given to an album review…).

The failures of this album lie where the strengths of An Awesome Wave were born. Unique to any indie-rock album of recent years, alt-J included an “Intro,” “Interlude 1,” “Interlude 2,” and “Interlude 3.” In This Is All Yours, the interludes are a little more hidden with “Intro,” “Arrival in Nara,” “Garden of England – Interlude,” and “Leaving Nara.” “Arrival in Nara” sounds just like you would expect from an alt-J album. It’s quiet, with hauntingly slow and unintelligible lyrics, but is an unnecessary 4:13 long. “Leaving Nara” also has

the same fault of being far too lengthy for an interlude. The one true interlude, “Garden of England – Interlude” is the neon green sheep in a field of grey sheep. The song takes you back centuries to a harmony solely of flutes and clarinets. The only reason the song makes any sense is because it is before “Choice Kingdom,” but the name is the only connection.

“Choice Kingdom” is more of a classic alt-J sound while “Garden of England – Interlude” completed disrupted the flow of the entire album. Thankfully, it was only 1:08 long.

Despite the potential for sophomore album slump, there are a few redeeming songs that save the album from overproduction, a lack of flow and a lack of variety. “Warm Foothills” and “Pusher” are by far the highlights of the album besides two of the singles from the album, “Left Hand Free,” and “Every Other Freckle.”

Noticeably missing from the highlighted songs is the trademark alt-J sound.

“Warm Foothills” and “Pusher” are just piano, acoustic guitar and harmonies, while “Every Other Freckle” and “Left Hand Free” are songs that branch more into a rock category of music, with their “Left Hand Free” sounding more reminiscent of Alabama Shakes than alt-J.

7,350

ALT-J

this is all yours [INFECTIOUS RECORDS]

After listening to An Awesome Wave and This Is All Yours back-to-back, one has to wonder if this once groundbreaking sound is all that alt-J has to offer. Only time will tell with this group, but fortunately for now, alt-J continues to invade the iTunes of hipsters everywhere. megan OPPERMAN

6,100 A few years after the release of “Put a Light On” by the Generationals, excitement was high for the band’s new album to drop this September. Even with anticipation heightened by a Spotify early release, ultimately Alix fails to live up to the expectations.

Generationals slowed it down with the ballads, the tracks still feel like tweaked versions of “Black Lemon” or “Gold Summer Diamond.” By the time the album has finished the songs morph into one, as if the same track was being repeated over and over again.

At first, Alix sounds promising. The bouncy boom-pop beats bring to mind a summery beach scene with a stereo and beer. However, the first two tracks, “Black Lemon” and “Gold Silver Diamond” prove to be the highlights of the record, with the rest of the songs following a downhill slope. After the playful synth and the mesmerizing falsettos of Ted Joyner and Grant Widmer in the album’s lead single “Gold Silver Diamond”, it’s difficult not to feel the rest of the songs are too similar to the lovable initial release. It’s as if each track is jostling for the prize of “Summer Anthem of 2014.” Without much variety in sounds within the album, Alix fails to live up to the diversity that made their previous album Heza work. Even when the

Nevertheless, the track seemingly looped infinitely is at least a solid one. Standout tracks “It Took A Minute” and “Heart In Two” are solid on their own, but the fact that there are songs that sound much too alike in between creates a listening experience less than spectacular.

The Generationals were able to build on their unique sound and created something that is suitable to play at a chill kickback with friends. Unfortunately, the polite bounciness of Alix and lack of experimentation with beats and song structure dooms the album as background noise in retail stores across America.

GENERATIONALS

alix [HXC RECORDINGS]

nick POGORELEC

71

6,500

TONY BENNETT AND LADY GAGA cheek to cheek

[INTERSCOPE RECORDS]

7,900

NEHRUVIANDOOM nehruviandoom [LEX RECORDS]

A pairing that nobody could’ve seen coming has taken the masses by storm.

The duo in question includes jazz legend Tony Bennett with the international dance-pop star Lady Gaga, a unique collaboration that has resulted in a jazz album titled Cheek to Cheek. After meeting backstage in 2011 following a charity performance, the two hit it off and began discussing the possibilities of collaborative work. The two recorded a rendition of “The Lady is a Tramp,” for Bennett’s 2011 album Duets II and continued their work to fulfill a larger project. The goal: to introduce today’s youth to the universal appeal of jazz.

The album includes numerous covers by many iconic jazz stars, including Jimmy McHugh, Irving Berlin and Duke Ellington. Gaga and Bennett give these songs new life in a different era through their complementing voices that mesh together seamlessly. The album opens with a cover of Cole Porter’s “Anything Goes”

Ten years after the debut album Madvillainy shot him from obscurity, alternative hip-hop MC MF DOOM is back with a collaboration album with rapper and producer Bishop Nehru. Known as NehruvianDOOM, the album features shorter song lengths and movie and television audio clips between tracks, the best elements of DOOM’s style. With beats reminiscent of DOOM’s solo work, listeners instantly know the MC is fully in his comfort zone.

DOOM’s rhymes flow over the sometimes eerie, sometimes jovial beats produced

by Bishop Nehru with flawless finesse.

As listeners progress deeper into the album, the beats increasingly throwback to basement shows in Brooklyn. New York, artists tend revive the raw, gritty sound that East Coast rap was well known for, yet many of the songs have completely different aesthetics. For example, the EP’s only single “Om” is very aggressive and energetic. Following immediately is “Mean the Most” which samples a jazz horn and a flirty saxophone creating an inviting sound anyone could rock steady to. Although these songs sound very different, the deeper elements of Bishop Nehru’s production that makes his work unique keep all tracks on the 31-minute release flowing without interruption.

The true genius of this album is the lyrical content and the method of performance.

