EMMIE Music Magazine

emmie music magazine

fall 2016

art to define and disrupt

crashprez

editor’s note

Dear Emmie Reader,

I

am thrilled to present to you the fall 2016 edition of EMMIE music magazine. This semester, my staff and I have crafted a publication that we are immensely proud of, not just because of the content (which is top-notch, by the way), but also because of the important and complex questions we wrestled with while making editorial decisions.

I believe our magazine this semester is unlike any that have preceded it. It’s not just that CRASHprez, our cover artist, makes excellent hip-hop music — it’s the necessity of exposing readers to his use of music and the conversations it can spark. Music doesn’t exist in a bubble — it is informed by what is happening in the world, and it is undeniable that there is movement and discourse related to the topics CRASHprez brings up. Whether we agree or disagree, we should listen, and I hope readers will think critically about the concept of race, music and current events.

As an entity, EMMIE does not endorse the messages CRASHprez is conveying, but ultimately, what we think or how we feel about them doesn’t matter.

What we do believe is this: CRASHprez has a right to this speech, and to dilute his artistic expression by asking him to wear something else on the cover, or say something more restrained in the interview would be dishonest as journalists as well as unproductive to the larger discussion. As CRASHprez says, politics and music are inextricable, and we can’t talk about one without the other — we seek to do this fairly, boldly and forever remembering the goal we all share: forward, Wisconsin.

Deshawn Mckinney Jim Rogers Victoria Fok 1 EMMIEMUSIC.COM

M ia Sat o Ed i t o r - i n - C h i ef 2016-2017

ashl ey MACKENS l ayo u t d es i g ner becca MEL DMAN ed i to r branden W I SE staff w r i ter bri ghton L I NDBERG ed i to r coll i n KI RK ed i to r delaney KESHENA staff w r i ter j.t. POSTL EWAI TE s taff w r i ter Kenneth L a’ron p ho to g r ap her matthew hei nen p ho to g r ap her mercy XI ONG so c i al m ed i a mi chael MAKOW SKI staff w r i ter mi tchel l ROSE staff w r i ter mol ly GI LBERTSON ed i to r Ni k Hei nemann staff w r i ter rachel baruck staff w r i ter ross SRODA m ar k eti ng shaye GRAVES ed i to r staci CONOCCHI OLI ed i to r w i l l SKAL ECKI ed i to r zach ADAMS so c i al m ed i a

contents

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3 | albums Atro ci t y Ex h i b i ti on........................... . . . . . . . . . 5 ni c e a s fuc k . . . . ................................. . . . . . . . . . . 5 2 2 , A M i l l i o n . . . . ................................ . . . . . . . . . 6 Kai ri C h a n e l . . . . ................................. . . . . . . . . . 6 am eri c a n f o o t b a l l (l p 2) .................... . . . . . . . . 7 joann e . . . . . . . . . . . . . ................................ . . . . . . . . . 7 ho w t o b e a h um a n b e i n g..................... . . . . . . . . . 8 A S eat at t h e Ta bl e .............................. . . . . . . . . . 8 Alb um a n n i v er sa ri e s......................... . . . . . . . . . . 9

11 | shows Zed s Dea d. . . . . . . . .................................. . . . . . . . 1 3 St. Luc i a . . . . . . . . . . . ................................ . . . . . . . . 1 4 Real Estat e . . . . . . ................................ . . . . . . . . . 1 5 Atmosphere...............................................16 Ben Fo l ds. . . . . . . . ................................. . . . . . . . . . 1 7 Go ld Pa n da . . . . . . . ................................ . . . . . . . . . 1 8 KHrua n g b i n . . . . . ................................. . . . . . . . . . 1 9 kany e We st. . . . . . . ................................. . . . . . . . 2 0 grouplove.................................................21

23 | features hip-hop Resurrected.................................25 Fem i n i n i t y i n M u s i c............................. . . . . . . 2 7 Stand-a l o n e si n gl e s........................... . . . . . . 2 9 Fo rgo t t e n pr o t e s t s ong s.................... . . . . . . 3 1 Emmie playlists........................................33 Crashprez................................................35 gu es t pl ay l i st. ................................. . . . . . . . 3 9 KT Tunstall..............................................41

photo by moses namkung

157

photo by Eric Garcetti

20 photo by Jason Persse

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album rev album revie album rev 1.0

2.0

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disturbingly bad

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iews ews 10.0 iews8.0 9.0 6.0

7.0 disturbingly good

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albums

Atrocity Exhibition

Nice As Fuck

7.6

4.7

by mia sato

by rachel carboni

Danny brown

Following his last two stellar releases — including the brilliant sophomore effort, XXX — Danny Brown apparently is getting restless. On his most recent, Atrocity Exhibition, the Detroit rapper bends genres and introduces another layer of instrumental depth his trademark stomach-churning bars.

Atrocity Exhibition starts weird and ends weird, with few pauses in between. The record gets its namesake from the 1980 Joy Division song and experimental J.G. Ballard novel of the same name, and if those influences seem off-beat and dissonant with the Brown we thought we knew, it’s somehow quite fitting — the album is unlike anything we’ve heard from the rapper thus far. The album diverges thematically from previous releases down a much darker path. Although Brown has never been one to shy away from rapping about the highly personal and often controversial, Atrocity Exhibition is his first release in which he fully utilizes beats, samples and effects as a medium of storytelling.

Sounds that could easily be in a horror film are scattered throughout the record: eerie chimes, distorted and ominous guitars, all beneath equally doom-inducing lyrics (“Pray for me y’all/ Cause I don’t know what coming to me”). Collectively, moments like these come together to give the album its distinct sense of dissonant coherence. It is a collage of odds-and-ends effects, a scattering of inharmonious beats: all half-developed thoughts seemingly abandoned, like a science experiment gone wrong, but innovative nonetheless.

The whiplash from the often abrasive composition would be more severe if the album wasn’t anchored by Brown’s lyrics, which are consistently shocking and as clever as always. On “Pneumonia,” Brown spits line after line of expert wordplay: “Like a surgeon with that scalpel/ Bring that track to life,” he yelps. Stand out tracks include “Ain’t it Funny,” a tongue-in-cheek look at fame and success; the star-studded “Really Doe” featuring Kendrick Lamar, Earl Sweatshirt and Ab-Soul; and “Get Hi,” a slower, more mellow track that still maintains the twisted danger of the album as a whole.

