Issue 26 by tastemakers

issue 26

ALL

K O O L O T E N O G

A C I R E M A FOR Converse, Incorporated: The New Boston Venue Putting a Face to the Music

STAFF QUOTES: “Tastemakers is art, music, friendship, comedy, and insanity all rolled into one. It's like that crazy lesbian aunt you have that lives on a community farm.” - Bryan Berlin (Communications) “Thanks for the friendship, the stomach ulcers, and the mustard suit. Tastemakers is an incredible group of people and it's only getting better from here. Good luck! All gold stars will be redeemable through 2012.” - Kyle Risley (Marketing) “Tastemakers is a timeconsuming, door-opening, life-long-friendship-starting, sanity-testing, matchmaking, sleep-depriving, skill-honing vat of creative toxic sludge that I'm crazy lucky to have fallen into.” -Anne Latini (Graphic Design) “I drew a bare.” - Nick Hugon (International Affairs)

THE TEAM: President KYLE RISLEY Editor in Chief EMILY CASSEL Art Director ANNE LATINI Web Design EDWIN MORRIS Marketing Director CAITLIN KULLBERG Features Director ALYSSA MASTROCCO Features Editor COLIN PETERS Interviews Coordinator CHRIS STOPPIELLO Interviews Editors NICK HUGON Reviews Director DAVID TSCHEIGG

Reviews Editors SUZIE CONWAY, JEFF CURRY, LESLIE FOWLE Photo Director JENNA ROSS Video Director CHRISTINA SPLEEN Copy Editor TOM CASEY Staff Writers BRYAN BERLIN, MEL BERTOLDI, SHEA GEYER, NATHAN GOLDMAN, SAM GOLDNER, SAMMY KAUFMAN, RYAN KEHR, DARIEN LOMBARDI, CARA MCGRATH, ERICA MOSER, LAUREN MOQUIN, MACKENZIE NICHOLS, DAYTON O'CONNOR, BILL SHANER, ALLISON WALKER, CAROLYN WILLANDER, DINORAH WILSOM

Contributors TJ FITZGERALD, IAN POWELL Marketing Staff MARTIN AU, NATHAN GOLDMAN, SACHIN MITRA, RACHEL RIMM, ALEX TAYLOR, CARISA TONG, DREW WILCOX, HOLLEN ZIMMERMAN Web Team ALI UKANI, ALEX BRAGAGNOLO, JUSTINE LOWE

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THE COVER: Illustration by David Tschiegg (Graphic Design)

WHAT’S INSIDE: 04 Calendar

Local Photos

12 Don't Go Breaking My Heart

All Gone To Look For America

Show Reviews

Converse, Inc. The New Boston Venue

The ’90s Explains It All

A New Genre Lo-Fi sound: seizing imperfections

Spotify Takes Over Your Newsfeed

An interview with Boy & Bear

CD Reviews

Just A Taste Of Cataldo

31 Etcetera

Jan 1 DJ Paul Foley CH

2 JB And The Raw Dawg House Band MEU

3 Open Mic Night CP

4 Eric Johnson PP

5 Boston Symphony Orchestra: Hakan Hardenberger SH

6 Xmortis TT

7 Naked On Rollerskates GS

8 Dan Cloutier & Oen Kennedy CP

11 Blame Sally CP

12 Rebelution HOB

13 The Toasters and Special Guests TT

14 The Scud Mountain Boys BMH

15 Cracker & Camper Van Beethoven MED

16 The Sound of Growing Up w/ The Winter Sounds & Tiggers MED

17 Boston Symphony Orchestra: Leif Ove Andsnes SH

18 Anthony Green w/ The Dear Hunter PA

19 Teddy Thompson TT

20 Adam Corolla HOB

21 Mission of Burma BMH

22 O'Death & Brown Bird PA

23 The Weilerstein Duo NEC

24 American Idiot BOH

25 Lamb of God PA

26 Kelly Clarkson ST

27 Collie Budz HOB

28 Coeur de Pirate BMH

29 Smith Westerns PA

30 Jazz Faculty Spotlight NEC

31 Augustana PA

ROC

KOM ENDS check out the latest dates online at tastemakersmag.com/calendar

Coeur de Pirate

Sharon Van Etten

The Toasters + special guests

She’s from Quebec. She plays the piano. She sings primarily in French. Béatrice Martin, under the name Coeur de Pirate (translation: Pirate Heart) will warm up your cold winter heart with beautiful vocals and exceptional piano playing. You may want to brush up on your French if you want to know what she’s singing, but then again, some things are best left to the unknown.

Mark February 23rd on your calendar, folks. Sharon Van Etten is coming to town. This Brooklynbased singer-songwriter, known for her honest and passionate vocals, is a master of crafting an intimate atmosphere and connecting with her audience. If this sounds like your style, stroll over to the Paradise on the 23rd, sit back, sip some wine, and let Sharon Van Etten do all the talking.

It's officially winter, and you know what that means... Seasonal Affective Disorder! "S.A.D." might have you down in the dumps, but you what’s never sad? Ska shows. Ska in live settings has been proven by MIT researchers to be "effing fun," so if you're feeling blue then head down to TT the Bears to see The Toasters for some good times. Try to frown at one of their shows. It's impossible.

1/28 @ Brighton Music Hall by Shea Geyer (Pharmacy)

2/23 @ The Paradise by Ryan Kehr (English)

1/13 @ TT the Bears by Dayton O’Connor (Music Industry)

Feb 1 Dark Funeral PL

2 DJ Lady Tribe Thursday WB

3 Jack's Mannequin HOB

4 Charles Bradley & His Extraordinaires BMH

5 Hot Mess Mash Up Sundays UB

6 John Cage: Piano Music NEC

7 Addams Family Musical ST

8 Boston Symphony Orchestra: Beethoven & Rachmaninoff SH

9 George Clinton WT

10 Umphrey's McGee HOB

11 English Dogs w/ Casualties & Toxic Holocaust MED

12 Howie Mandel WT

13 Addams Family Musical ST

14 Addams Family Musical ST

15 Addams Family Musical ST

16 Bonobo PA

17 William Fitzsimmons RY

18 Allstar Weekend HOB

19 Emilie Autumn RY

20 Music for Food Benefit Concert NEC

21 Orient/Occident NEC

22 Dimitri Murrath NEC

23 Sharon Van Etten PA

24 Railroad Earth PA

25 Ring Of Fire Band - A Tribute To Johnny Cash PP

26 The Borromeo String Quartet NEC

27 John Cage: Piano Music NEC

28 Tuesday Night New Music NEC

29 August Burns Red HOB

Mission of Burma

1/20 and 1/21 @ Brighton Muic Hall by Dayton Oâ&#x20AC;&#x2122;Connor (Music Industry) Seminal Beantown band Mission of Burma is older than you, has influenced and inspired more people than you have, have been lovingly featured in more retrospectives than your favorite band and they have a guy that just plays tape loops. Tape loops! Come check them out on one of the two nights they'll be spending at Brighton Music Hall.

Key Church CH Middle East Upstairs MEU Club Passim CP Patriot's Place Foxboro PP Symphony Hall SH TT The Bears TT Great Scott GS Middle East Downstairs MED Paradise PA

Brighton Music Hall BMH New England Conservatory NEC Boston Opera House BOH Palladium PL Wonder Bar WB Under Bar UB Shubert Theater ST Wilbur Theater WT Royal RY

L O C A L

clockwise from top left: Fever Charm by Brianne Shelley Banana Phonetic by Jack Szclar New Found Glory by Jenna Ross

The Head And The Heard by Ryan Kehr ---------Snapped a shot worth showing off? Email it to TastemakersPhoto@gmail.com ----------

P H O T O S

SBTRKT

with aarabMUZIK & Doctor Jeep @ Royale, November 2nd Written by David Tschiegg (Graphic Design) The last Boston saw of London producer SBTRKT was in April during the Together Music, Art & Technology Festival. The masked DJ played a set of UK & emerging electronic music to a halfpacked Great Scott. Fast-forward half a year later to SBTRKT with a significantly improved resume. After the release of an excellent full-length studio album, a myriad of remixes covering Radiohead to MIA, and constant BBC radio airtime – it only makes sense that SBTRKT, alongside collaborator Sampha, was able to fill the Royale on a Wednesday night. Before SBTRKT took stage, DJ/producer Doctor Jeep (NU student & Banana Peel Records co-founder Andre Lira) opened up the Royale with a lengthy set of global dance music. Highlights included a remix of “A Mili,” by Harmonimix, “Night (Ft. Coki)” by Benga, and “Ultra Thizz” by Rustie. Doctor Jeep also played sexy original, “Freak U” as well as a remix of Wheez-ie’s “Big Gulp.” After two hours, aarabMUZIK jumped into a non-stop set dominated by frighteningly fast drumbeats and repetitive loops all made on an MPC drum machine. While aarabMUZIK is predominately a hip-hop producer, he is widely regarded for his ability to use the MPC to create flawless beats and melodies by furiously tapping any number of 16 buttons on the drum machine. His set only lasted a half hour – it is very likely that the man dipped his hands in a bucket of ice water afterwards. Make sure to check out aarabMUZIK’s Youtube channel for more MPC madness. Opening with “Heatwave,” the first track off his self-titled album, SBTRKT and Sampha proved to have the energy necessary to keep the Royale crowd captivated. As opposed to the April DJ set, SBTRKT played on a drum kit in addition to other instruments, including his beloved MPC. Sampha provided vocals on almost every song, making the experience and the quality of the performance much richer. Sampha’s presence on stage is easily what made the show memorable. His smooth and angelic voice was a perfect compliment to the chaotic sounds inherent in SBTRKT’s electronic music. Early on, I found myself backing away from the subs to better hear the vocals. The two played all SBTRKT originals, most of which were featured on his self-entitled album. Highlights included the emotional “Trials of the Past,” which was quickly taken over by the incredibly fun “Something Goes Right.” Sampha did not upset as he sang Jessie Ware’s part on 8

SBTRKT photo by Miles Quinn, DigBoston

Check Out more show reviews online at tastemakersmag.com!

aarabMUZIK photo by Miles Quinn

the track “Right Thing to Do.” As anticipated, the crowd went wild when the intro to “Wildfire” started playing. Sampha did not sing on this track – they opted to play the remix with a Drake freestyle in addition to original vocals provided by Yukimi Nagano of Little Dragon. The live band set was a better fit for the music on SBTRKT’s latest release. The addition of a drum kit and collaborator Sampha made the performance unique. It would not have been organic if he relied solely on the previously recorded loops. My only complaints were that the drumming was not always on par and that the visual display cycled through only a dozen images. Otherwise, I look forward to the next US appearance the masked musician makes and for future SBTRKT and Sampha collaborations.