Unlike other East Coast rappers (Yasiin Bey, Talib Kweli), the rhymes remain con-

72

and is arguable one of the strongest tracks on Cheek to Cheek, starting the album off in a lively pace. Throughout the album, their harmonies flow together so effortlessly that it’s almost as if the tracks were originally done by the pair themselves. Halfway through the album, the duo takes a break from one another and perform solo arrangements. Gaga’s rendition of “Lush Life” is passionate and incredibly executed. Bennett tackles the song “Sophisticated Lady,” accompanied only by a piano, which is worthy of universal praise.

Overall, Cheek to Cheek is a pleasant duet album that may achieve its goal of introducing the world of jazz to the younger generation. While it may not be considered the greatest album by jazz enthusiasts, it deserves its place in any reputable collection. kasey MARGELOFSKY

scious without becoming too abrasive.

This is best exemplified in “So Alone,” where Bishop Nehru shares how he feels isolated from those around him. The song features a clarinet sample, reminiscent of one from a movie score circa the 1940s.

Even with the somberness of the lyrics and the ghostly beat, Nehru’s delivery is still inviting. It’s as if Bishop is sitting the listener down for a self-exposing chat, making the consciousness of the rhymes easy to receive. Nehru never leaves the listener confused, which unfortunately happens all too often when modern rappers try to carry on the East Coast sound of the past.

As usual, DOOM’s ability to work thoughtprovoking analogies and historical references into his rhymes is nothing short of impressive, and on NehruvianDOOM he rations them throughout the album at perfect times—listeners can understand the lyrics. This is flawlessly executed in the closing track “Disastrous,” where historical references of the Challenger explosion and Doomsday euphoria remind audiences that DOOM and Nehru create an explosive hip-hop experience.

The album fades out with DOOM’s signature audio samples from television shows and movies, proclaiming that the king of alternative hip-hop is back and demands to be heard. nick POGORELEC

“What’cha gon’ do when I appear?” infamously spits rapper songstress Azealia Banks in breakout single, “212.” The cult hit was released in 2011, swiftly blowing up in 2012 – it became a Top 20 hit in the UK as well as a low-key hit in the US. The song, although a bit ancient by now, fits like a glove in the Harlemoriginated artist’s long, long-anticipated debut. It also made an appearance on her acclaimed debut EP, 1991, released in the summer of 2012. Azealia’s long trek to this album has been interesting: to and from labels (from XL to Interscope to Capitol), numerous explosive Twitter feuds (T.I., Lily Allen, Lady Gaga Diplo and DJ Munchi among the most interesting) and a number of scrapped single and album plans. However, Miss Banks powered through and Broke With Expensive Taste dropped unexpectedly on November 6th, independently released by the starlet and production company, Prospect Park. The world has been long awaiting the debut from this star, waiting to put music in the place of her controversy-powered stardom – and she did exactly that with the 16-track album.

The infinitely self-aware Azealia Banks knew exactly what she needed to do with this album, and did it: she created a multi-dimensional, multi-genre yet cohesive body of work to introduce herself as an artist and musician the way that she has always wanted to do.

The album covers jazz, electro, IDM, EDM, rap, hip-hop, R&B, pop, witch hop and many sounds that can’t quite be categorized. Right away, she makes sure the audience knows she’s more than a throwaway ‘female rapper’ a la Iggy Azalea. Over a choppy, percussion-heavy instrumental that wouldn’t sound too out of place on her previous releases, album-opener “Idle Delilah” features Banks soulfully demonstrating her vocals while lyrically bridging the gap from her strong debut to now.

Songs “JFK”, “Wallace” and the eclectic but surprisingly pleasant ‘Miss’ duo, “Miss Camaraderie” and “Miss Amor”, also expand on her previous electronicdriven styles in new and creative ways.

However, on the bouncy, jazzy and salsa-infused “Gimme A Chance”, she unexpectedly showcases a friendly style not found on EP, 1991, or mixtape, Fantasea – the song demands the listener’s attention with the blasting

brass, Seinfeld-peddling bassline and autobiographical flow. Songs “BBD (Bad Bitches Do It)” and “Ice Princess” wouldn’t be too out of place on hip-hop radio airwaves, with remarkable flow and traditional-yet-authentic hip-hop backing tracks. The confusing Ariel Pink collaboration, “Nude Beach A Go-Go”, is a stand-out nobody saw coming, a campy beach-ready tune that low-key mocks American culture in a style that oddly fits the star – although, if the rest of the album is blue, this song is neon green with pink polka dots.

The darker sides of the album are possibly the best. “I once used to be your girl,” croons Azealia on the upbeat, electro-hop “Soda” which at first listen seems like filler – under its skin, the song is about flesh-eating depression, relationship turmoil and drug abuse.

2013-released “Yung Rapunxel” features a screaming Banks behind a thunderstorm (literally) of percussion and layered vocals. Motorcycle-powered single “Heavy Metal & Reflective” sees Banks flawlessly riding a repetitive electronic beat similar to Crystal Castles or Salem, even reminiscent of the darker side of M.I.A. “Chasing Time”, a four-tothe-floor single, sees her at her best, killing a funky pop beat with not only her unique flow, but amazing singing voice – the song acts as 212’s flirtatious little sister, further showcasing Azealia’s mainstream potential.

8,445

AZEALIA BANKS BROKE WITH EXPENSIVE TASTE

[AZEALIA BANKS / PROSPECT PARK]

Essentially, this LP was worth the wait for both fans and the industry as a whole – living in the wake of the ‘Beyonce surprise release’ and the ‘Macklemore independent-mainstream’, Azealia defied all odds and put out the album everyone has been waiting for, to be accepted by widespread acclaim and surprising success on the charts.