Tracks like these combine the Danny Brown we know and love with the album’s definitive experimentation.

Atrocity Exhibition is a fascinating study into the psyche of this abrasive-yet-lovable rap icon; a tough and confusing listen at times, yes, but worth it just to see what’s on Danny Brown’s mind.

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Nice As Fuck

It’s no surprise that Jenny Lewis’ latest project, Nice as Fuck (NAF), eschews any of the traditional publicity associated with releasing a record in 2016. Un-indoctrinated NAF listeners need only cast their glances to the band’s smiley face logo to understand that NAF is a small, subversive project with no higher designs for widespread fame or influence beyond an audience of the mellow and loyal. NAF’s self-titled debut titled debut, Nice as Fuck, is a collection of sly, lo-fi songs with the potential to become cult favorites for only the most dedicated fans.

Sonically, this album is a triumph. The band has made a record that sits comfortably in previously uncharted stylistic territory. Nice as Fuck is a send-up to the folk rock music that accompanied liberation and civil rights movements of the 60’s. Throwbacks like cowbell and walking bass combined with definitively modern vocal effects make this album outstandingly unique. Standout tracks like “Mall Music” transcend genre, with the ethereal vocals and smooth rhythm one might associate with electronic artists like FKA twigs.

Regrettably, Nice as Fuck is a concept album that falls short of its lofty aspirations. In an ideal world, this album would invigorate and entertain listeners living in a world rife with political chaos. Instead, lyrical platitudes translate particularly poorly amongst the album’s minimalist instrumentation. “Cookie Lips” is a remarkably embarrassing listen, with Lewis crooning, “Oh, cookie lips, give me a crumb.” While this track is clearly not meant to be entirely serious, it lacks a self-awareness that lets listeners in on the joke. An anti-violence song like “Guns” comes closer to hitting the mark, but is still hard to digest.

Nice as Fuck’s final impression recalls the trajectory of Karen O’s album Crush Songs (2014). For the general populace, this record is a mostly underwhelming listen that is redeemed in part by its innovative instrumentation. However, if you are an unapologetically hardcore Jenny Lewis fan, you might find yourself singing along to Nice as Fuck for years to come.

albums

22, A Million

kairi chanel

8.8

8.0

by becca meldman

by j.t. postlewaite

Bon Iver

dave east

Almost five years have passed since Bon Iver released his last album, and it feels good to see the Eau Claire native in the news again. Every Wisconsinite knows someone who knows someone who swears they see Justin Vernon all the time, staring pensively at a waterfall or sitting in a cozy cafe. The distinct electronic influence of his new album 22, A Million at times makes his music seem light-years away from the simpler sounds of his past.

XXL Magazine’s Freshman Class is comprised of several popularized rappers such as Desiigner and Lil Yachty, but the true star may finally be breaking free from the eclipse of the others. Dave East, the Harlem-born-and-raised rapper has struggled to reach the masses with previous mixtapes, but a recent signing with Def Jam Records while holding a deal with Nas’s label Mass Appeal may be the final door opening into the mainstream rap community.

I wanted to mock this release. The incomprehensible lyrics, the bizarre song titles, the incohesive mixture of sounds makes the listener want to joke so badly about the album, yet there is undeniable charm in the dreamy distortions of the 22, A Million. Just 10 tracks long, the album plays like a futuristic folktronica gospel. Vernon maintains the enchanting tones of his older albums while adding an inventive quality that spices up each track. Straying from the traditional format of verse-chorus-verse, each song was a sort of unpredictable sonic adventure. This hectic, disjointed format of the album shouldn’t have worked, but it did.

East’s nine previous mix tapes have established his artistic character as a street-hardened lyricist and have demonstrated his clever rhythmic and story-driven writing. This style clashes quite harshly with many popular rap songs today that rely on hard beats and repetitive mumble rap to draw popularity. In response to the mainstream trends, it would be easy to expect the eager young artist to follow suit and make a name for himself, yet his newest self-labeled mixtape affirms East’s stance of dedication to the art of lyrical rapping.

The album begins with “22 (Over Soon),” in which the phrase, “It might be over soon” repeats throughout, giving it an air of ambiguity — is impermanence good or bad?

Vernon makes us wonder. Many other tracks on the album contain these experimental, almost improvisational tones, especially “___45___,” which might be described as an underwater electronic saxophone medley. Track number five, titled “29 #Strafford APTS,” offers a soothing, more straightforward melody in which Vernon croons a strange sort of lullaby. There’s also a religious influence in 22, A Million — most evident in “666 Upsidedowncross” and “33 ‘GOD’.” Existentialist questions and autotune go handin-hand in the album, which combines a wide variety of sounds, but maintains an intriguing and captivating mood throughout.

Bon Iver’s experimental sounds and sincere lyrics are the main elements that set this album apart from his contemporaries. The simple charm that gained this humble Wisconsinite his international fame inexplicably lends itself to such innovative sounds. Each track is its own unique experience, which makes 22, A Million an album of grandiose replay value. Justin Vernon proves with this album that he’s capable of evolving with his music while staying true to his peculiar yet loveable Wisconsin heart.

Kairi Chanel, released under Mass Appeal Records, starts off deep, quick and sharp with “It Was Written” — a clear nod to East’s influence and mentor, Nas. The song plays like a motivated daydream, first reminiscing on the rough beginnings of Harlem’s projects, then takes a journey that ends with the accomplishment of a record deal-which signifies far more than just money for East. Several prominent artists make appearances throughout other songs, with highlights 2 Chainz and The Game. “Can’t Ignore,” the fourth track on the album, feels the most radio-ready, with a 2 Chainz feature and a repetitive-yet-catchy nature: this cut is likely to begin popping up on playlists in the near future. The mixtape’s overarching highlight is “Don’t Shoot.” Offering personal commentary on one of the most polarizing sociopolitical issues in the country, Dave East takes his stance on police relations with black communities as well as institutionalized racism all while presenting some of the best lines on the project with a powerful backing track. “Don’t Shoot” not only seems to represent Kairi Chanel, but it also exemplifies the strength of rap as a tool of rhetoric.

The lyricism and instrumentals found in Kairi Chanel are both of top shelf quality compared to much of current rap.