Clap Your Hands Say Yeah @ Paradise Rock Club, September 20th Written by TJ Fitzgerald (Undeclared) On a crisp September night in Boston, Clap Your Hands Say Yeah, the five-piece Brooklyn band who mixes lo-fi and new wave influences, stopped at the Paradise Rock Club on the second night of their American tour in support of their third album, Hysterical. With almost five years between their second and third albums, I had begun to suspect that Clap Your Hands Say Yeah would follow the same path of Bloc Party, Cold War Kids, Wolf Parade and other bands of the mid-2000s who released critically acclaimed debuts, only

We love shows as much as you do. Want to review or snap pictures at a concert? Email us: tmreviews@gmail.com

Childish Gambino photo courtesy of Melanie Parker-Levi

Childish Gambino @ House of Blues Boston, November 2nd Written by Christopher Stoppiello (English) Bragging “every show you ever did has been sold out” is an impressive claim for any artist to be able to make, but when it came to Childish Gambino I initially chalked it up to the writer and actor performing more moderately sized venues, such as Boston’s Paradise Rock Club. When I purchased my tickets to see the rapper at the House of Blues I figured it was too large of a room for him to sell out. I will never doubt Donald Glover ever again. At 28 years old, the man can do absolutely anything. What I found most pleasantly surprising was that Gambino did not force the audience to listen through song after song from the as-of-then-unreleased Camp. Typically tours that kick off before the album release don’t care much that the audience is not familiar with the songs yet. Instead it felt like the set list was mostly informed by his breakout mixtape, Culdesac. He began with one of my favorites, “Hero,” but levels were not so great on the opener. Any issues were quickly forgotten as soft bells brought in the next song: “Freaks and Geeks.” Instantly the audience erupted, feeding off Gambino’s energy. The packed room overpowered even the band with a thunderous call and repeat on the closing couplet “My clique should be canceled – FREAKS AND GEEKS.” Gambino kept the crowd on their toes as he flew through “Bitch, Look at Me Now,” “Yes” and “Got This Money” in one breakneck medley. To be honest, I would have enjoyed one or two of those in their entirety but it was interesting nonetheless. He also performed a modified version of the Jamie xx’s “Rolling in the Deep” Remix that added vocals from the popular John Legend cover of that song. My only complaint of the night was the sound mixing. Gambino’s vocals were far too loud and too dry. True, upfront vocals are characteristic of live hip-hop but a little more reverb would have gone a long way. It also seemed that he was singing much quieter than he rapped, which I suppose could lead to his rapping being too loud. Regardless, it was great to see Gambino perform his vocals live and use backing tracks so infrequently. Most impressive was the rendition of “So Fly,” which saw four of the five band members singing in beautiful harmony. Of course he gave many insights into the new album including “Bonfire,” “All the Shine” and “You See Me,” which contains the frustratingly catchy hook, “Asian Girls Everywhere, UCLA.” If you missed the chance to see him live definitely pick up Camp so you aren’t completely deprived.

to fade into obscurity. Standing outside smoking a cigarette while the band finished setting up their equipment, I wondered if I was about to be disappointed by new material that failed to both progress and also capture the earnest angst of their first album. Finishing my cigarette, I could hear the crowd cheer as CYHSY walked onstage and began to play “Sunshine and Clouds (And Everything Proud),” the brief, somber piano piece that splits up their eponymous first album. I decided it was time to party like it was 2005 and returned inside the club. Finishing the opening number, the band

then played through a set that juxtaposed the majority of their first album with tracks off their new one, while largely ignoring tracks of their well-intentioned, but misguided sophomore effort, Some Loud Thunder. I quickly realized that my pre-show worries were in fact nothing to worry about. The new tracks retained the up-tempo charm of their debut, but also display a more mature, reflective sound. Some of the highlights included “Same Mistake,” “Hysterical” and “Maniac.” For the most part, these new songs were well received by the crowd, but it was the old favorites off of their first album that elicited

the most enthusiastic responses. Seemingly acknowledging this, CYHSY saved some of their best for the closing of their set. With frontman Alec Ounsworth’s unbridled singing and the band’s intense passion on display, they brought the house down with three straight songs off of their first album: “Is this Love,” “The Skin of My Yellow Country Teeth” and “Upon This Tidal Wave of Young Blood.” The crowd thanked them with an uproarious applause, and as the band walked off the stage it was evident that they will not share the same fate as some of their indie-rock peers.

Converse, Incorporated The New Boston Venue Written by Sammy Kaufman (Communications) Since its emergence, the Converse brand has come to exemplify the spirit of originality, creativity and rebellion. It is no surprise that this once small shoe company has grown to become the required uniform of rock ’n’ roll culture. From The Ramones to The Strokes, Chuck Taylor All-Stars have graced the feet of universal and local talent alike, leaving their print on all aspects of the music community. Most recently, this Massachusetts-based company made its mark on the local Boston music scene with the opening of its first location nationwide on Newbury Street. Each week the Converse store hosts acoustic performances showcasing local talent the public can enjoy. Past shows have reigned over a variety of genres from up-tempo reggae to soft, solo vocalists attracting a number of different audiences. “Most people that walk by and hear the music are really interested and come in and check it out,” explains

Kelsey, one of the managers of the Boston branch. Its prime location creates a win-win for both the store and performer as the artist gains free publicity while attracting a greater consumer market. Converse’s influence on local music is not limited to the greater Boston area. In fact, this past summer the company revealed their entirely new recording studio in the Williamsburg neighborhood of Brooklyn. The project, Converse Rubber Tracks, allows local artists and struggling bands to record for absolutely free. The best part? The recordings are entirely owned by the artist without any push or pull from Converse. All genres of music are encouraged to record and the studio is already employed with qualified sound engineers to assist with the recording process. In an interview conducted by The New York Times, Geoff Cottrill, chief marketing officer and the man behind the project, explains the thought behind the price-free studio.

“At one point in history, many within the music and artistic community adopted the Converse Chuck Taylor All-Star as their expression of individuality and independence,” states Cottrill. “Converse Rubber Tracks is one important way for us to say thank you to the creative and music community, and to provide a place for new artists to have access to resources they may not be able to afford.” Again, the project is not only beneficial to the artist but to the Converse brand as well, easily winning the first glance of young consumers while building respect of an ever-growing support system. Surrounded by upscale eateries and high-end retail - even with its eighty-dollar denim - this effortlessly popular brand can’t help but to stand out amongst the clutter around it. Embracing the culture responsible for its success, it is clear that as long as music remains so will Converse.

The 90s Explains It All Written by Lauren Moquin (Journalism)

I wonder if any other generation was as nostalgic as this one? Between Nickelodeon’s ‘Flashback Fridays’ that offer a weekly serving of “All That” and the classic Nirvana shirt every other kid seems to own, ‘90s culture in general is very much alive today. It’s most obvious in our music. I’m not even sure that we can sift out a specific music style that we create in the 2010s due to such heavy influence of the ‘90s. Most of the music we love today is just like the music we heard on the radio as kids, and we are demanding that it remain that way.

The best example of our ‘90s obsession is Cage The Elephant, one of the most talked about rock bands in the industry. They channel a grunge sound and have ‘90s influence written all over both of their albums, Cage The Elephant and Thank You, Happy Birthday. Throwing himself at the crowd with his long, sweat dripped hair (occasionally in a dress) frontman Matt Schultz inevitably wins over audiences with a carefree attitude that looks much like the original grunge bands. In fact, Cage The Elephant recently opened for the Foo Fighters, taking in Dave Grohl as their drummer for a couple of shows while drummer Jared Champion recovered from an illness. Even the music video for their single “Back Against The Wall” resembled some of the first rock videos that appeared on MTV, with vivid colors and a wacky concept. The same type of situation could be said for Yuck or Girls. The spirit of the ‘90s is infused in many current albums. There is a reason classic ‘90s bands can easily survive and introduce new records amongst the newer bands. We love the decade’s music and we are still producing and seeking out the same sound.