Azealia Banks seemingly accomplished what many deemed impossible with her debut, somehow notching a number of genres and succeeding with each risk taken. In a way, cohesiveness seems impossible with this record; in another way, that’s the charm. Broke With Expensive Taste could not be a better title for an artist like Miss Banks, as she’s undergone all kinds of struggles and slowly but surely made it to where she wanted – and needed – to be. collin KIRK

73

7,395

LANA DEL REY ultraviolence

[UMG RECORDINGS]

When she meandered soulfully on to the blogosphere in late 2011, a mini Tumblr-fueled revolution began: Lizzy Grant, a.k.a. Lana Del Rey, caught and captivated with her hopelessly soulful (and a dash of hip-hop) debut, Born to Die. After rumors of leaving music following her debut and a strange rumor chain of the singer’s infatuation with being dead, Ultraviolence, a title that passes a nod to novel “A Clockwork Orange”, finally landed in June, much to the satisfaction of all Del Rey’s low-key listeners and high profile die-hards. Any face familiar with Lana Del Rey may be able to speak on her ridiculous nature: the old school manto-woman devotion, the hazy vocal runs and the dangerous aura that, well, not many can truly relate to. Following a moderate hit from The Great Gatsby soundtrack with “Young & Beautiful” and a smash hit remix to the tune “Summertime Sadness”, the direction for Lana seemed up in the air. She has become quite a figure that goes unmatched in the industry, and going into her sophomore effort this could have worked for or against her. In the end, a bit of both materialized.

The album begins the 70s-driven “Cruel World”, an effort that comes off as mild and unsurprising, featuring recycled Lana-isms such as “he likes to party” and “with my little red party dress on”. Still, her charm radiates in a new way, with more poise and an enhanced aesthetic via instrumentation and a new context. This charm goes especially noticed as the album progresses: highlights “Shades of Cool”, “Ultraviolence” and “Brooklyn Baby” all unfold gracefully and seem to be miraculously up-to-par (even the latter – being from Brooklyn is not required to howl along to the deliciously catchy one-liners). Stand-out single “Shades of Cool” serves as a slow-strumming masterpiece that certainly seems as it could’ve been a classic hit about 50 years prior. It’s here that the growth from her debut seems most prevalent:

74

the usual faded and wandering vocals now matched with Dan Auerbach’s effective production certainly prove to be a catastrophically glorious blend.

After the time signature-bending “West Coast”, the album strangely loses traction at centerpieces “Sad Girl” and “Pretty When You Cry”, both with stunning melodies perfectly fitted (maybe too fitted) for a Lana Del Rey album.

The album hits a wall with messy disstrack “F**ked My Way to the Top” with the forcefully ironic “Money, Power, Glory”, both harsh reminders of the overwhelming campiness of Lana Del Rey’s empire. Both songs are slapin-the-face moments where straying off the beaten path can go seriously wrong for Del Rey. Luckily, the songs slide perfectly in alongside the album’s sound and feel, avoiding wasteful dud status. The first half trumps the second half in the case of Ultraviolence.

Had the album chugged elegantly the whole way through, a real classic could have been at hand.

Lana Del Rey rose from the dead this June and forked over something of an excellent record. Certainly, she has found her lane and only looks to be continually building new bridges and, without hesitation, driving across them top-down with darker hair and a red lipstick-stained cigarette. Many artists only see one album like Ultraviolence in their career, a true body of work with plenty of high points. Miss Grant may very well have landed herself a magnum opus – at the very least, she crafted a gem of hope into her slightly jokey artistry. For an artist that didn’t seem like she could top herself, she dodged the bullet (unfortunately for her, if the death fascination rumors are true) and unraveled a pigeonholed persona to deliver a clever, welldesigned palace of alternative sound only she can call her own. collin KIRK

Hailing from Ontario, Canada, Single Mothers have come to thrash and trash your living room. And let me tell you, they make for one great house party. This album provides an awesome look and understanding of the possibilities in the punk and post-punk in the musical world.

Negative Qualities continually assaults the listener with themes about being sick of people, building up walls, and throwing yourself away. This band wants to teach the world to not care and jump around, destroying anything in their way.

With their screeching vocals, steady powerful riffs, and driving drums, they tell the stories about being black-outed, dropping out of school, and hanging around with the people you actually care about.

The punk elements on this record are really great in comparison to the other records available in the punk scene right now. Single Mothers acts as a gateway drug for discovering true, gritty punk. The track “Crooks” draws on a lot of original hardcore and punk elements that are really refreshing to hear. But like all beginnings, they have to move to the next stage.

On this album, Single Mothers tries to avoid the repetitive cycle that many punk bands fall into. They attempt to create an interesting approach through dissonant and noisy guitars, on top of angsty, focused vocals that taunt the listener.

Another shot at shaking up the routine of

Despite the Kalamazoo band’s namesake, it would be unfair and maybe downright wrong to stick Greensky Bluegrass in a strict bluegrass category. Yes, they have a banjo, and a dobro, lack of percussion and the singer has a distinctly painful, whiskey soaked rasp about him: but deep down is a band who is equal part influenced by Pink Floyd or The Dead as they are the Del Mccoury or David Grisman. As a result, they are able to put out marvelously dynamic and eclectic sounding records such as If Sorrows Swim.

Instead of relying on lightning fast tempos, Greensky hones their individual skill sets in on creating songs that mesh their four instruments well with singer/mandolinist Paul Hoffman’s haunting, yet alluring voice. Hoffman presents his words with such credence that it is nearly impossible to not believe every word coming out of his mouth, delivering lines in a way that makes one yearn for what is to come next.

Lyrically, Greensky has managed to create a nature of storytelling that leaves other bands in the genre in a race for second place.

Whether its sorrowful personal anecdotes or humorous self-deprecation such as in “Burn

punk comes through in the track “Patricide” which comes with driving drums, post-punk vocals, and an amazing chorus that ties the entire song together.