However, long stints of monologue and dialogue drag on a little too long on the mixtape. All things considered, this collection is a must listen for any rap-aficionado.

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albums

American Football (LP2) American Football

lady gaga

7.0

7.0

by shaye graves

by collin kirk

After a 17-year hiatus, American Football are back with a second self-titled album, American Football (LP2). Mike Kinsella (vocals/guitar), Steve Holmes (guitar) and Steve Lamos (drums/trumpet) experienced a slow crawl to unexpected cult-like status following American Football’s 1999 release. The jazzy, unassuming post-rock album has been a cornerstone of emo music in the 2000s. LP2 is their attempt to redefine themselves. Unfortunately, it blurs the lines of authenticity that made their music so beloved originally.

In many ways, LP2 is a step up from American Football. Actual verse-chorus structures, a full-time bassist (Nick Kinsella) and expanded lyricism successfully refine their sound. Mike Kinsella makes unnerving observations with lyrics like, “The best way to describe an ocean to a blind man is to push him in,” on “Everyone is Dressed Up,” and the self-aware line, “The past still present tense,” on “Home is Where the Haunt is.”

However, these moments of dimension are counteracted by a lack thereof in the album’s heavy pace and structural rigidity.

Kinsella’s lyrics are cheesy just as often as they’re clever “Desire Gets in the Way” is a standout track for its semi-disregard of formalities. In place of try-hard, vibrato-laced vocals, listeners get raw emotion by way of less elegant delivery.

“I’m down for whatever,” Kinsella discloses during the bridge, “The uglier the better.” He should have applied that latter line to the album itself. LP2 pulls blood from the same emotional vein that made its predecessor great, but it’s too regulated to induce a metaphysical reaction.

LP2 would benefit from more power jams or even an entirely instrumental track. American Football’s guitar interplay stood over minimalistic, straightforward lyrics, allowing the music to take the mainstage. On LP2, Kinsella’s voice pushes other sonic elements to the background. It might have served them better to let their instruments do more of the talking.

With a newfound sense of self-awareness, time and improved technical skills, American Football had the power to create something truly explosive. Ironically, their recognition of this fact seems to have set them back. Despite American Football’s youthful flaws, it was never lacking. The rawness they aimed to correct is what made their sound great to begin with. LP2 is solid, but falls short of its potentital in that it feels more calculated than genuine.

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joanne

Quite some time has elapsed since the world first became enraptured by the whirlwind of Lady Gaga. At the same time, it’s hard to believe the star is already on her fifth studio effort.

Following a collaborative covers album with Tony Bennett (Cheek to Cheek) and 2013’s Artpop, Lady Gaga returns triumphantly with a surprisingly simple yet dynamic aesthetic.

Featuring Mark Ronson as executive producer and boasting a list of collaborators from Father John Misty to Florence and the Machine, Joanne is a departure from the dance-pop that made Lady Gaga famous. It is without a doubt her most eclectic endeavor yet: a mosaic of country, pop, folk and rock. Perhaps the one song that could easily find itself at home amongst Gaga’s previous work is the standout “Dancin’ in Circles,” a thumping jam that might be described as the wiser, sitar-wielding older sister of the 2010 hit, “Alejandro.”

Powerful tracks like this seem to demonstrate Joanne’s glory in a mystifying few minutes, forming a collection of distinct, drawn back soundscapes and genres that come together seamlessly. Softer moments, namely the ballads on Joanne, are some of the best examples of the star’s songwriting abilities to date, showcasing her vocal capabilities in beautiful ways that drastically deviate from the four-on-the-floor anthems of her former success.

Country-infused pop tracks comprise the remaining majority of Joanne, from the sweeping title track to the Bruno Mars-influenced stomper “A-Yo,” a comparison that likely does not sit well with many of Gaga’s longtime fans. The lowlights in this album come from the contrived moments of classic rock influence — the grating “John Wayne” reads as an iffy homage to the ‘bad guy,’ sporting the lazy hook, “Baby, let’s get high/ John Wayne,” accompanied by unpleasant synth strings and ill-fitting, underwhelming ad libs. Even the contributions of a league of songwriters on songs like “Perfect Illusion” are muddled most by the star herself, with overtly expressive, nearly cacophonic vocals.

Moments of theatrical overstepping, while an integral part of her established charm, create some of the most mediocre moments on this latest effort. Aside from these setbacks, Joanne succeeds by framing Lady Gaga at her most comfortable musically and finding an effective middle ground to showcase her skill as an artist.

albums

how to be a human being

a seat at the table

6.5

9.4

by rachel baruck

by collin kirk

The light electronic sounds and slow rhythms that dominated ZABA and give Glass Animals their unique quality are still present on How To Be a Human Being, particularly in the synths of “Cane Suga,” the spookily edited harmonies on “Mama’s Gun” and the intro of “Agnes,” which sounds like the electronic encapsulation of being underwater. But throughout the album, Glass Animals keep us grounded to reality. With the heavy guitar and drums on “Take a Slice,” the group toys with the idea of a psychedelic rock sound, and hearing the introductory guitar lick and drums on “Popular St” I would almost expect a Black Keys-style rock song to follow. The best part of Glass Animals’ new relationship with reality, however, are the consistently dancey beats. How To Be A Human Being feels less inward because it features fun, upbeat songs fit for sharing with friends.

The album’s lyrics also make it extremely accessible. Dave Bayley talks on a relatable level about what it’s like for the millennials to become young adults. The pre-chorus of “Life Itself” perfectly describes the attitude of many young adults today: bummed out at their lack of prospects but still surprisingly confident. It goes, “I can’t get a job so I live with my Mom/ I take her money but not quite enough/ I sit in the car and listen to static/ She said I look fat but I look fantastic.”

The album follows this general strain, trying to reconcile the struggles of growing up with the fun of being young and irresponsible.

A Seat at the Table is trailblazing and epic from the first breath. Strung along by thought-provoking thematic interludes on sociocultural topics, Solange seizes an opportunity to be unapologetically black, delve whole-heartedly into her roots and tie it together with a marriage of atmospheric, captivating lyricism and retro-soul instrumentation. Simplifying it for a casual music listener, A Seat at the Table is a soul and R&B counterpart to Kendrick Lamar’s To Pimp a Butterfly (2015).