We now find ourselves facing the decision to either see a newer act or a band that saw their prime in the ‘90s. Bands like Soundgarden, The Cranberries and Pavement just had extremely successful reunion tours, and it is not just the class of ’95 that is providing the support. Pavement’s reunion tour in particular was a string of sold out arenas. Pavement has not recorded any new music since 1999's Terror Twilight and didn’t have much news in between. Quarantine The Past, the greatest hits album they released the year of their reunion tour in 2010, appeared on “Billboard’s Top 200” list and proved that Pavement is still relevant. There are also those brave bands of the ‘90s releasing new music. When Mazzy Star announced they would share their brand new single on Halloween this year, I think most of us can admit that we stepped back for a second to be haunted by “Fade Into You” another time. When a newer band like Beach House draws the same type of feeling, it’s hard not to be just as excited about this classic band’s new material. Mazzy Star might just be releasing a single to get excited about, but R.E.M continued to release records right up to their 2011 hiatus and people continued to buy it. No one knows exactly why we still enjoy the type of music that was sparked in the ‘90s. It could be the raw lyrics or the out of control nature, but until we figure it out, I’m going to pop in “Empire Records.”

Illustration by Lacey Honda (Graphic Design) 11

Don’t go Breaking my Written by Suzie Conway (Communications)

esides inducing ice cream binges, pajama pants and cheesy movie marathons, heartbreak has inspired some of the best music we have. But what happens when the heartbreak comes from within the bands themselves? Many of the most successful bands of old and new have suffered or thrived on romantic breakups between members. “Creative differences” and “irreconcilable differences” are often cited to describe the ends of musical and romantic relationships respectively. It makes it even more impressive when these two types of relationships intermingle, that anyone can stay together. But many bands/couples have (so far) tackled obstacles to remain intact. Arcade Fire’s Win Butler and Régine Chassagne have been hitched since 2003 and have released three albums in the time since. The husband-and-wife duo of Mates of State, Kori Gardner and Jason Hammel, have been together since 1997 as a couple and a band. They even bring their two daughters on tour. While it seems this potentially volatile mixture doesn’t always explode, it appears there are far fewer stories with happy endings. Case in point: one of the most recent music breakups happened in October between Sonic Youth’s Kim Gordon and Thurston Moore. After 27 years, Gordon and Moore decided to separate. Sonic Youth was formed as Moore and Gordon’s relationship was blossoming in 1981. The future for Sonic

Youth remains unclear, though a press release from the band states they plan to continue with their South American tour dates. Though Gordon and Moore were married over a quarter century, they aren’t the first to have a romantic relationship gone sour. Bad blood has certainly come out of band breakups. The most notorious of these is Fleetwood Mac. Coming off of the success of their tenth album Fleetwood Mac, the band was consumed by divorce, jealousy, infidelity and anger. Christine and John McVie divorced in this time span and Lindsey Buckingham and Stevie Nicks were constantly fighting, until they eventually split not long after the McVies. The band then fell victim to that potent combination of drugs, alcohol and egos. While the natural inclination would be to break up, the band was at their creative apex. Rumours, the album made during this period, was ranked #25 on Rolling Stone’s Best 500 Albums of All Time list. It spawned several singles and is often declared the best album by the band. Destructive as they were, Fleetwood Mac meshed well enough to create an album so impacting that today, even the capricious writers of Glee saw fit to devote an entire episode just to this album. As musical breakups go, this was one of the worst – especially since the band remained together for years after. However, the end result was a musical treasure. Many bands have moved on

from relationships gone sour. Shortly after Gwen Stefani joined No Doubt in the mid 1980s, she began dating the band’s bassist Tony Kanal. After seven years of dating, Kanal called it quits with Stefani. But Stefani didn’t ignore the heartache in her songwriting. Most of the songs written on their breakout album Tragic Kingdom, including “Don’t Speak,” dealt directly with the aftermath of their breakup. The band did move on from this. Despite Stefani’s solo stint, the band is still together today, 25 years after its inception. In a similar situation, Jenny Lewis and Blake Sennett founded Rilo Kiley in 1997. The two dated for two years and broke up around the release of their album More Adventurous, which certainly dwelled on the bitterness over their breakup. After hitting it big in the indie scene in 2005, it seemed Rilo Kiley was destined to get major mainstream attention. But after not having a release since 2007’s Under the Blacklight and with both Sennett and Lewis pursuing side projects, the band finally called it quits earlier this year, with Sennett citing “deception, disloyalty, greed” as the reasoning. It seems time and the potential for stardom can only go so far to mend the cracks of a broken band. Indie lovers Glen Hansard and Marketa Irglova were the couple that everyone was pulling for to break the trend of heartbroken musicians. But as the upcoming documentary The Swell Season will detail, the

couple could not weather their insurmountable obstacles. Among them was a sudden shot to fame after winning the Oscar for Best Original Song for their 2007 film Once. The two performed together for years after that, but have since parted ways, with Irglova having married someone else. But Hansard is not bitter. In an interview with New York Magazine, Hansard wished her the best, stating “To get married with someone who loves and respects her and who she loves and respects, to me, makes total sense. I'm very happy for her, genuinely.” So why is it so hard for musical couples to keep the love? Reasons have varied from spending too much time together to spending too much time apart. Jealousy and pettiness can often explain these sorts of breakups. But while headlines of these breakups are plastered all over magazines and TV, there is something inherently ordinary about them—whether you are rock stars on a world tour, co-workers, or just two crazy kids in college, relationships remain intimate, complex and delicate. The only difference is that these rockers leave a tangible mark—the music they left behind.

Written by Allison Walker (Journalism/Cinema Studies) Illustration by Carisa Tong (Mathematics)

here is nothing worse than perfection. Not only the idea of it, but having to listen to it. There are high fidelity tracks out there with a background so clear that you could hear a pin drop and vocals so on point that you wonder how many takes the artist had to sit through, clenching his headphones in frustration. Low fidelity recording is like the grungy but awesome older brother. It used to be the only option for artists working with a low budget, but now some of the music industry’s favorite bands are using it to their advantage. Artists are utilizing this newly established style and creating songs with an underlying message: screw perfection. Lo-fi is a sound recording method that contains the technical defects that high fidelity songs avoid. Some artists go as far as recording on cheap cassette tapes while others literally record in their own bedrooms. The tracks that are produced usually have a fuzzy, distorted background with crackling vocals. You might be saying to yourself ‘oh, so it sounds like shit?’ but in reality the extra baggage the tracks are carrying adds more flavor. Back in the ‘60s, music’s greatest pioneers like Buddy Holly were laying down tracks in their own digs. Bob Dylan recorded some basement demos later released in 1975 cleverly titled The Basement Tapes and soon after, lo-fi music was more widespread. Because these seemingly flawed recordings weren’t usually released to the public, a level of pressure

was taken off the artist’s shoulders and making music was actually more fun. Artists like Holly, Dylan, Lou Reed, Bruce Springsteen, and the UK’s Young Marble Giants all released notable lo-fi records that inspire bands to this day. Lo-fi sound recording started developing a strong fan base in the 90s. At the same time, technology was perfecting the sleek and polished production of pop music. Operation Ivy, Modest Mouse, Ween, Yo La Tengo, and Beck were some of the founding fathers of the counterculture to this new advancement. From early 2000 to the present day music scene, lo-fi has completely morphed into its own indie-rock genre. It has been able to make its debut in basically every type of music, including garage rock, folk, punk, electronica and hip-hop. However, its presence is distinguishable no matter the instrument or vocalist. Popular and recent indie bands that use this unique method of recording include Neutral Milk Hotel, The Dodos, Beulah, Sufjan Stevens, The White Stripes, Iron & Wine, The Shins, The Beastie Boys, Grizzly Bear, and Vetiver. The Black Keys are a prime example of lo-fi’s perfectly constructed imperfections. Their tracks that sizzle with the blues as well as grubby disco thrive under this type of recording. Most of their 2003 album, Thickfreakness, was made in drummer Patrick Carney’s basement (go figure). Similarly, tracks on the album Brothers such as “Too Afraid to Love You”

and “Chop and Change” sound like Dan Auerbach is so close to the mic that he’s passionately making out with it. Hailing from Los Angeles, Bethany Cosentino, who is obsessed with her cat, smoking weed and low fidelity, released her band’s remarkable debut album, Crazy For You, in 2010. Even though Best Coast is a fairly new band, their album sounds antique. Songs like “Sun Was High (So Was I)” have glaring backgrounds and vocals that force you to close your eyes and rock your head. Best Coast is featured on Wavves new EP, Life Sux, in the song “Nodding Off.” This is another band that unleashes music that sounds like you’ve blasted the bass out of your sound system and everyone knows that only happens when you’re having a good time. With scratchy audio and a badass attitude, Wavves is a band that takes advantage of lo-fi and will continue to release great tracks. Low fidelity sound recording used to be something that was unfavorable by most listeners but now, more than ever, it’s drawing in fans from across the globe. The quality that comes from this method of production is weighted down with legitimacy. Instead of listening to music that sounds like it has been pressed and smoothed over by the hands of professionals, you’re listening to something authentic. You feel like you’re actually sitting in the recording studio with your favorite band while they do what they love - and that’s perfect.