One of the most interesting aspects of this group is the vocalist’s ability to jump in and out of screams, clean vocals, and a taunting punk flow. This group is composed of really great musicians that try and change the game of punk, but keep it gritty. This can be seen in the great chorus of “Ketamine”. The song highlights the diversity that Single Mothers provides in their musicality. The diversity of this album is a great mash of many rock and punk genres. The closing track “Money” sounds almost like a post rock, 90’s emo single mixed with genuine negative qualities.

Single Mothers does a great job leaving their own gritty mark on the punk genre.

The punk focus of this album provides a great way for people to be introduced into the moving genre. This album may be an overdose on punk, but for now it is the beginning of great things to come for those spinning this record throughout the year, and for all those breaking the furniture at every house show Single Mothers plays. john MCCRACKEN

7,300

SINGLE MOTHERS

negative qualities [HXC RECORDINGS,DINE ALONE]

Them” when Hoffman sings “I wanna be a bad guy in a silent film, I wouldn’t have to say nothing, I just wouldn’t smile and not look too pleased.” It is a mix of misery and charm that make Greensky’s lyrics so poignant.

7,999

A blatant standout on If Sorrows Swim is “Kerosene” - the crescendo-friendly guitar line fades in and out, taking the listener to a point of near silence, and quickly jarring back into crux of the harrowing song. Guitarist David Bruzza sings about craving to be free from the petty issues of the world we live into today. “Wash my hands with kerosene and wipe my mind clean,” Bruzza sings, mimicking the guitar’s intensification.

On a small scale, Greensky Bluegrass has created their most accomplished album. On a larger scale, the band has put together an album that should be in everyone’s mustlisten file. A band that is as disinterested in mediocrity as Greensky must be held in a special realm. We have a unique group of musicians that is not constrained by the confinements of “genre”. Keep your eye on Greensky Bluegrass.

GREENSKY BLUEGRASS

if sorrows swim [BIG BLUE ZOO]

evan VERPLOEGH

75

6,700

HAERTS haerts

[COLUMBIA RECORDS]

8,700

LYKKE LI

i never learn [LL RECORDINGS]

76

The Brooklyn-based synth pop group Haerts has released a self-titled debut LP that is a candy binge of sweet pop for the eardrums. Highly anticipated following the success of their EP Hemiplegia, hype around HAERTS was intensified by singles “Wings” and “All the Days.” Their 80’s synth tunes are subtle and please any dance-pop cravings listeners seek to satisfy. As with actual candy, overindulging is tempting with this sugarsweet pop, but too much of a good thing will lead to growing tired of the album.

The opening track “Heart” starts with a bass and drumbeat full of motion.

The music builds as lead singer Nini Fabi’s deep, sweet vocals layer in with the growing background chords from the synthesizers. The end of the song leaves listeners energized and excited. Haerts’ work is satisfying yet addictive; the first listen will leave listeners wanting more.

However, as the album progresses the predictable pattern of the tracks becomes more and more apparent.

Each follows a formula of a slow start, building up verse by verse to a catchy refrain. A few layers of Fabi’s voice over one another to create appealing harmonies and presto! Song complete. Then, without much looking back, the cycle repeats like clock-

Lykke Li proves, once again, that breaking up is hard to do, and that it completely crushes your soul (somewhat permanently, apparently). Her latest attempt is the finale of the epic trilogy that also consists of Youth Novels and Wounded Rhymes. While it doesn’t quite top the happy medium Wounded Rhymes offers with upbeat songs and catchy hits like “I Follow Rivers” and “Youth Knows No Pain”, yet with some softer ballads as well including “Unrequited Love” and “I Know Places”; I Never Learn offers a new sound that we haven’t quite heard yet in the indie pop/rock category.

I Never Learn is one beautiful ballad after the next, consisting of heart wrenching lyrics and a little bit of whining as she airs her very personal and very difficult heartbreak to the world.

The titles alone tell you how much of a struggle her split her latest beau was,

work. Every now and then a ballad is thrown in to break up the predictability, but even these fall flat—they add variety, but still follow the same structure.

Not to say HAERTS is a bad album; there are standout tracks that demonstrate the talents of this group.

“Giving Up” is energetic with an especially retro pop vibe and moving beat that will leave the listener dancing. Another favorite, “Wings,” has a dreamy sweetness to it. The song wastes no time drawing the listener in, with punchy guitar riffs and infectious piano chords. Fabi’s voice holds a beautiful sweetness that carries dreamy lyrics like “The sky will melt in tears/ I’ll float away in your afterglow,” perfectly to audiences.

HAERTS never lacks the sweetness of candy, but both have a way of causing some collateral damage after binge eating or listening. If listeners are craving lyrical variety and musical diversity, HAERTS is not the place to look. But for a quick, impulsive fix that serves up danceable pop offerings on a silver platter, HAERTS delivers. molly GILBERTSON

examples being “Sleep Alone” and “Never Gonna Love Again.” The bleakest ballads lay in the middle of the nine-track tribute to old love with “Gunshot” and “Love Me Like I’m Not Made of Stone”. Other notable songs are the singles, “No Rest For the Wicked” and “No One Loved at All”, and the title track of the album. While each song is as slow and melancholy as the last, each one is enjoyable in its own way, especially the ones that only feature a piano and an acoustic guitar like “Love Me Like I’m Not Made of Stone.” The sound is so raw and real, it sounds like the heartbreak is happening right between your ears.

So the next time you go through the most painful break up of your life, turn to I Never Learn because Lykke Li is ready to help those tears fall. megan OPPERMAN

The return of true nerd-hop is here.

All fans of philosophical thinking, World of Warcraft references, and the drinking of herbal tea should direct their attention to the man with the microphone. Artsy rapper Milo is here with his official debut album release A Toothpaste Suburb. The extensive catalog delivers an expanding story of self-understanding, growing up, and trying to get a grip on not having a grip on anything.