“I’m weary of the ways of the world,” croons the songstress on “Weary,” a track effectively mirroring the turbulent stance of millions of Americans in 2016. Solange sets the tone with this track and the following stand-out “Cranes in the Sky,” a monumental, world-influenced ballad demonstrating the chaotic impossibility to land upon a state of tranquility. Album centerpiece “Don’t Touch My Hair” tackles the societal caricature of a mad black woman in a beautifully empowered, show-stopping fashion: “You know this hair is my shit/ Rode the ride, I gave it time/ But this hair is mine.” The toe-tapping slow jam “Where o We Go” is a pivotal moment on A Seat at the Table, an outcry on intolerance masked as an uplifting hymn.

A Seat at the Table could not have come at a better time, and Solange has here done a remarkable job at creating a world of her own.

MIE MAG

EM

Overall, How To Be A Human Being is a good sophomore album. Glass Animals experiments with new sounds successfully, but doesn’t quite settle on a strong new voice. Dealing with the struggles of growing up make the band relatable, like Peter Pan but with self-awareness. It’s a great album for anyone who just wants some music to dance them through becoming an adult.

Solange isn’t new to the music world, but 2016 may be the first time you’ve heard of Beyonce’s sister with her most recent effort, A Seat at the Table — besides, of course, the epic elevator scandal where she took it out on Jay-Z at 2014’s Met Gala. With ease, Solange effectively erases this and her appearance in “Bring It On” from her career highlights with her new studio album, a timepiece and colossal R&B feat that puts the tired comparisons to her sister to shame.

INE

Glass Animals lead into their sophomore album with a flurry of light keys and strings, followed by syncopated bongo drums and immediately you are transported. The band has a skill in making music that takes the listener somewhere else entirely. But while that delightful escapism is still present, How to Be a Human Being isn’t quite the trip to outer space that their first album, ZABA was. This grounded escape makes the music far more compelling than the first time around.

solange

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glass animals

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C album ann

iversaries

emmie staff revisits classic records celebrating milestone birthdays in 2016

this is a long drive for someone with nothing to think about modest mouse (1996)

20

Released on Up Records a year or so before Modest Mouse found critical success, This Is a Long Drive for Someone with Nothing to Think About marked the indie rock trio’s first proper album release and set the stage for alternative music to become mainstream in the 2000s.

This album speaks thematically about travelling away from the confines of mundane life — relatable to the maximum. The band’s offbeat, high energy instrumental musings are the perfect bedrock for vocalist Isaac Brock to ponder where self-satisfaction exists, exploring both geographical and abstract areas in his search. That petty distractions can’t fill the mysterious voids we feel is Brock’s cold realization, conveyed through the lyric, “Fluorescent light bulbs will make an absence of dark/ but the light just ain’t there still” on the track, “She Ionizes And Atomizes.”

This Is a Long Drive for Someone with Nothing to Think About stands the test of time for anyone who knows the dull nausea induced by simple existence (and who doesn’t?). When your chest feels tight and your existence weighs heavy, “Open your window/ and let in the atmosphere,” Brock suggests on “Breakthrough.” Or, if you’re unsure exactly how one ingests a celestial medium, simply listen to this record.

by shaye graves

nevermind nirvana (1991)

25

We live in a world where nothing can make you cooler than individuality. It may be hard to imagine, but for a long period in American culture it wasn’t quite so cool to stand out. 25 years ago when Nevermind became a hit, Nirvana made it cool not to fit in. There is a huge value to underground and indie music, but Nevermind had the impact it did because Nirvana was willing to take their music to the people. This is a powerful combination of dissatisfaction and patience and it produces the album’s most popular and time-tested records: “Lithium,” “Come As You Are,” “In Bloom” and runaway hit “Smells Like Teen Spirit.” Lyrics like, “Come doused in mud, soaked in bleach/ As I want you to be/ As a trend, as a friend” on “Come As You Are” paint a picture of the complicated and often contradictory expectations society has of all of us.

On Nevermind, Nirvana consistently questions the way things are, something many Americans were longing to do by 1991. By making their songs accessible but still strong and haunting, they helped bring counterculture back to the forefront. As “Smells Like Teen Spirit” soared to number one on the Billboard charts, Nirvana helped make it cool again to question what it even means to be cool in the first place.

by rachel baruck

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EMMIEMUSIC.COM

pet sounds the beach boys (1966)

50

1966 was a big year for the U.S.: it was the year the National Organization for Women was founded, the year Walt Disney died, the year the surrealist art movement came to prominence and, of course, 1966 was the year that The Beach Boys released their 11th studio album, the legendary pop rock compilation, Pet Sounds.

Despite its 50 years around the sun, Pet Sounds has lost nothing to time. This album is widely regarded as one of the best to ever exist (it’s even preserved in the Library of Congress with other culturally, historically or aesthetically significant creations), yet it initially was met with apathetic critical and commercial responses.

Brian Wilson’s innovative production and arrangements were too avant-garde to be fully appreciated in the mid-60’s. In lieu of standard, easy rock tunes made to be danced to, Pet Sounds was a concept album meant to be genuinely listened to. And generations have been listening ever since. Its innovative elements — blended genres, a denser aesthetic via Spector Sound production and quirky sound effects like trains, soda cans and animals — are jaded fragments of Wilson’s entire soul and possibly his sanity as well. The combination of these elements with the album’s diverse emotional appeal, exemplified in songs such as “Wouldn’t It Be Nice,” “Sloop John B” and “I Just Wasn’t Made For These Times,” secure Pet Sounds’ place in both the happiest and most devastating moments of our lives alike. There’s no expiration date on feelings. Catch me in another half a century, old, withered and rocking out with my headphones in — I’ll still be listening to this timeless album.

loveless my bloody valentine (1991)

by shaye graves

25

It was the dead of a Wisconsin winter that etched My Bloody Valentine into the fiber of my being. It resonates as a frosty memory, reminiscent of a puff of breath in the dawn of a January weekday. Loveless is an album that only comes around every so often: a genre-bending, dynamic, fully thought out body of work that leaves no missed opportunities.