Spotify

TAKES OVER Your News Feed Written by Andy Swartz (Music Industry) Illustration by Brian Cantrell (Graphic Design)

By now it is second nature to think that the record industry is broken. Record sales are practically nonexistent unless they are referring to mega-pop stars. Musicians have retired on the assumption of mechanical royalties acting as substitutes for 401Ks, but now find themselves touring the country and selling tickets at astronomical prices. How can you blame them? The old model of selling CDs to pay for your children to go to college does not work for the masses anymore. Touring to make ends meet is simply a temporary fix. Try caulking a broken water pipe with chewing gum. Eventually there will have to be an alternative, for people will not want to pay $70 to see Tony Bennett mumble for an hour. Granted, some stars have the gift of eternal talent, but again, the majority will have to give up touring at some point. What happens then? Publishing revenue? Sure, some artists are lucky enough to have songs placed in movies, T.V. shows, advertisements, etc., but those are one-time payments (aside from minor performance royalty checks). Enter Spotify. Spotify has already become one of the most promising developments in the record industry, but its sustainability is questionable. It has its faults – missing catalogs from artists like the Beatles, Pink Floyd, and Led Zeppelin, or playing too many commercials among the artists is does have – but what is certainly notable about Spotify’s attempt at entering the U.S. market is its integration with Facebook. Facebook announced the partnership at its F8 conference last month. Now Spotify users have the “option” of sharing their plays on their respective Facebook accounts. This partnership gave Spotify over 1 million new users…in the first week. Numbers have since cooled down, but this marriage opens up many new opportunities. Facebook has almost 1 billion tech-savvy users, and collects market data about each one of them. For example, advertisers could collect demographic information, pair it with the genre or artist, and then use the recurring artists in their ad campaigns. This could work on the artist side as well, for record companies can market their artists based on this information. Although this sounds exciting to some, there has been equal negative response. Some Facebook/Spotify users, already concerned about Facebook privacy pre-Spotify, have expressed their distaste in the sharing of personal music taste. To many, listening to music is sometimes a private affair, which has prompted the implementation of a “private listening” mode. More negative feedback is coming from the artist side, for many have seen little monetary compensation for hosting their work on Spotify. These issues could potentially be life threatening to the company in the long run, especially concerning artists. In the music industry today, artists are garnering more influence and control than ever before. If they are not pleased with the deals wagered by their soon-to-be-extinct record companies with regard to Spotify, Spotify must cater.

an interview with BOY & BEAR Written by Emily Cassel (Journalism)

Imagine Australia. Are you envisioning a land filled with kangaroos, koalas, and the offspring of exported British prisoners? Of course you are! But Sydney, Australia’s Boy & Bear are proving that the smallest continent has even more awesome stuff to offer – namely, rollicking indie-folk designed to get your feet stomping and your body swaying. We sat down with Boy & Bear frontman Dave Hosking to talk about the band’s history, their new record and what life is like for folk-rockers in the land down under. Tastemakers Magazine: Boy & Bear started off as your solo project – can you talk about the evolution into the band you are today? Boy & Bear: Well, two of the other “boys” were actually the frontmen of their old bands. I was doing my solo project over a period of about two years, and I think initially Rowan started helping me out on drums, Jake on bass, and then eventually Killian on electric. When Rowan had to leave, we got a new drummer in, Tim, and I think that was the final piece of the puzzle. It no longer felt like a solo project and it made sense to break down those walls and let the boys take ownership on the project and start to do things a bit differently. TMM: Since you guys were all singersongwriters before you came together, how does your writing process work now? B&B: I write the songs from my end, and then I bring them in to the band and we arrange them together. Sometimes the songs fall together as expected, and sometimes we end up chopping 16

them and changing them a lot. I think because it was built on the back of what was a solo project, that sort of structure was already in place. But it was Killian and Tim actually, the other two solo artists, it was really great to have them in the group because even though I bring the ideas to the table, between the three of us we can usually shape them efficiently. TMM: So why did you end up titling your debut full-length “Moonfire”? B&B: It was a slightly spontaneous find… We were driving from Sydney to Brisbane, and we’re lucky enough to have a DVD player in the bus, but we don’t have many DVDs. We stopped off at the servo [gas station] and we ended up finding this DVD called “Moonfire.” It’s a terrible, terrible DVD. Don’t watch it. But you know when something is that bad that it’s kind of funny? So the joke became, “Well, why don’t we just call the record ‘Moonfire?’’ It was never a serious idea, but we finished the record and had no idea what we were going to call it. I think we had the idea in our heads for so long that we were just like, “Fuck it, let’s just call it ‘Moonfire.’” [Laughs] But I think it has a ring to it. TMM: What sorts of inspirations did you draw from for the lyrical themes on the album? B&B: I guess it depends. All the songs are really different. I think that the EP was sort of written from a much more fictional perspective, and this record was much more storytelling and narrative style writing. Each song has a story behind it. Something like “Milk and Sticks” is

fictional and almost theatrical, but then “Part Time Blazer” and “Big Man,” those are fairly direct accounts of my life. They’re much more of that traditional folk, storytelling vibe. TMM: Those theatrics are also fairly evident in your music videos – “Rabbit Song” and “Blood to Gold” especially. B&B: Yeah, we’ve gotten really lucky, actually. A guy named Jefferson James, who’s an artist in Australia, he’s done a lot of our art. The first clip we did with him was for “Rabbit Song.” He’s essentially come up with those concepts, and he’s the one that’s driven that along the way. But unfortunately we can’t take credit for those ideas. He’s been a very important part of the project. TMM: There’s definitely been recent folk revival in America and over in the UK. Is the same kind of thing happening in Australia? B&B: It’s hard to say from the inside looking out. There have been such strong indie-folk bands coming out of the U.S. in the last five to ten years, that I think that probably lit our fire a little bit. There is the danger of bands that are indie-folk becoming a dime a dozen, and I think we’re aware of that. We want to try and find our mark and refine what we’re doing more to find some free space and some clear air. There is a folk revival, but it’s in vogue at the moment, which means at some point it will fall out of fashion. Hopefully we won’t ride on the back of that too much, we’ll just focus on what we’ve got to do.

PUTTING A

FACE TO THE MUSIC Written by Ryan Kehr (English) Illustration by Lacey Honda (Graphic Design) We’ve all been there. All eyes are on an empty stage. Twenty minutes till the show starts. You’ve gone through 49 plays of the band’s latest album and have been anticipating this show for a more than a month. You glance to your right, notice three guys drinking beer and laughing at some joke, then turn your attention back to the stage. After twenty minutes the room erupts as the band starts to blast out the first song. The same guys you saw earlier are now on stage. You could have asked them for an autograph or a photo. You’re an idiot. Granted, maybe we haven’t all been in this exact scenario, but the point remains: How is it that we spend so much of our time worshipping an artist when we might not even know what

they look like? And I’m not talking about the Biebers or Gagas of the world, I’m talking about the up-and-coming (and perhaps less successful) artists many of us hold so near-and-dear to our hearts. While part of the answer may lie in how these musicians are covered by the press (I’m fairly positive we won’t see Robin Pecknold, lead singer/writer of Fleet Foxes, on the front cover of People Magazine, or the Avett Brothers caught in Us Weekly’s "Hot Pics"), maybe another part lies in how much we unconsciously value the anonymity of an artist. Not knowing what an artist looks like allows us to judge them solely on their work and not the "image" they might be going for. I know the first time I saw Win Butler of Arcade Fire with his…

interesting…hair cut I was a bit surprised to say the least (Is it a mullet?! Is it a mohawk?! Is it BOTH?!). Don’t get me wrong, I’m not one to judge a book by its cover and I will always love Arcade Fire … but I still sense that horrid haircut in the back of my mind whenever I’m giving ‘The Suburbs’ a listen. Whatever the reason, not counting the last minute googleimage-search-on-your-smart-phone trick, the average concertgoer is often unaware of what a band actually looks like. Is this ok? Yes! Is it rude? I don’t think so. There are many fans (myself included) that scan the Wikipedia pages or Youtube accounts of their favorite artists to get to know them a bit better, but you by no means have to pick the lead singer out in a

crowd to be considered a fan. In the end it’s your love for the music that got you listening and nothing else should matter. So before your next expensive festival outing or that local lo-fi rock show, consider researching some names and photos of whom you’re about to see. If you’re going to be seeing them anyway, there’s simply nothing to lose. Who knows, you might even run into the drummer while you make a mad dash to the front row. But if not, you’ll at least be able to make some solid eye contact while you screech out the cutest member of the band’s name at the top of your lungs. And hey, that’s gotta be worth something right?

K O O L O T E N O G ALL A C I R E M A FOR If you ask around the world, there aren’t many good things that Americans are known for; between our politics, our girth and our celebrity-obsessed populace, we’re not looking all that great. Americans do have one thing that casts us in a positive light: our music. Whether it’s the latest pop mega hit or the it-band’s world tour, we can’t forget where these artists came from and how it affects their sound. From Seattle’s ‘90s grunge scene to Brooklyn’s indie mecca, each U.S. city has a widely recognized signature scene. Read on to learn about these different cities, their different sounds, and the bands you need to know across the nifty fifty states. Written by Alyssa Mastrocco (English) Illustrations by David Tschiegg (Graphic Design), Laura Crossin (Graphic Design)

HOW TO MAKE IT IN BOSTON AS A YOUNG MUSICIAN

Written by Leslie Fowle (English/Journalism)

The United States has a lot to offer musically. But where does Boston fit in? It seems that

since the Red Sox won the first World Series in 1903, Boston has been a sports town through and through, leaving little room for creative folk. It’s not that we don’t have potential. We are a college town, comprised of an abnormal amount of talented, young people. We are home to several music schools. What we lack is staying power; much of our talent leaves for greener pastures. Read on for tips on how to cultivate your music career right here in Boston.

you haven’t made it big yet.

document.