Milo’s words should resonate with all people, and the album is a mustlisten for those in their mid-college crisis.

This album begins with the moving and inquisitive tracks of “Salladhor Saan, Smuggler” and “Yafet’s Song”. These songs blend together elements of trip-hop and beats that force you to nod along. The songs have lyrics that show Milo dealing with some of his own struggles and inward thoughts, but he’s not alone on this project.

Some of the most exciting tracks on this album include amazing guest verses from some members of HELLFYRE CLUB and other friends.

“Objectifying Rabbits” has a moving beat, floating melodies, and a guest verse by the great Open Mike Eagle.

These tracks leads right into “Argyle Sox,” featuring the powerhouse Busdriver. Busdriver has some aggressive tones on the track and this blends with Milo’s pondering and agitation. This track takes elements of the album’s conversational tone and puts an amazing beat behind it.

More great features on this album include KOOL A.D. on “In Gaol,” which is a light, dialogue focused track featuring humorous themes between Milo and KOOL A.D.

very emotional and personal moment for the artist to connect the audience. In an earlier track on the album, “Ought Implies Can And I Cannot”, he sings about wishing he was a necromancer whose only purpose would be to bring his friend back. The personal touch that Milo adds into his songs allows many listeners to relate to him, and it creates a very honest experience.

The experimental side of this album does get muddy on tracks like “Buck 65’s Knee” and “Thatness and Whatness,” where Milo experiments with an almost completely spoken word approach to his song writing. These tracks try something new and create a different atmosphere for the album, but it doesn’t provide strong support for it. These tracks are lulls in the album as a whole, and their backing beats are pretty lackluster.

Milo does redeem these tracks with the interesting thoughts and ideas he proposes, the grasp at spoken word, and with interesting lyrics revolving around time travel and the fear of water-slides.

8,900

MILO

a toothpaste suburb [HELLFYRE CLUB]

Entering into Milo’s mind can be a daunting experience, but listening to this album lets Milo converse with the listener about a variety of topics in a way most hip-hop cannot. Milo’s devotion to connecting to his interests, emotions, and the philosophies that shape his understanding of life create an album fueled by strong, organic, and flowing rhythms, inviting the listener crash at his place in A Toothpaste Suburb. john MCCRACKEN

A Toothpaste Suburb features songs that speak on many subjects including employment, celebrities, and settling into a world that isn’t settled.

Milo focuses on a range of emotions, and this can be seen in the emotional track “Just Us (A Reprise…)” which is a track that relates to an early Milo song that touches on the passing of one of his friends at a young age.

Hearing Milo speak about feeling guilty about his friend’s death is a

77

8,976

CARIBOU our love

[MERGE RECORDS]

The first week of October was a huge week for alternative dance music. Between the releases of Thom Yorke’s Tomorrow’s Modern Boxes and Flying Lotus’ You’re Dead!, the experimental dance music fan has been up to their ears in new releases.

One such work was Canadian experimental dance producer Dan Snaith’s fourth LP under the name Caribou, titled Our Love. The world has seen Snaith release albums under the names Manitoba and Daphni, in addition to his previous Caribou albums.

While each project carries its distinct sound, the predominately electronic trend is what ties these projects together. His latest release Our Love continues Snaith’s obvious affinity for enveloping, pulsating dance floor beats layered with rich, liquid synth stabs. Through and through, Snaith arranges a beautiful, wholesome dance record long-needed in the modern, alternative dance genre, and I couldn’t wait to really sink my teeth in.

On the day of its release, I was walking into my apartment and saw that Amazon had delivered Snaith’s latest right to my door. I immediately opened the packaging, revealing the album’s multi-colored, almost-floral album cover that provided a visual preview of the lush, vibrant synths yet to be heard. Once I dropped the needle onto the vinyl, I was introduced to the looping vocals of the album’s first song, and the album’s first single, “Can’t Do Without You,” released this past June. This song twists and morphs around in listeners’ ears in multiple manners, with a powerful, epic synth jam comprising much of the meat of this song. The next song, “Silver,” is a space-meetschillwave-meets dance slow burner

78

featuring strings arrangement from collaborator and accomplished violinist Owen Pallett. While much of the album uses Snaith’s own delicate vocals or morphed samples of it, the album’s sixth track, “Second Chance,” features soulful, angelic vocals from Jessy Lanza. Lanza will be promoting her 2013 release Pull My Hair Back during her stretch opening for Caribou for much of their European and North American tour in October and November.

Overall, Snaith’s album provides the listener with an insight into the soundscapes of an obvious professional. Much of the album’s sound comes from the unpredictability, with some tracks like “Julia Brightly” that can happily swell and then subside and then come back again, to other songs like the title track, “Our Love,” that seems to completely morph from a slower, melancholic head bobber, to a full on four-on-the-floor jam. Many of these songs also carry with them masterful use of drums and background percussion, an element in the album that provides a strong, tangible presence that cannot be understated.

In conclusion, Caribou’s ability to not be accessible to many, but also contain many morphed and far-ranging elements of sound that come together coherently over melodic, electronic synth lines, proves Dan Snaith’s prowess as an expert experimental music producer. Our Love is deserving of a spot in not only Snaith’s discography, but in the music libraries of electronica fans everywhere. evan FLYNN

The best thing about music is usually the changes made: new elements presented within a genre, new members of a band, a band’s reinvention per album. Change.

The new Code Orange album went through this process so thoroughly that they even changed their former name – Code Orange Kids. I Am King is the sophomore full release from Code Orange.

This album provides a strong, new, gritty direction for the band, seeking to create an omniscience and dark atmosphere for the young band as they stayed grounded in their sludgy, back-breaking, and bleak hardcore roots. The album opens with a title track, providing a deafening metallic screech to set the album off – pummeling through its verses, the song lets the listener know that they are king. Lyrically, the purpose of this song and the entire album is to reinforce a new image in a world that puts fences around people.