The band draws together elements first grazed upon with 80s dream-pop, polished with layers and layers of guitar riffs that are both ambient-drone and heavy, melodic rock that bands like Nirvana popularized years later. The record laid to rest the necessity for lyrics to be understandable, using voices as an instrument adding to the sweeping soundscapes that are profoundly present throughout Loveless. The album has an ability to evoke a plethora of emotions by doing very little in just a handful of themes throughout its 48 minute runtime. “I Only Said” is a sonic resemblance of the best night of your life with all your loved ones. The watery, shimmering “Blown a Wish” sounds like a passionate love affair. The monumental “Sometimes” may make one feel nostalgia for events that haven’t happened.

At its 25th anniversary, Loveless is known as one of the most influential bodies of work of the 20th century. My Bloody Valentine successfully spearheaded a whole world of music by way of sound walls both grungy and euphoric, alongside incoherently angelic vocal strings. The ebb and flow of Loveless created a wave of inspiration for artists that have come and gone, and will continue to come to fruition for years to come.

by collin kirk

45

led zeppelin iv led zeppelin (1971)

With such a legendary group it is hard to pick their best work, but Led Zeppelin IV is an incredibly strong collection of music, and probably the album that gave us the group’s most memorable hits.

Of course no discussion of this album can go without mentioning Led Zeppelin’s most famous track, “Stairway to Heaven.” In his review of the album in Rolling Stone in 1971, Lenny Kaye described “Stairway to Heaven” and “Going to California” as “some stuff I might actually call shy and poetic if it didn’t carry itself off so well.” It is this kind of musical and lyrical sensibility that has kept the song relevant for nearly half a century. “Going to California” is a standout, and my favorite song on the album.

The music is undeniably beautiful, with several layers of guitar picking and light strumming that fit perfectly together. The lyrics tell the timeless story that we all go through at one time or another, of making a new start after a troubled time.

It certainly has been a long time since rock and roll, but Led Zeppelin IV remains a classic album, listened to by generations of people. On “Misty Mountain Hop” Plant sings, “I really don’t care what time it was.” There is no better way to describe this album; it has proven timeless and will likely stand the test of time for at least another 45 years to come. by rachel baruck

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Shows 11 EMMIEMUSIC.COM

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shows

Zeds Dead Keeps the Party Going

By zach adams Photos by Matthew Heinen

O

n Oct. 13, Canadian electronic duo Zeds Dead put on an energetic show for a sold-out crowd at the Orpheum Theatre. In addition to being the duo’s first appearance in Madison in more than two years, the night also coincided with the midnight release of their debut album, Northern Lights. Though their set seemed predictable and formulaic at times, Zeds Dead had the crowd on its feet and never wavered in energy and spectacle. As this was the sixth or seventh time that I’ve seen Zeds Dead, my expectations going into the show were high. Regardless of the setting — whether it be large and festival-like or in a more intimate show — the duo consistently bring their A-game, and this night was no different.

I arrived at the Orpheum as the opener, DJ and producer Illenium, was wrapping up his set. After waiting a while with an increasingly impatient crowd, Zeds Dead finally made it to the stage. In a dazzling display of lights, visuals and lasers, Zeds Dead made keeping the party going a priority. With old hits such as 2014’s “Lost You” being mixed with cuts from their new album, the music was varied yet consistently loud and audacious. At times, the bass became so overpowering that I could literally feel it fanning across my face. The sheer volume of the music had no effect on the crowd — they ate it up.

Dylan Mamid (known as DC) and Zachary Rapp-Rovan (Hooks) didn’t simply take turns “pressing buttons,” as is the stigma for many DJs. They were clearly immersed in the show, carefully selecting songs on the fly and feeding off the energy that was supplied by the enormous crowd. The fact that this was also the night in which they’d dropped their debut album added to the overall level of excitement in the room. Though it wasn’t labeled as an album release party, the two definitely treated it as such.

For the entirety of their 75-minute set, my feet did not stop moving, nor did my body cease grooving. With elaborate stage production and loud, thumping beats, what more could a crowd of party-loving college kids ask for? That being said, there was no part of the set that particularly wowed me. The “drops” were predictable, and there was nothing about this show that stood out against any of the other times that I’ve seen them. Zeds Dead were clearly sticking to a general formula, albeit one that works.

Though I wish that they had experimented more and had tried to break their formula of fast-paced, bass-driven drops, I had a blast. Dancing to old classics, new tunes and heavy remixes, I forgot about all of my tensions and focused on simply having fun. In the midst of the general recklessness of a Thursday night in Madison, Zeds Dead’s party was the place to be.

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st. lucia throws it back t. Lucia, the South African-raised and Brooklyn-bred musician, took the stage at the Majestic Theatre Oct. 21 for his first performance in Madison. Along with opener Baio, popularly known as the bassist in Vampire Weekend, St. Lucia treated the crowd to a night of sugary synth, pop perfection and major throwback vibes.

I arrived at the venue just as Baio launched into the bouncy jaunt of 2015’s “Sister of Pearl.” He proved to the packed crowd that he has mastered much more than just the six-string bass — with catchy synth-driven songs and a rich baritone, he commanded the crowd’s attention, Vampire Weekend nowhere in sight.

When St. Lucia — comprised of frontman/ mastermind Jean-Philip Grobler, his wife Patti Beranek and a touring band — took the stage, the audience immediately gravitated toward Grobler and his mesmerizing stage presence.

Grobler’s admiration of the 80’s was evident: with strategically placed wind machines and Bono-style hand gestures, his stage persona seemed straight out of a Duran Duran music video.

St. Lucia wasted no time in amping up the energy level, seamlessly transitioning between songs from When the Night and Matter with ease. The band got right to the point performing their latest hit, “Dancing On Glass,” early on in the set. Initially, I was shocked they chose not to save the crowd pleaser for the encore, but the hype factor only kept rising with each song that came next.

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photo by shervin lainez

Tracks like “Elevate” showcased Grobler’s ability to marry synth and electric guitar, creating a concert mood that is both refreshing and nostalgic. During “Love Somebody,” Grobler wandered through the crowd and bar area as the audience shouted the lyrics. I’m proud to say I only slightly lost my cool when he danced past me, mere inches from my face. During “Love Somebody,” Grobler wandered through the crowd and bar area as the audience shouted the lyrics. I’m proud to say I only slightly lost my cool when he danced past me, mere inches from my face.