Learn a marketable trade in the meantime. Choose something that pays well yet is non-committal, so you still have time to focus on your music.

Chances are, you have a friend that is handy with a camera. Enlist that friend to take pictures or videos of you doing your thing. Make it look and sound good.

there is strength in numbers.

expand literally.

Gather your musically-inclined friends and start something up- a band or just a simple jam sesh.

become a part of a larger community online.

Find your niche, then reach out to your peers with similar interests. Send them your stuff.

THE NEW MUSIC SCENE Written by Nathan Goldman (Comp Sci/Cog Psych)

It’s easy enough to think of bands or genres that stem from certain localized music scenes: Detroit techno, Nashville country, DC hardcore, Chicago house, Delta blues, and so on. To someone coming from a locale less well-known for its music scene, being a part of the birth of a musical movement can seem like an unimaginable opportunity. Yet, increasingly, the idea that a band needs a geographic ‘scene’ seems silly and outdated. Take, for instance, the

When your friends move on to other places, think of it as an opportunity to expand. Perhaps your friend in L.A. can host a party for you to perform. That friend in New York? Perhaps he knows some secret venues where you can get your start.

don’t stop.

“phenomenon” of chillwave. For the most part, its originators, such as Toro y Moi, Washed Out, and Neon Indian, didn’t seem to know one another or listen to each other’s music, let alone live in the same state. Yet music bloggers and publications noticed commonalities between the various artists’ hazy, lo-fi electronic music and grouped them together. They then attempted to coin terms such as “glo-fi” to describe the style, which came to be predominantly known as chillwave. Soon, others who had enjoyed the style began to make their own music specifically in that style, and what started as an apparent

The only way to know you’ll fail as a musician in Boston is to stop trying. Part of the reason Boston struggles creatively is that our best talents leave. Stay here and start a revolution.

coincidence was now a genre of its own. This is hardly an isolated phenomenon. Instead of moving to the city looking for their ‘big break,’ any young musician can make a website through a service such as Bandcamp and upload a few good tracks, hoping to get enough blog buzz to become the Next Big Thing, with a positive Pitchfork review and a signing from an indie (or even major) label forthcoming. A more accessible music culture theoretically means that more great bands have a shot at getting their music heard, which can only be a good thing.

NEW JERSEY Written by Jeff Curry (Behavioral Neuroscience)

Ah, the Garden State, the

most hated state in the union. To the common American, New Jersey is nothing more than an industrial wasteland full of guidos, those incapable of pumping their own gasoline, shitty summer tourism and reality television shows. Yet New Jersey ranks in the top 5 states for national education, has the second highest national income behind Maryland and scores much higher than both New York and Pennsylvania in Forbes Magazine’s “Best States to Live In.” Sounds like

ASBURY PARK, NJ Written by Cara Mcgrath (Graphic Design)

If you aren’t from New Jersey but you’ve

heard of Asbury Park, it’s probably thanks to Bruce Springsteen and the E Street Band. With the release of the 1975 album Born to Run, The Boss put the city back on the map, right at the height of its urban decay. He, along with Bon Jovi and the original Stone Pony house band, Southside Johnny & the Asbury Jukes, helped to create the rock and roll sub-genre known as the Jersey Shore Sound. The music scene in and around this coastal city has been greatly influenced by Springsteen. With the boardwalk as its epicenter, Asbury Park is now flourishing with beloved local bands including The Parlor Mob, Status Green and the current Stone Pony house band, Outside the Box. Inspiration from Asbury Park is particularly evident in the lyrics of two well-known artists, The Gaslight Anthem and Nicole Atkins, who, along with Springsteen, reference locations throughout Asbury and coastal activities like sleeping on the beach all night. Bruce Springsteen has left his mark on the city of Asbury Park. The venues that Bruce made famous, Convention Hall and The Stone Pony, continue to attract renowned musicians ranging from Bob Dylan to Snoop Dogg. Convention Hall now displays a large sign that reads, “Greetings from Asbury Park,” as a tribute to Springsteen’s 1973 debut album. So if you want to get a feel for the real Jersey Shore, listen to Springsteen’s "4th of July, Asbury Park (Sandy)" and check out some of the city’s rising bands.

a case of jealousy to me. And, whether you’re willing to admit it or not, the music scene is just as strong. Not only do people fail to recognize how far back New Jersey’s music scene goes, but also how many varying musicians have been involved in it. Beginning around the 1950s, Jersey natives including Frank Sinatra, Ricky Nelson and The Four Seasons began to dominate the popular music charts. This trend continued into the 1970s, when the popularity of rock and roll music began to skyrocket, particularly with the assistance of a Monmouth county native by the name of Bruce Springsteen. Alongside the E Street Band, Springsteen quickly reached widespread acclaim thanks to his detailed lyrical journeys about growing up in Freehold, New Jersey. Since

Springsteen’s debut album Greetings from Asbury Park, NJ, writing lyrics about life’s various difficulties combined with vivid imagery and direct references to local landmarks has become a Jersey trademark. Many New Jersey bands today have pushed this theme of hometown sentiment even further, bridging references with topics such as the civil war and the fleeting nature of youth. “Keasbey Nights” by Catch-22 (and later, by Streetlight Manifesto) captures some of the most abysmal aspects of life on the outskirts of suburban north Jersey, whilst maintaining a constantly upbeat feel. There are a seemingly endless number of references to life in New Jersey on Titus Andronicus’ The Monitor and The Gaslight Anthem’s The ’59 Sound, yet their method of

presentation is rarely forthright (save for “A More Perfect Union” by Titus). Rather, most references to their roots are neatly packaged behind a more central song theme. This underlying tone is peculiarly interesting; by avoiding the beat down of a New Jersey history lesson, these bands show precisely what their state means to them and what it should mean to you. New Jersey didn’t do anything to warrant its widespread hatred. It doesn’t smell worse than any other state. It doesn’t eat its citizens. It’s a state just like the other forty-nine. And that’s what the musicians who live there know. They write about New Jersey because the experiences that shaped their lives happened in New Jersey. It’s as simple as that.

THE TWINKLE DADDIES Written by Bill Shaner (Anthropology)

Philadelphia proper is known for its hip-hop: The Roots,

WHERE TO START LISTENING SNOWING Fuck Your Emotional Bullshit EP ALGERNON CADWALLADER Some Kind Of Cadwallader GLOCCA MORRA A Collection Of Songs (That We Don't Play Anymore)

Jill Scott, Boyz II Men, and, of course, Will Smith and DJ Jazzy Jeff, but you can't sleep on the suburbs. Out in boredom country, there's another movement taking hold – a very twinkly movement. The Twinkle Daddies are a small genre of punk musicians filling up basements and veterans' halls across the great suburban expanse, rocking an aesthetic and DIY ethos akin to '90s emo. The scene's chief '90s influences are of the Midwest variety, like American Football, Cap'n Jazz and Braid. These bands promote themselves and may garner $500 on a good night. The music is loud, fast, sporadic, and does the emo influence justice. But just what is "twinkle" referring to? Former Snowing and current Boyfriends frontman Brian "Bean" Baska has his take: "I believe the term refers to someone who shreds on the guitar in a pretty way. Like sexy like." Guitar parts seem to avoid power chord crunching like the plague, opting instead for, erm, twinkling. The best way to know what that means is listening. The best way to follow the Daddies is Tumblr, where many of the bands post news, videos, and flex their sense of internet humor. Tigers Jaw's Tumblr recently posted video of an elderly local newscaster boasting his ability to jump over his office chair. He then jumps over his office chair. Apparently the silly genre tag doesn't throw off a loyal following. Videos of local shows on YouTube are packed with jumping, yelling fans. The front row is often pushed to within a foot of the band. However, the name itself has stirred some controversy. Another band commonly referred to as a Twinkle Daddy, Everyone Everywhere, declined an interview with Tastemakers and asked that they never be called such a name. A few months ago, music social media site Last.Fm removed the Twinkle Daddy genre tag. Baska claims a man by the name of Greg Horrible ("he is a terrible person") pegged the term. This may or may not be The World Is A Beautiful Place & I Am Not Afraid To Die booking agent Greg Horbal, but that's neither here nor there. Baska also warns against imposters, or Twinkle Twinks, saying they're everywhere and they're gross.