The title of the album seemingly means to build around the idea of all those involved being in control of their own lives. No boxes. No boundaries.

The forceful lyrical content is best displayed in tracks like “Dreams of Inertia”, “Bind You”, and the moving-yet-powerful “Starve”. These tracks highlight the voice of guitarist Reba Meyers in their melodies. Her voice contrasts the driving and pounding power behind the album. When it comes to riff formation, Code Orange

Maroon 5 has been creating the songs that define lives since the first crush, the first drive without parents, the first high school party, and now in the midst of college-crazed lives. Since their 2002 debut album Songs About Jane, the band has been twisting their style to change with the trends. V has stepped back in time, with hints of their authentic jazz groove, as well as introduced some modern influence.

This electro-bass infused album feeds any who are hungry for a perfect dance mix at the end of the summer season.

“Maps” opens the album with Adam Levine crooning a lovesick bird song with a hell of a beat. With his fearless melodies and a rhythm change up, the track rings an optimistic tone for the ten tracks that follow.

V seems to stick to a theme of wanting, getting and regretting love, or some kind of love-encounter. Through a mix of tracks, Maroon 5 has put together an album that has reached the No. 2 spot on the Billboard 200.

There are many different artists that come to mind when listening to the album’s smooth track-to-track organization. “Unkiss Me” is the fist-in-the-air breakup song this year has been waiting for. It is reminiscent of the style that crowned the Backstreet Boys love-song kings in the 90’s. Tracks like “Sugar” and “Leaving California” are screaming for Katy Perry’s fans to turn their heads and groove, mixed with a hint of Daniel Powter-esque falsetto circa 2005.

stepped up for this album. The best demonstrations include a dark and guttural “Your Body is Ready”, the sludgy punk-riffheavy “Slowburn”, and the closing track “Mercy”, which features upbeat punk riffs, metallic drums, and the noisy distortion that fuels this album. Code Orange strived to create a new type of monster when writing this album, but some of their tracks tend to blend together and create a lull in the music. The tracks “Thinners of the Herd” and “My World” tend to repeat the same sonic presence on the album, creating low points and a forced sound.

Although they are great to yell gang vocals and nod your head, they don’t move the album forward.

The new elements of change on this album were not only the deep return to the roots of hardcore, but Code Orange’s signature ambient sound and artful approach to writing. Tracks like “Alone in a Room” and “Unclean Spirit” blend elements of other genres on top of the distorted sounds and dark atmosphere on this album. This album exceeds its expectations as their sophomore release, and gives all listeners of punk and hardcore a tasteful return to their roots. This album creates a world where the dirty and screeching vocals drown the listener in the sonic depth and power of Code Orange’s new world.

6,900

CODE ORANGE i am king

[DEATHWISH INC.]

john MCCRACKEN

Levine’s vocals are incredible in everything he does (his live cover of Alicia Keys’ “If I Ain’t Got You” is a must listen), but his voice is almost too unique, resulting in an album that seems repetitive by the end.

The strong instrumentals, catchy melodies, and eclectic beats of V are what pull listeners to the end, as well as the closing track—a killer duet with the one and only Gwen Stefani—“My Heart is Open.”

If, for some reason, a listener was stuck in a life or death situation and they had to pick the better pop-style track on the album, they better choose “In Your Pocket.” Though it seems like Maroon 5 has a formula for putting out great and catchy tunes, this song is the best of the other heavy pop tracks on V. Even though “Animals” is closely catching up in popularity to the album’s single “Maps,” it is just another catchy song supporting an unfavorable usage of the word “animal” through the addition of a fourth syllable. “In Your Pocket” builds as it goes and shows off Levine’s fearless talent.

6,100

MAROON 5 v

Get ready to dance and don’t forget to check out buried tracks like “New Love” and “Coming Back For You” that are [INTERSCOPE RECORDS] placed towards the end of the album. They deserve putting the play queue on repeat.

Each song has little gems of genius in them, creating a great playlist for the preparty (or even the party-party). lauren BORITZKE

79

7,300

AB-SOUL

these days..

Recently, it seems everyone’s new favorite rap collection, Top Dawg Entertainment (T.D.E.), is gaining more respect with each release. Ab-Soul’s These Days… presents a new perspective on the kid “who got no respect growing up” as his third independent album is packed full of the social consciousness and trap rap that one would typically expect from the most experimental rapper of T.D.E. From the start of the album, the spiritual content is apparent from Soul. Soul takes the listener to church, not only with the album cover (a picture of him imitating Jesus), but also with the first song, “God’s Reign”. The first bar says, “Your soul sits on your third eye”, which is a reference to his belief that the pineal glands have the ability to “see” into your soul. Later on, he also states, “All I did was take gangsters to church / got your kid studying outside of class”. Soul’s religious views are often prominent throughout the album, but he also throws in some trap jams for the gangsters. “Hunnid Stax”, one of the highlights of the album, appeals to more to the ominous trap lifestyle with a feature from ScHoolboy Q and Mac Miller on the hook.

[TOP DAWG ENTERTAINMENT] While, this album has strong lyrics, the

problem with Soul’s album is it feels too much like a continuation of his last pro-

5,760

DILLION FRANCIS

money sucks, friends rule [MAD DECENT]

80

If there’s anything I learned from Money Sucks, Friends Rule, it’s that full length albums are black holes for DJs. To state the obvious, we live in a world dominated by the single. Music that is released for free is becoming more and more abundant, and touring has become the main source of income for many artists. With the impatient Millennial audience serving as his primary demographic, Dillon Francis has a tall order to fill when delivering a full LP’s worth of new content all at once. While Francis pulls all the collaborative tricks out of his hat for his debut album, the moombahton pioneer’s friends do not rule enough to make the project great on a song-by-song basis.