The second half of the show had a marked change in atmosphere. Instead of tearing through as much of the catalog as possible, St. Lucia opted to focus in on extended versions of some of his more experimental pieces. The climax of the show occurred during “The Winds of Change,” a slow-building six-minute track, which brought an otherworldly feeling that was perfectly complemented by the stage’s dreamy blue and purple light show. After the song ended, the stranger standing next to me grabbed my arm and simply shook his head in disbelief, and I understood exactly what he was feeling.

The spirit of human connection was very much alive during St. Lucia’s set. College kids swayed and jumped at the appropriate intervals while middle-aged couples brought out dance moves that had been dormant since their college days, probably waiting for a time traveling band like St. Lucia to take them back to 1984.

In a pause between two songs, Grobler took a second to say how “enchanting” Madison felt when he walked around downtown earlier that day. After this show, I think it’s safe to say the city feels the same way about St. Lucia.

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real e state photo via Creative commons

Real estate hone their sound with a stop at the majestic madison

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eal Estate’s Oct. 8 show at the Majestic felt like a gathering of old friends more than anything else. The Garden State indie rockers seemed genuinely happy to be in Madison, and the audience was equally enthralled to be treated to a mix of new and old songs.

During this stop in Madison, Real Estate delivered a collection of hits, deeper cuts and a slew of new unreleased tunes.

A pair of fan favorites “Beach Comber” and “Easy” kicked off the show, letting the audience know that the band was there chiefly to have a good time. The summery anthem “It’s Real” seemed to instantly connect with the audience, prompting the closest thing to a mass sing-along of the night. The band really hit their stride with “The Bend” and “Municipality.”

During these songs, the effect was more mesmerizing than endearing. In the former, Martin Courtney channeled existential dread while commenting about the shortness of life. The latter continued this trend as Courtney sang about living in an alternate reality, a pondering that was punctuated by airy, drifting guitar work. The seven new songs played throughout the night were quintessential Real Estate, building on a familiar sound while incorporating slightly more notable distortion and percussion. The group has clearly not had the opportunity to perfect these songs in a live setting yet, and their delivery felt less cohesive.

Even though these songs may have lacked technical finesse, they still sounded remarkably good. This is a group that favors melody over volume, and the result is a live sound that maintains the clarity of their records.

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by will skalecki Alex Bleeker’s rolling bass riffs complemented guitarist Julian Lynch’s leads and Courtney’s reverb-drenched rhythms formed the backdrop of this interplay. This devotion to a familiar sound came at the expense of some experimentation, but subtle variations were omnipresent. The outro of “Beach Comber” became its own entity altogether, as Bleeker incorporated some improvisational riffing. Courtney’s vocals were markedly more nasal throughout the show, channeling a delivery more akin to Ben Gibbard than the breathy, ethereal harmonies the group is known for. Perhaps the most noticeable addition was the inclusion of keyboards, adding a sonic depth to older songs originally written as drum and guitar pieces.

Despite numerous subtle instrumental variations and the inclusion of new songs, the audience was left wanting more at the end of the show. Real Estate finished their 80-minute set on its darkest, roughest note: an extended instrumental jam that gradually slowed in tempo and stretched on for just a bit too long. The effect was disjointing, especially when compared to the lyrical poignancy and calculated delivery of previous songs. The repetitive, droning guitars served a sobering reminder to the audience of the world lying beyond the intimate stagefront gathering.

Nevertheless, it was also a reminder of things to come, and of the growing versatility of a band that has better defined themselves with each passing record.

at mo sp he re O

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n the Madison stop of the Freshwater Fly Fisherman tour, hip-hop veteran Atmosphere brought Brother Ali to the Orpheum. The two long-time friends and members of the Minnesota hip-hop label Rhymesayers brought along fellow Rhymesayer deM atlaS as well, fresh off his newest project rapping over MF Doom beats titled mF deM. After deM atlaS warmed up the crowd, Brother Ali took the stage. Ali, who was born in Madison, summed up his set best when he said, “We don’t do shows, we throw parties.”

He didn’t bring any pageantry, elaborate bits or extravagant props and he didn’t have any gimmicks. Ali delivered his trademark stories with an honesty that no other rapper can mimic.

Throughout the show, Brother Ali continuously encouraged as much fan interaction as possible, including making everyone at the show turn to who they came with and say, “I love you.” He ended his set with the feel-good hit “Forest Whitaker,” leading the crowd in a chorus, singing “You ain’t got to love me.” Brother Ali’s continued efforts to connect with the audience showed that he’s not a rapper seeking the crowd’s admiration. He’s a rapper for the people, ensuring everyone in the crowd has a great time.

photo via Creative commons

by mitchell rose

Atmosphere was joined by DJ Plain Ole Bill scratching records. Comprised of Slug commanding the mic and Ant producing and DJing, Atmosphere has been putting out music for over 20 years (longer than many UW students have been alive, as Slug pointed out).

They show no sign of slowing down though, releasing their newest album, Fishing Blues, this summer. The longevity of Atmosphere’s career was clear as they effortlessly performed songs ranging from 2016’s “Fishing Blues” all the way back to the 1995 track “God’s Bathroom Floor.”

Accompanying his exceptional performance skills, Slug also seemed to share Brother Ali’s ideology of throwing a party for the people. Between songs, he congratulated a couple of fans for breaking up a fight and hugging it out without any intervention. “We don’t come to Atmosphere shows to fight,” Slug said, “We come to get pregnant.” While to my knowledge no one actually got pregnant in the crowd, Atmosphere’s performance kept an infectiously positive attitude throughout the show.

At one point during his set, Slug seemed to break character by calling the crowd ugly. Immediately after though, he launched into his classic “GodLovesUgly,” continuing the themes of love despite ugliness present in Ali’s “Forest Whitaker.” To top it all off, Slug lead the crowd in singing “Happy Birthday” to him, before revealing that it wasn’t actually his birthday.

photo via Creative commons

This was Atmosphere’s nearly 20th show in Madison, but the duo still had all the energy that built such a loyal fan base in the first place. When they’ll eventually stop touring, no one knows. One thing is for sure though: no one throws a party quite like the Rhymesayers.

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S

The Spectacle of

inger-songwriter Ben Folds took the stage at the Majestic for the second night in a row on Sept. 30.