WASHINGTON DC Written by Dayton O’Connor (Music Industry)

Washington DC is a contradiction; as

the capital it represents the nation, yet the District goes unrepresented, congressionally speaking. Musically, it’s a world unto itself, insular and iconoclastic. Go-go gets a nod as the first major music export from DC. Spearheaded by the legendary

Chuck Brown in the late ‘70s, Go-go is an off-shoot of funk that blends in elements of

LISTENING TO VIRGINIA BEACH: WANNA CAT DADDY OR CROWD SURF? Written by Dinorah Wilson (Journalism)

While the rest of the nation

has embraced house, dubstep, and alternative rock as their genres of choice, Virginia Beach has become an underground hotspot for metal and urban acts across the U.S., where hip-hop and death metal strangely coexist in symphonic harmony. Arsis, a frontrunner of Virginia Beach’s oddly-successful death metal scene, has been responsible for expanding the genre’s popularity here since the band’s formation in 2000. Started by James Malone and Mike Van Dyne while at Berklee College of Music, Arsis quickly found itself signed to Willowtip Records in 2003. Since the release of A Celebration of Guilt (2004), Arsis has become a favorite of MTV2’s Headbanger’s Ball and enjoyed successful tours 22

hip-hop and R&B with an emphasis on live instrumentation. In the ‘80s, the punk movement was blooming into hardcore adolescence. Many young, angry kids like Ian MacKaye and Henry Rollins’ frustrations birthed acts like Bad Brains, Minor Threat and Fugazi. MacKaye is responsible for the existence of the Straight Edge movement. Make of that what you will. After slacking through the grunge years and schlepping it through the early aughts, Wale, a young rapper from Prince George’s, the suburbs – gasp! – began making waves on the mixtape circuit. But as the city moves into the blog and Tumblr years, a faint beat can be heard emanating from dingy basements and dive bars. Moombahton's chopped up, grimy aesthetic has been blowing up in print and on the blogosphere in a big way. Guys like Dave Nada, the godfather of the movement, are getting notice, curating compilation records for big wigs like Diplo and Mad Decent. Like any contradiction, DC defies categorization. There are numerous musical narratives running simultaneously, and none paint a definitive picture of the city’s sonic identity. Personally, I’m waiting for Moomba-go-rap-core to break.

with other death metal bands, including Misery Index, All Shall Perish and Napalm Death. Virginia Beach also produced arguably the most productive duo of the last two decades: Pharrell Williams and Chad Hugo, known as The Neptunes. Williams and Hugo, childhood marching bandmates, were discovered by legendary American singer-songwriter Teddy Riley. The Neptunes received their first big break here, where they worked as producers of WreckxN-Effect’s popular 1992 hit Rump Shaker. Since then, The Neptunes, branded by Pharrell’s high-pitched falsetto, have used their signature synth lines to rejuvenate some of the most successful careers of American music, including Jay-Z, Britney Spears, Gwen Stefani, Snoop Dogg, as well as Justin Timberlake and Usher. Through their label, Star Trak, The Neptunes have used their clout in the global music industry to launch the international careers of Kelis, Kenna, Clipse, and their band, N.E.R.D. From Arsis to N.E.R.D, Virginia is for lovers of music filled with mosh pits and Star Trek references. You won’t hear any banjos around these southern parts.

Detroit is a proverbial Mecca

of musical movements that have shaped the musical palette not only of America, but also of the world. Motown ushered in the era of funk and soul with signed artists such as Diana Ross, The Supremes, the Jackson Five, Marvin Gaye, and Stevie Wonder. In the early ‘80s Detroit reinvented its music scene image with the Detroit house movement, which was seen as the birthplace of techno. Today, Detroit has a new electro-pop scene budding from the concrete cracks, as well as a strong garage rock movement. Minimalistic animist electropop duo is an artist among several others leading the indie electro-pop movement in Detroit. Their sound is harrowing, with dreamy female vocals, live percussion mixed with thinned electro-beat rhythms and airy synth tones. Other groups such as Lettercamp, Color and Colour, Deastro, and Lightning Love are making splashes on the local blogs. This new scene is fitting for Detroit since it's a blend of the pop movement of the ‘70s and the electronic epoch of the ‘80s. James P. Petix filmed a documentary on modern Detroit garage rock scene and said

THE NEW TASTE OF MOTOR CITY Written by Darien Lombardi (Undeclared) Illustration by Anne Latini (Graphic Design)

that “for a period of time (probably 2001-2004) Detroit was certainly in the spotlight with the foreign music press. Bands like the White Stripes, Electric Six, the Von Bondies, The Dirtbombs, The Go and the Detroit Cobras… But the scene had been going on for (at least) a

decade before the press got there and continued after the spotlight died down. People should know that.” For more on the Detroit scene, check out “Urgh! A Detroit Music War.” Filmed at PJ’s Lager House in Detroit, the new documentary depicts the rise of eighteen local bands from Motor City in an attempt to capture the Detroit music scene as it is today.

festival. With acts ranging from Coldplay to Kid Cudi, the crowd was as eclectic as they come. Even through hours of heavy rain, these drenched, mud-covered and downright disgusting concertgoers banded together to make the most of the 3-day event. Lollapalooza, though it may be

CHICAGO: CITY OF FESTIVALS Written by Ryan Kehr (English)

This past August, upwards of

270,000 music enthusiasts of all ages could be found in Grant Park, near the heart of Chicago, in celebration of the 20th annual Lollapalooza

the largest example, is just one of many festivals that can be found in the musical city of Chicago. In recent years, the Windy City has taken a proactive approach in promoting music and art within its borders. Events like the Chicago Blues Festival, the Chicago Jazz Festival and the Grant Park Music Festival offer citizens chances to hear a variety of great tunes for FREE. These events are sponsored by many city organizations and don’t hold any sort of entrance fee. The city also pushes events such as the Pitchfork Music Festival, Alehorn of Power, Riot

Fest, Taste of Chicago and Downtown Sounds, each presenting invaluable opportunities for independent and up-and-coming artists to get their name out to large crowds. If you’re itching for a festival this summer, but don’t have the cash (or stomach) to camp out at Bonnaroo or Coachella, think about booking a ticket to the Windy City. Head over to chicagofestivals.net for more information on free music events in the Chicago area.

1997

1994

1993 WU-TANG CLAN Enter the Wu-Tang Clan (36 Chambers)

2001

WU-TANG CLAN Wu-Tang Forever THE NOTORIOUS B.I.G. Life After Death

THE NOTORIOUS B.I.G. Ready to Die

1996 JAY-Z Reasonable Doubt LIL KIM Hard Core

AALIYAH Aaliyah JAY-Z The Blueprint

1998 BLACK STAR Mos Def & Talib Kweli Are Black Star

BROOKLYN

Written by Nick Hugon (International Affairs) Illustration by Nick Hugon (International Affairs) and Alyssa Sullivan (Graphic Design)

Across the East River from the

greatest city in the world is a community that has repeatedly been the nesting ground for America’s greatest musicians. A perpetual embrace of innovation and a keen eye for talent has kept Brooklyn’s music scene palpably and perpetually amorphous. Brooklyn’s well-endowed musical history features some of the big voices of the past, such as Pat Benatar, Lena Horne and Barbara Streisand, and some of America’s greatest composers in George Gershwin and Marvin Hamlisch. In the 1990s, however, Brooklyn became the unrivaled breeding ground for the best, most innovative and influential hip-hop and R&B music of the time. More recently, Brooklyn’s hip-hop natives have become more established national acts, opening

the doors to newcomers looking for a stronghold to build the response to rock & roll and electronic music both foreign and domestic. In this, Brooklyn has become the Mecca of alternative music; if a musician wants to make something of itself within that genre, the chances of it happening are better in Brooklyn than anywhere else in the world. Bands and solo artists alike have flocked to this new capital of indie music, creating a voracious local fan base. As a result, even to bands like Bon Iver or Spoon that resisted the city’s call and stayed home, the stop in Brooklyn is the most anticipated night of the tour.

2005

2003

MGMT Oracular Spectacular THE NATIONAL Boxer LCD SOUNDSYSTEM The Sound of Silver

2006

DIRTY PROJECTORS The Glad Fact YEAH YEAH YEAHS Fever to Tell

2009

2007

ANIMAL COLLECTIVE Feels LCD SOUNDSYSTEM LCD Soundsystem

YEAH YEAH YEAHS It’s Blitz! DIRTY PROJECTORS Bitte Orca ANIMAL COLLECTIVE Merriweather Post Pavilion GRIZZLY BEAR Veckatimest

2008

GRIZZLY BEAR Yellow House TV ON THE RADIO Return To Cookie Mountain

2010

TV ON THE RADIO Dear Science

YEASAYER Odd Blood

WU-TANG CLAN

LIL KIM

DIRTY PROJECTORS

GRIZZLY BEAR

Hip-hop collaborative led by the late Ol’ Dirty Bastard, Wu-Tang Clan wielded shockingly explicit lyrics and pioneered the east-coast emergence of harsh gangster rap.

The frisky, Brooklyn-raised female juggernaut of the Junior M.A.F.I.A. posse produced a classic hip hop album in Hard Core that cemented her status as an industry icon for generations.

The brainchild of Connecticut native Dave Longstreth, featuring a smorgasbord of sounds and influences.

An experimental indie rock band with members hailing from Massachusetts, Seattle and Los Angeles residing in Brooklyn.

YEAH YEAH YEAHS

TV ON THE RADIO

Popular rock band consisting of New Jersey-raised Karen O, Massachusetts native Nick Zinner, and Long Island’s Brian Chase.

A critically lauded post-punk band drawing influences from jazz, soul, and electro led by Nigerian-born Tunde Adebimpe.

ANIMAL COLLECTIVE

MGMT

Experimental electronic collaborative formed in Baltimore, but that calls Brooklyn home.

A psychedelic pop band led by former Wesleyan roommates Andrew VanWyngarden and Ben Goldwasser that returned to Brooklyn after college.

THE NOTORIOUS B.I.G. One of the most profoundly impactful rappers considering his tragically short career, The Notorious B.I.G. had two massive albums and many posthumous releases and is considered one of the greatest hip hop artists of all time.

BLACK STAR

JAY-Z

The Brooklyn-born sensation died in a plane crash at age 22, but had already released three tremendously influential R&B albums and remains a beloved figure in the genre.

Arguably the most iconic artist of the past two decades in any genre, Jay-Z exploded out of Brooklyn to become an international superstar performer, producer, and record label executive.

Composed of Brooklyn’s Mos Def and Talib Kweli, the duo released the iconic Mos Def & Talib Kweli are Black Star that jumpstarted both rappers’ successful solo careers.