The album starts about as strong as any EDM album possibly could, with Chicago rapper Twista spitting his famous flow all over the seminal track “All That”. Francis immediately follows the lead banger with his first two singles from the album, the impeccable stand-outs “Get Low” and “When We Were Young”, respectively.

The drop-beat in “Get Low” utilizes a Middle-Eastern ‘snake-charmer’ melody; combined with the title of the song itself, dancing automatically ensues. “When We Were Young” serves as a cleaner and poppier alternative to “Get Low”, and gives off a happy vibe through both the synths and The Chain Gang of 1974’s vocals. Later in the album, Francis whips out “Not Butter”, a track that rocks deep, dirty synths, and the vocal talents of Siri’s second cousin speaking on her love for branded imitation fat-spread.

duction, Control System. Ab-Soul loves conspiracy theories, which could be why the message of “World Runners” is incredibly similar to “Terrorist Threats”, with the assistance of a much more politically active rapper in Lupe Fiasco to back up Soul.

Also, “Closure“ demonstrates that Soul is still picking up the pieces from Alori Joh’s (his longtime girlfriend) suicide, as he was when “The Book of Soul” was released in 2012.

What really sums up Ab-Soul’s album These Days… is the rap crew that Soul assembled to help with the album. While having features from the likes of Rick Ross, Action Bronson, and Danny Brown (even Puff Daddy throws in praise – not ScHoolboy Q, a.k.a. the real Puff Daddy, Sean Combs) among the T.D.E. regulars looks good on the track list, Soul often pales in comparison to the rappers that feature on his songs. This turns, what he thought to be his greatest strength, into his biggest weakness.

Since the release of Control System, AbSoul has been getting a lot more name recognition, but if he wants to hang with the big guns like he tries on These Days…, he is going to have to rap a lot harder in the booth. ryan PERLIC

Unfortunately, the major highlights of Money Sucks, Friends Rule end here. All other tracks seem similarly structured, with poorly executed vocal distortions on “Set Me Free” and “I Can’t Take It”; the other vocal collaborations are good, but nowhere near impressive or groundbreaking. Not even Martin Garrix, Major Lazer, or Panic! At The Disco’s Brendon Urie could save the rest of this album from sinking below the Mendoza Line of one’s expectations.

With this album in mind, I stand by the statement that albums are not for DJs. With the release of “Get Low”, my expectations rose to a level that became virtually unattainable. When DJs are coming out with single tracks on SoundCloud and slowly giving music to their fans, the audience can come to expect that each song from this project would be good enough to stand on its own. The result is a few great songs, but many that all blend together because they are all being released at one time. Therefore, my advice to Dillon Francis is as such: college kids would rather pay to turn up at your shows with a large crowd than sit and listen to 45 minutes straight of your music in their apartment, so keep up the bangin’ singles and make your money on the road. But you probably already knew that. andrew MACKENS

Alluring surf pop out of Nova Scotia?

Have a little faith. On their self titled debut, Toronto based, Nova Scotia bred, indie pop outfit Alvvays delivers a standout lo-fi performance that bypasses any SoCal competitors (I’m looking at you, Best Coast). Grainy instrumentals, the clear-as-water vocals of lead singer Mary Rankin, and simple, poignant lyricism powers the nine song EP from start to finish, delivering one of the most promising indie debuts of the year Alvvays kicks off with “Adult Diversion,” almost an unofficial cue card for the listeners of their music, the oversaturated, twentysomethings of the tumblr age. This is, after all, the generation where Rankin laments that it is “too late to go out, too young to stay in.” Alvvays draws inspiration from their youth spent on the Canadian coastal islands, where you can hear the solemn tweeting of birds, and guitar riffs reminiscent of cool, ocean waves. But the band is certainly not original in their main influences, homages can be seen in everything from their C-86 production and early 60’s pop, to the pristine albeit slightly faded vocals, ie: Magnetic Fields and Camera Obscura. What they lack in originality they make up for in simplicity, with words that resonate louder than their sound.

Romantic but energetic singles like the cautious, crush confessional “Adult Diversion” followed by the relationship motivation anthem, “Archie,

Marry Me,” courting both the feelings of heartache with the want, and need, to lose it as quickly as possible. She ponders the perfect balance on the upbeat “Atop a Cake,” lamenting, “how can I lose control when you’re driving from the backseat?” The low-fi dreaminess continues with the lullabye smoothness of “Ones Who Love You,” where Rankin encourages ditching those who don’t, or on the eerie “Red Planet” where she doesn’t take her own advice, “And I waited forever, and that was just delusional.”

She’s doesn’t have it figured out yet, but let’s face it, neither do we.

On Alvvays, Rankin’s lyrics answer the qualms of twentysomething existence, stretching from intimacy with strangers, “How do I get close to you, even if you don’t notice as I admire you on the subway” on “Adult Diversion,” or subduing the loneliness and confusion with other vices, “We could find comfort in debauchery” on “Party Police”. With her thick red lipstick and peroxide blonde hair, Rankin’s voice is frank and her words are honest, possessing a charm that is notably absent in most low-fi groups. With their gritty faded production it sounds as if they are slipping away, but the feelings of romantic disillusionment they’re discussing might just be here for alvvays.

7,895

ALVVAYS alvvays

[POLYVINYL RECORD CO.]

olivia MAGNANINI

81

8,111

DOLORES nectar fields [SELF-RELEASED]

Dolores is a new, psychedelic rock band cutting their teeth in the Madison scene. The band just released their debut E.P. Nectar Fields on August 18th and has already garnered recognition around the area from fans and established bands like Phox.

With a few shows already under their belt, Dolores is showing just how effective they can be in live setting.