No opener, just a man with his piano and a button down shirt covered in giraffes. He started the night with his upbeat, inspirational song “Capable Of Anything,” and for the next 40 minutes showed off his incredible performing skills. Folds has been around since the 90’s and still maintains an enthusiastic fan base that seems to know his entire discography by heart. At some points he stopped to engage the audience in some storytelling, like before “Not A Fan,” when he described his inspiration for the title — apparently, a fan once came backstage and told Folds that “[he] wasn’t a fan, but his girlfriend was,” before pulling a knife on the singer.

He wrapped up the first part of his show with a passionate performance of “Philosophy,” during which his fingers flew so rapidly across the piano keys they were reduced to a blur. Folds then announced that he’d be taking an intermission, during which audience members were asked to go to the lobby to get paper, write a song request, and fold it into an airplane. After the intermission, the crowd was instructed to launch their requests at the stage, and a barrage of paper planes rained down from every corner of the theater.

ben folds

photo via creative commons

what happens when you go to a show without a clue what to expect? by becca meldman

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The second half of the show consisted of Folds picking planes at random and playing whatever song appeared on the page. He had to defer to a giant binder of lyrics when one of the planes requested “Half Asleep,” which he told the audience he wrote when he was 17 and hadn’t played for 20 years. Another fan requested “Free Coffee,” so Folds borrowed some Altoids cans from the audience and placed them on the piano strings for a clangy effect. Folds was also asked to play a cover of Dr. Dre’s “Bitches Ain’t Shit,” which he did with the utmost grace, finesse and poise.

Watching a 50-year-old alt-rock singer do a slow cover of a filthy hip-hop song was definitely a highlight of the evening.

This interactive component of the show really furthered the sense of camaraderie between members of the crowd and the artist. Folds’ charisma created a fun vibe for the whole night, and even during his sadder songs like “Fred Jones, Pt. 2,” the audience sang along with palpable joy.

The explosive, catchy “Rockin The Suburbs,” which you may recognize from the Dreamworks animated masterpiece “Over The Hedge,” was the last paper plane request he played for the night. He exited the stage briefly before finishing with an encore of his melancholic-dance-party hit “Army.”

Though diehard fans turned up in droves to the sold-out show, Folds is such a talented performer that anyone would enjoy his show regardless of how many of his songs they know. His quirky paper plane request system and ability to perform an almost fully improvised setlist made the concert immensely enjoyable for all.

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I

n high school, my best friends and I found peace cruising country roads at any given time of day. Whether it’d be during our school lunch break or at 3 a.m. on a humid summer night, our windows were all the way down and the volume knob resting at full. We had this knack for dangling half our bodies out the window, and a distinctive memory of performing this senseless act always arises when I hear a track produced by Gold Panda.

Fast-forward five years to Sept. 18, 2016, and you’d catch me with my friends, high school bestie included, making our way to the Majestic Theatre to see an artist that’s played such an influential part in shaping memories I’ll carry with me forever.

The evening began with Midas Bison, an experimental artist hailing from the local music scene in Madison. Having won Madison Area Music Awards “Best Electronic Album” in 2014, Midas Bison continues to create his anomalous pop tunes and bring his aberrant personality to the stage.

Gold panda by branden wise

If there is anything to know about the next act, Open Mike Eagle (OME), it’s the exceptional lyricism that he carries to his tracks, like the poetic, “Knee-deep in the center, only water divides us/ Same places, different continents and my head space is an island.”

Often OME raps of insecurity and anxiety, allowing for his listeners to understand and relate to him on a personal level ­— a respectful characteristic when your listeners might be dealing with difficult situations. Open Mike Eagle brought his lyricism to the Majestic for a soulful performance, engaging with the eager crowd between every song, leading us into the main act with the notorious “Ziggy Starfish,” produced by none other than Gold Panda.

Among a small crowd, my friends and I quickly secured our spot front row against the stage. With our unreasonably priced cold drinks in hand and the lights beginning to dim, Gold Panda traversed the stage, stepping up to a table on which his equipment waited for him.

The London-based producer spent the last few years exploring Japan with close friend and photographer Laura Lewis. In hopes of creating a project — that would eventually become his third studio album Good Luck and Do Your Best — he produced a level of wistfulness combining Lewis’ photographs with his new, Japanese-inspired tracks. A video montage of their work played above his set as he curated an exclusive set list showcasing the simplistic instrumentation he is best known for.

Gold Panda began the show with “In My Car,” a track from his new album that displays distinct Japanese inspiration through the use of Japanese string samples. Quickly transitioning to the second song, Gold Panda gave me the sense of nostalgia I came for with the uniquely repetitive yet marvelous track “Vanilla Minus.” I closed my eyes and felt the irregular beat of a memory making its debut for the night. I opened my eyes to see my friends among the crowd dancing right with me, unknowingly taking part of a future sense of nostalgia.

gold panda closes out his north american tour with a stop in madison photo via wikimedia commons

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shows

a lowkey night with khruangbin

by molly gilbertson

M

onday, Sept. 12. I was exhausted, the sole person ordering a hot, black coffee at Schuba’s, waiting impatiently for Khruangbin to take the stage. Schubas in Chicago is a cool venue, similar to the Frequency in Madison, with a bar in front and a concert hall in back.

It’s an intimate place, somewhere to see your favorite band that none of your friends know. It’s a place where you can banter with the band who’s there to play good music, not put on some grand, distant spectacle.

Khruangbin plays very simple, minimal music, with a groove that so easily penetrates into your heart. Or at least that was what I figured from the live recordings I had watched online. This was my chance to have this genuine, living feeling. I needed to be awake for this.

I looked to my left to see the band members work their way through the crowd to the stage. This is the kind of place Schubas is — the band is not hiding away backstage.

They’re having drinks at the bar, and wading their way through the crowd, as I was, to get to the stage. The difference is that when Laura Lee (bass), Mark Speer (guitar), and DJ (drums) get to the stage, they grab their instruments and take the rest of us into their sonic universe. They opened with “August Twelve,” one of their more melodic songs with a good catch in it, and I felt my spirit slowly waking up.

Khruangbin’s music can be described as 60’s/70’s psychedelicThai-surf-rock. Their name Khruangbin is even Thai, meaning airplane. But this trio from Houston doesn’t just play some pigeonholed genre, instead trying to recreate a surf-chill aesthetic that will please a wide range of people.