AALIYAH

LCD SOUNDSYSTEM Short-lived but iconic and feverishly popular electronic band conceived by James Murphy of Princeton, New Jersey.

THE NATIONAL A Cincinnati rock band led by baritone Matt Berninger that relocated to Brookyn, where they found recognition and a large international fanbase.

LIFE ON THE STREETS: THE NEW ORLEANS MUSIC SCENE Written by Bryan Berlin (Media Studies)

New Orleans is full of music venues.

Photo courtesy of Frank Daum

MINNEAPOLIS

Yes, there is the House of Blues, Tipitinas, and The Howlin’ Wolf, but the majority of the New Orleans music scene is composed of small, intimate bars. While there is nothing like seeing the Rebirth Brass Band play a show in a jampacked set at The Maple Leaf, the true beauty of New Orleans music happens right on the street. It’s amazing, the impact the street has on the New Orleans music scene. Between sets in bars, musicians commonly play on open street corners around the French Quarter. The sense of community between these musicians on the street is amazing. One night, I saw Davis Rogan, a DJ who inspired Steve Zahn’s character on the show Treme, hanging around selling food outside a jazz

is embracing the local community is far more interesting. With no coast to boast, the Twin Cities hip-hop scene has taken to strengthening local culture. In early October, North Minneapolis celebrated a “Day of Dignity,” a multi-city event

Written by Colin Peters (Journalism)

Minnesota has generated

prolific songwriters like Bob Dylan and personalities like Prince, the artist formerly known as Prince, and again, Prince. Songwriter Dan Wilson, lead singer of Semisonic – who forever caused drunks everywhere to sing “Closing Time” – just scored his first number one hit for co-writing Adele’s “Someone Like You.” Minnesotans have a knack for writing songs and, more recently, writing raps. Minneapolis is starting to get recognized in the national hip-hop scene, but the way this budding hip-hop scene 26

venue. Two nights later, I saw Kermit Ruffins, who started the infamous Rebirth Brass Band, selling sausages on the street off of the portable grill he had attached to his SUV. These people play music, but they play in a tight knit community on the streets of New Orleans. The epitome of New Orleans street music is the second line. Found at any parade, the second line is the brass band that follows the main line of the people who actually have the parade permit. Really, second liners are people who just love playing music and are bringing a good time to a parade. These brass bands will often play together on the streets of the city, making their money off of donations from the street crowd. The final place you’ll see a second line is amongst a funeral procession. A tradition that came straight out of New Orleans, the jazz funeral has the second line playing a slow but steady beat as the funeral procession leaves the church with the casket. I don’t know about you, but having a brass band playing the final song on your life’s soundtrack sounds like a pretty sweet deal.

organized by Islamic Relief USA. Minnesota rapper Brother Ali helped organize and publicize the event for his neighborhood. The “block party with a purpose” distributed hot meals, warm clothes, medical services and school supplies to needy families. At the end of the night, Ali performed on a stage set between his mosque and the neighboring Catholic church. Label mate Atmosphere showed up for a surprise performance. They’re both signed to Rhymesayers

Entertainment, a label started in Minneapolis by the latter artist. A collective crew of seven rappers called Doomtree also performed. They aren’t affiliated with Ali or Atmosphere by label, but they frequently work together in the area. Doomtree’s members met in high school and have remained friends and collaborators since then. All the recording, production and promotion for the crew are sourced from local talent. Their appreciation for the Twin Cities is displayed in their lyrics as well as their actions. Regardless of successes, failures and where the music may take them, it’s clear these artists have established a home.

PORTLAND: RAINING PUNK Written by Lauren Moquin (Journalism)

Colin Meloy might be king,

Fred Armisen and Carrie Brownstein might set all the NPR listening and organic consuming stereotypes in line, but the dreary weather of Portland also brings in the punks. The ‘80s established Portland as a punk haven. People weren’t buckling studs and getting Mohawks, but they were still showing the city some of the most acclaimed punk in the country at the time. Amongst the hodgepodge of genre blending bands, there were people who just wanted to carry out straightforward punk. From The Wipers to King Bee, punk coming out of Portland was the inspiration for future powerhouses like another Northwest band — Nirvana. The Thermals could be the best modern representation of a Portland punk band. If there is any band a Portlander would set their coffee

down for, it would be a punk band constantly questioning politics and religion. Their 2006 album, The Body The Blood The Machine

L.A.’S GOT THE BEAT Written by Shea Geyer (Pharmacy)

Until recently, Los Angeles has been

known for its rock and West Coast rap scenes. Emerging from the under-ground music scene is “beat music,” a type of electronica that is infused with hip-hop and jazz influences. Inspired by today’s electronics and the psychedelic movement of the 1960s, beat music is paving the way for an absent dance music scene and

Photo courtesy of Alicia Rose caused quite the stir. Harsh talk of saints, sins and salvation threw some listeners off. Lines like, “Our power doesn’t run on nothing. We need the land you’re standing on. Let’s go, move it,” left people analyzing the band’s concept as a whole. The sour aftertaste some people expressed after not only this record, but most of The Thermals’ albums, led to Hutch Harris’ response to Pitchfork: “I hate the terrible things that religion

becoming popular in the Los Angeles area. Leading the pack is Flying Lotus. Flying Lotus, whose real name is Steven Ellison, mashes synth beats with hip-hop beats when he creates music on his laptop. He is the great-nephew of jazz pianist Alice Coltrane, so it’s no surprise that he incorporates his family’s jazz influence when composing beat music. Flying Lotus has released three full-length albums since 2006, his most recent being Cosmogramma in 2010, which features a collaboration with Radiohead’s Thom Yorke. There are other Los Angeles beat artists, many who are under Flying Lotus’s Brainfeeder record label. The Gaslamp Killer, Daedelus and Mono/Poly are some of the imprint’s notable artists bringing the beat scene to the masses. Although all of the artists fall under the same genre, each artist adds their own flavor to the mix. The Gaslamp Killer is more psychedelic than Flying Lotus, with music that has a heavier synth

makes people do, and I hate the greed that comes from it. But I'd like to believe there are people who are good, I know there are good Christians and good people from every faith who just want what's best for humanity.” The Thermals just prove that there is the spark left to provoke worthwhile punk. Portland’s indie bands might get all the major labels, but punk still carries the fighting spirit of the city.

beat, creating an outer space-like a tmosphere. Daedelus, like Flying Lotus, also incorporates jazz influence into his music, but he focuses on instrumentation and reinforces with synth beats. Mono/Poly is hip-hop beat heavy in their music, with some of their songs also having dubstep tendencies - an appropriate mix for the dance club scene. Beat music is Los Angeles’s own unique dance music style and just may be the city’s ticket to establishing a new, and quite different, music scene.

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REVIEWS If you would like to submit a review to be considered for publishing in print or online, e-mail: tmreviews@gmail.com

Written by Kyle Risley (Marketing)

Rustie Glass Swords Release Date: October 11, 2011 Label: Warp Genre: UK Bass, Dubstep

It seems most dance music producers can be loosely lumped into two groups: those who make "serious" dance music for "real" listeners and those who make limp drivel to be played on fraternity Youtube playlists during pregame sessions. Rustie, on the other hand, is like the smartass in the back of the class who comes in late, makes wise cracks the whole time and then aces the exam. Glass Swords is a caffeinated exercise in some of bass music’s finest motifs from the last three years. And even though Glass Swords is certainly brimming with ideas, Rustie manages to keep the train on the tracks for a rollicking forty five minute ride. What makes Glass Swords so fresh is not necessarily the neon bright melodies or the endless layers of synthesizers or the pure adrenaline rush it delivers, but the tastefulness that Rustie demonstrated when wielding all of the above. Thick bass guitar slaps on “Flash Back”

Written by Suzie Conway (Communications)

She & Him A Very She & Him Christmas Release Date: October 24, 2011 Label: Merge Genre: Pop, Indie Rock, Holiday music

Holiday music is normally the bane of my existence. If it’s not December 24th or 25th, I don’t want chestnuts roasting or swans a-swimming. I feel like I’m getting water-boarded with egg nog everywhere I go during the winter months. That’s why I hoped to get a reprieve from all the feigned cheerfulness of the overplayed holiday music of yore with the release of A Very She & Him Christmas. Surely the bright and sunny She & Him could melt away my Scrooge-y outlook on holiday music, right? What I got instead was a compilation of classic covers that may have led Clarence to reconsider preventing George Bailey from jumping off that bridge. Zooey Deschanel is the seemingly perfect choice to be at the helm of a holiday album, having starred in the new classic Elf. But when she sings songs without the gentle vocal accompaniment of M. Ward, it sounds like somebody is tying her down to your local mall Santa’s lap.

and “Hover Traps” hold up the skittering keyboard spurts, R&B vocal flourishes and glittery melodies woven throughout. “City Star” enters with airy, delicate synthesizers that sound like sunbeams through a window before crunk drum fills and a “back dat ass up” rhythm knocks the doors down. “All Nite” pairs purple synths with diva vocals and an irresistible melody to craft a crossover ready hit. “Ultra Thizz” swells with hand claps and delightful pitched up vocals before champagne synths rain down to make a sticky, sugary mess. In fact, the entire album has a cartoonish feel to it: colorful, wacky and endlessly entertaining. With 2011 being such an inventive, genrebending year for UK bass music, Glass Swords is the maraschino cherry on top. You probably don’t want to make a meal out of it, but boy does it hit the spot.