Nectar Fields was recorded inexpensively from February 2014 to August 2014 but manages to introduce surreal layering and an unmistakable charm.

“Hustle” “Hustle” is a dreamy opening track to the E.P. It shows off vocalist/guitarist Javi Reyes’ alluring voice and smooth guitar licks. What makes “Hustle” stand out are the shadowy background vocal line that are just audible enough to create a slightly unsettling nature about the track, in the best possible way.

“Minute Or Two” The second track “Minute Or Two” is a slinky, foot tapping little blues-rock number with a lovely amount of innocent sexual innuendo. What I love about the song is the catchy “ooh ooh” chorus, with Reyes’ showing a little character in his vocal accents.

The track fades out with an engaging guitar solo that I beg they take farther live.

“Pleased to Meet You” “Pleased to Meet You” is when Nectar Fields really begins to stretch its legs. In between the down-tempo, aqueous verses comes a truly dirty guitar line and a groovy bass line from Willie Christianson that will

82

guarantee to get you moving. The psychotropic keyboard lines from Adam Thein that come near the end of the song pushes the song to what I consider to be the strongest on the E.P. “Fight Fire with Fire” Dolores is a rock band. Don’t mistake them for anything else. “Fight Fire with Fire” really shows the band getting down. The choppy guitar line and ghost-noted drum beat keeps you on your toes. The song begins to take off when we get our first taste of some horns. Bryan Highhill takes the track home with a soulful trumpet solo.

“Philly’s Got a Plan” Here we get a true look at how deep Dolores’ influences lie. Once again we get a very strong vocal performance from Reyes’, but a fantastic use of violin done by Julia Alvarez.

Dispersed throughout the seven minute track are classical guitar lines and impressive demonstrations of vocal range. About five minutes in we hear a Fleet-Foxes-esche vocal harmony that continues until the conclusion.

“Philly’s Got a Plan” is a masterpiece and a song that deserves to be taken into uncharted territory when played live.

“Why Do You Think Astronauts Like to Fly in the Sky“ What great album is complete without a little ambient outro? “Astronauts” gives the guys a chance to play around with all the bells and whistles that can come in a studio setting. evan VERPLOEGH

Throughout the years, Thom Yorke has, both as a solo artist and as the frontman of Radiohead, dabbled in different aspects of a variety of genres. With critically acclaimed and festival headlining Radiohead, Yorke helped pioneer the sounds of the nineties English rock scene. As an audiophile examines the discography of Radiohead, it is impossible to not notice the changing of tones and general sound from the release of their first album Pablo Honey (1993) up until their most recent The King of Limbs (2011). With the release of each album, Radiohead produces novel sounds and embraces the weird side of rock, while still remaining accessible to even the most casual of listeners. Currently, it is rumored that Radiohead is in the studio producing their ninth LP. In between the releases of Radiohead records, Yorke has been able to keep busy. Being no stranger to collaboration, Yorke has worked with an eclectic group of artists, ranging from artists like Björk to electronic producers such as Burial, Flying Lotus, and Four Tet. Over the years, Yorke’s attention has shifted towards electronically produced music. This shift can be heard on not only many Radiohead albums, but also in his side project Atoms For Peace with Radiohead producer Nigel Godrich and Red Hot Chili Peppers Bassist Flea. Yorke’s more recent side projects are influenced by the electronic sounds of previous collaborations. These electronic music influences and the path he has carved for himself have set the stage for his latest release, by way of file sharing site BitTorrent, Tomorrow’s Modern Boxes.

Tomorrow’s Modern Boxes continues to draw on the darker, gloomier side of electronica. This album explores many of the scattered, percussive beats previewed in tracks like “Cymbal Rush” from The Eraser. Whereas The Eraser offered songs with cutting, but perfected guitar riffs, Yorke’s guitar is absent on Tomorrow’s Modern Boxes, and replaced with synthesizers, keyboards and drum machines. These instruments help him create soundscapes in which he is able to implement his unique drumbeats and his signature falset-

tos. The opening track, “A Brain In A Bottle” exemplifies this, opening with rolling synth accomplishing the task of putting the listeners brain in a bottle through what sounds like low frequency filters and quick panning. Yorke then layers on his vocals and an array of spacey samples and unique effects to keep the listeners ears in constant stimulation. Tomorrow’s Modern Boxes also features a couple completely instrumental tracks that show Yorke’s mastery of sound without the falsetto. The bouncy “There Is No Ice (For My Drink)” features chopped up bits of Yorke’s vocals layered over a playful bass. The track has ambient sounds influenced by the works of the ambient dance producer Aphex Twin.

Other tracks like “Guess Again!” and “The Mother Load” contain elements of piano that Yorke retrofits to make a proper match with his electronic bass lines and syncopated drum machine rhythms. These two songs also offer what I believe to be the most accessible songs on the album to the casual listener, as they are similar sounding to releases on The Eraser. The album also contains the cryptic lyrical stylings present on many of Yorke’s preceding releases. Lyrically, the album contains poignant moments of reflection on love that has come and gone as seen in “Interference” when Yorke sings, “…I don’t have the right/ to interfere/ to interfere/ In the future we will change our numbers/ and lose contact…” These introspective, almost conversational lyrics are a hallmark of Yorke’s solo lyricism.

7,560

THOM YORKE

tomorrow’s modern boxes [BITTORRENT]

Tomorrow’s Modern Boxes by Thom Yorke satisfies the fans of Yorke’s solo endeavors through the creation of an electronic, drumbeat-driven soundscape that flows from one track to the next. Because this album has a more electronic sound to it, it may push away listeners eager to hear the sound of Radiohead’s signature alternative rock tones. For longtime Radiohead fans however, this release was just what was needed to hold them over while the newest edition to the Radiohead discography is in the works. evan FLYNN

83

emmiemagazine.com