Recommended Tracks: Surph, Ultra Thizz, All Nite, Crystal Echo

To their credit, She & Him have crafted a wholly unique perspective on the Christmas songs we’ve heard our whole lives ad-nauseum. Luckily, M. Ward’s presence sheds some much needed light on this gloomy album. The whole middle part of the album is chock-full of delightful duets between the two indie darlings, like “Sleigh Bells” and “Baby It’s Cold Outside.” They’re the right amount of sugar and spice to liven up a stale genre. But the first half of the album had me yearning for the original songs I’ve heard a hundred times before, and that’s the last thing I wanted out of this album.

Recommended Tracks: Sleigh Bells, Baby It’s Cold Outside, Little St. Nick

Written by Sam Goldner (Music Industry)

The Beach Boys Smile Release Date: November 1, 2011 Label: Capitol Records Genre: Surf Pop, Baroque Pop, Psychedelic

It's one of the most fabled albums in rock music history. The epic story of the psychedelic masterpiece that Brian Wilson went insane to create has been retold many times by many different record store junkies that it has entered into myth-like status. And now after over 40 years, the puzzle pieces have been put together to create this sublimely beautiful record. The album opens with the hauntingly ethereal harmonies of "Our Prayer," its first chords serving as a reminder of the innocence, longing and grandiosity the Beach Boys had when they were in their prime. Moving through pop gems like "Heroes and Villains" interspersed with psychedelic interludes like "My Only Sunshine" and "Child is the Father of the Man," the album takes one on a journey through the canals of pop music history. While only a handful of tracks have the immediate catchiness of anything off of Written by Allison Walker (Journalism/Cinema)

King Krule King Krule EP Release Date: November 8, 2011 Label: True Panther Sounds Genre: Alternative/Electro Rock

Archy Marshall of King Krule could very well represent the youth of the world. Chill out, I’m aware this is a bold statement. His new selftitled EP is dangling with old singles under the previous name, Zoo Kid, and his history of music still manages to throw listeners completely off guard. These new songs provoke the question: how can an artist manage to mellow the mood and scare the shit out of us at the same time? This redheaded, 17 year old bloke’s EP King Krule will surely take the music scene by storm. His new tracks are humming with a voice so unique that you don’t know whether to laugh or be completely mesmerized. It is incredibly deep, warping, and off-key in an appealing manner. King Krule has dubstep-like rhythms that take the listener on a ride through a curious and mature imagination. His lyrics evoke a sense of pain, like in headliner, “The Noose of Jah City”,

Written by Jeff Curry (Behavioral Neuroscience)

Drake Take Care Release Date: November 15, 2011 Label: Young Money, Cash Money Genre: Hip–Hop, R&B, Pop

Drake picked the wrong album cover for Take Care. Decked out in at least 10% of the world’s gold supply yet looking as though someone had just stolen his puppy, the artist’s money-can’tbuy-you-happiness message depicted here is far from the sound you hear on the album. On record, Drake is egotistical, self-centered, and overflowing with cheerful confidence. And, for the second time, it works. The strengths of this album, however, aren’t strictly in the form of Drake’s lyricism. The music itself is composed of catchy riffs and enjoyable licks that defy the monotonous and hackneyed sounds most rappers succumb to. The oscillating piano melodies of the opening track “Over My Dead Body” react in just the perfect manner, making for the most irresistible song on the album. Other highlights include “Underground Kings,” “We’ll Be Fine,” and the

Pet Sounds, with repeat listens, the album reveals intricacies unlike any other music being written in the late 60's. Unlike the singles-heavy nature of most of the Beach Boys' career, Smile is unquestionably meant to be listened to as a whole. Wilson has been famously quoted as describing this record as a "teenage symphony to God". Listening to this album, it's easy to understand what Wilson's vision was while recording this mystical work of art. Decades of artists have tried to emulate these same themes of childhood innocence and yearning through complex pop song writing. Recently artists Animal Collective, of Montreal, and Sufjan Stevens have especially shown increased influence in Wilson's work. But with Smile, fans of the Pet Sounds era will finally have closure on one of the most hypedup releases of the century.

Recommended Tracks: Heroes and Villains, Do You Like Worms, Surf's Up, Good Vibrations where he sings with haunting security, 'My body found, but my soul was left to drown/ Suffocated in concrete.' Tracks are not only howling with Marshall’s baritone but are also thick and weighted down. In “Bleak Bake”, this lava lamp-esque method of recording is paired, in contrast, with a familiar high-pitched strings harmony. “Portrait in Black and Blue” is surprisingly jazzier, flourishing with stark lyrics disguised by dreamy guitar and electro beats. Marshall has an appeal about him that our younger generation manages to maintain as well. Indeed, on the outside we seem very unthreatening and could easily be mistaken for lazy, but when you take a second to actually listen, we have ideas and concerns that are damn well terrifying. Recommended Tracks: Bleak Bake and The Noose of Jah City.

Stevie Wonder’s harmonica solo on “Doing it Wrong.” With lines like "They take the greats from the past and compare us, I wonder if they'd ever survive in this era” and “Don't I got the shit the world wanna hear again? Don't Michael Jordan still got his hoop earring in?”, Drake’s self-confidence is far beyond the realm of bragging. But Drake isn’t like most rappers. The Canadian teen soap opera actor turned rapper isn’t violent, isn’t dealing drugs and isn’t hustling. He has always been accustomed to a comfortable lifestyle, and with this comes copious opportunities for the listener to relate, at least on some level.

Recommended Tracks: Over My Dead Body,

Underground Kings, Make Me Proud, We’ll Be Fine, Doing it Wrong

CATALDO

J UST A TASTE O F

he past few years have seen an explosion in the indie and folk scenes, which makes standing out in the field a daunting task for sure. That won’t stop Eric Anderson, the voice behind the always dynamic Cataldo, from trying. A native Idahoan, Anderson began writing in his hometown of Moscow, Idaho. He produced his first album, Cataldo, out of the basement of his friend and fellow musician Martin McGreevy. “I got the name Cataldo [for the album] from Cataldo Mission, which was by my hometown and everyone knew of it. It just felt right.” says Anderson. “Afterwards, I just decided to make that the name of band, if you could call it a band.” The band has never been a constant for Cataldo; almost every song has different people playing different instruments, with the only common link being Anderson and his voice. Anderson says that this gives his music a deep, multifaceted personality. “Each song

has its own soul and personality, complete with little quirks that make them unique,” he says, adding that it allows for interesting live shows with a lot of improvisation, which he feels is an important aspect to his music and style. While his lineup may not be constant, the sound and emotion Anderson puts into each album is, always reflecting his current emotional state and lifestyle. Cataldo’s second and third albums, Signal Flare and Prison Boxing, display this perfectly. The two albums look at two points in Anderson’s life that are in stark contrast to each other; Signal Flare depicts a time in Anderson’s life when he met, and fell in love with his girlfriend at the time, and Prison Boxing details the fallout of that relationship. “Prison Boxing was a dark time for me. Both my girlfriend and one of my closest friends fell out of my life, and living with them at the time only complicated the matter. At the same

time however, it was a time of introspection and transition. A bad time, yes, but a time for maturing and realizing who I really was.” Prison Boxing, he continued, isn’t all that dark and sad. Towards the end of writing for the album, Anderson had moved out to Seattle, where he built himself a group of friends and musicians who helped him rebuild his life and finish Prison Boxing. “I see it more as a contradiction; it’s an album about heartbreak, that’s for sure, but it’s warm and uplifting.” His move to Seattle has proved to be beneficial to his music. “Seattle definitely has a big indie music scene, which makes it easy to let your music get lost in the crowd. But at the same time, Seattle has such a rich music community that it offsets the typecasting you receive as being ‘that typical indie band from Seattle.’” Listening to Prison Boxing after listening to Signal Flare, you

can hear the effect that the move to Seattle had on his music; it’s made his sound more dynamic and deep, a change for the better. Looking to the future, Anderson has big goals. “Well, I have a tour coming up in 2012, and I’m writing the next album, so that’ll keep me busy. Oh, and I want to be a millionaire. That’d be nice.” Anderson said, shedding a sense of whimsy that you can hear throughout all of his albums. In short, Cataldo is a sight for sore eyes: a band that shows us how indie and folk are done and brings us back to what music is, all while giving us a fresh sound. Sure, the Seattle scene produces more indie rockers a day than McDonald’s does hamburgers, but Cataldo is a diamond in this huge, rough field.

ACROSS

2 The _____ Pony 7 Flying Lotus 8 _____ on the Radio 9 Responsible for the Straight Edge movement 12 Converse _____ Tracks 13 A band that uses lo-fi recording 14 Mecca of alternative music

DOWN

1 Minimalistic electro-pop duo 2 The epitome of New Orleans street music 3 Pharrell Williams and Chad Hugo 4 Another term for "glo-fi" 5 Artist signed to Rhymesayers Entertainment 6 Missing from Spotify 10 Grant Park 11 The best way to follow the Daddies

FIND BIEBER

CROSSWORD

E TC E TE R A

Clockwise from top left: Yeah Yeah Yeahs It's Blitz!, Justin Timberlake Justified, No Doubt Tragic Kingdom, Flying Lotus Cosmogramma, Bob Dylan The Basement Tapes, Bruce Springsteen Born to Run

ZOOMED

We've hidden Justin Bieber somewhere in this issue. Find him and maybe something cool will happen...

Which albums have we zoomed in on here? 31