“

It’s a place where you can banter with the band who’s there to play good music, not put on some grand, distant spectacle.

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photo by molly gilbertson

The music is very simple, easy to understand and follow, and features bass-driven grooves with mellow and cheerful guitar licks and straightforward drumming. The catch is that Khruangbin takes a simple understanding of music, which they clearly have mastered, and use their talents to just groove with each other and go off of each other’s vibes.

Throughout the set, the members will look at each other, nodding and talking, building off of each other to create a serenely fun sound.

As the concert went on, my eyes fixated on the band as I tried to replicate their energy in my own dancing.

The focal point was undoubtedly Lee, who grooved easily her driving bass lines. Her energy was so charming and beautiful and her musicianship is killer.

As they brought their last song to a close, Speer asked if the crowd was ready to “hit it and quit it.”

To a roaring response in the negative, the band discussed amongst each other, while playing, how they should proceed. Speer suggested they kink out some stuff they’ve been recently working on. So after a five minute un-rehearsed jam (which was just as, if not more cool than their rehearsed music), they finished the set with “A Calf Born in Winter,” a soft-spoken instrumental that simply fills you with joy.

After the show, I ran into Lee outside the bar, having a smoke. Her personality off-stage was as enchanting and warm as the music she played. This is the kind of group Khruangbin is: unpretentious, friendly and human.

chicago homecoming

shows by zach adams

“

This was not your typical concert. it was a work of living, breathing art. Kanye was the painter and the audience was his canvas.

”

I photo by kenny sun via flickr

n his first show since cutting his Meadows Festival set short, Kanye West took the stage to a sold-out hometown crowd at Chicago’s United Center on Oct. 7. With no opener, Yeezy performed an hour and a half’s worth of his greatest hits with exuberance, raw emotion and pride.

Upon getting to my seat, the first thing that caught my eye was the enormous stage. The setup was something out of “Close Encounters of The Third Kind” — a massive spaceship-like structure adorned with lights and video screens hung from the ceiling of the venue. The centerpiece of this structure was the “floating stage,” which hovered over the crowded GA pit. Despite the sheer size of the hanging stage structure, there was something about it that seemed very minimalist. Whereas many concerts and festivals today boast vibrant visuals and elaborate fireworks, this show seemed stripped down, the clear focus being Kanye and his fans.

After nearly 45 minutes of impatiently waiting in my seat (not to mention the hour-long merch line), the entire arena went dark. There was no warning or warm up music, just the loud hum of the stage moving into position. A couple seconds later, the intro to “Father Stretch My Hands Pt. 1” blared through the speakers and the crowd went wild. As the song began to build into the chorus, out came Kanye. The chorus sounded, the arena lit up and the stage began to move. He transitioned seamlessly from “Pt.1” into “Pt. 2,” then began “Famous,” which he restarted twice. Overcome with emotion, he proclaimed, “It’s good to be home,” a sentiment that was repeated throughout the night. He then moved into a medley of “Pop Style” and “THat Part” before beginning the energetic Pablo cut, “Facts.” After performing a few more songs, he launched into the Yeezus track “Black Skinhead,” one of the highlights of the night. The intensity in his voice as he rapped, “Middle America packed in/ Came photo by kenny sun via flickr to see me in my black skin,” gave me chills.

Even from my high-up 200-level seat, I could feel the energy that he exerted and redistributed among the crowd. Kanye continued to weave in hit after hit, including “Power” and “Blood on the Leaves,” before segueing into the compelling “New Slaves,” which he hadn’t performed on the tour until that night. Though the set list was heavy on material from his latest album, Yeezy made sure to cover his entire career — from breakout hit “Jesus Walks” to 2014’s Paul McCartney collaboration “Only One.” He concluded his spectacle with a rousing rendition of “Ultralight Beam,” which brought the entire arena to its knees in “prayer.”

This was not your typical concert — it was a work of living, breathing art. Kanye was the painter and the audience was his canvas. It seemed as if he was just as in awe of us as we were of him; sometimes he would sit down on his drone-like stage and watch his endearing fans dance around him. It was a transcending, almost out-of-body experience. He performed with power yet made it clear how much we, his hometown audience, meant to him. Although I wish that he performed longer — the hour and a half he spent onstage flew by — I still get chills thinking about the show. After a turbulent week for him and his family, he assured his fans that he has their backs. And we have his.

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Photo via Wikimedia Commons

Grouplove raises a battle cry at the Orpheum By: Staci Conocchioli 21 EMMIEMUSIC.COM

“

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It was the greatest welcoming embrace.

”

Grouplove was a burst of color and excitement at the Orpheum Theater Oct. 23. You could feel the passion melting off of people as the band took the stage, and it continued throughout the concert as the crowd showed pure emotions singing and dancing out their love for the music. Following some lackluster openers that were turned up way too loud, the excitement of Grouplove finally taking the stage was an enormous wave of energy that coursed throughout the entire venue.

Grouplove’s style is very hippy and colorful, a trait that is refreshing and satisfying for the chromatic-loving individual. The set was designed with multiple floor-to-ceiling hands that had various amounts of fingers and spotted with blotches of bright paint. It was the greatest welcoming embrace that encompassed the free spirit of the band.

This was apparent as lead singers Hannah Hooper and Christian Zucconi arose in a hue of vibrance, with Hooper decked out with bright pink pixie haircut and matching sparkly jumpsuit, and Zucconi with his messy wavy shoulder length locks dyed a radiant sea green and wearing baggy ripped jeans with a pumpkin colored button up.

And to top it off, drummer Ryan Rabin played the entire show shirtless.

The band started off the set with a bang playing “I’m With You,” “Good Morning” and “Itchin’ On A Photograph” all in a row, seamlessly going from one song to the next. In fact, almost the entire concert was connected song to song, with the band preferring to drive their energetic beats from one rhythm to the next to keep the adrenaline going. Of the two transition breaks where the band conversed with the audience, it was very brief with novel introductions to their more popular songs. On one occasion, the band asked the crowd if we were ready to go to our best friend’s house, then jumped right into the hit “Tongue Tied.” In the other instance, they began telling a story of a man who was going for a swim and had a “Shark Attack,” which was screamed by Hooper. We were tossed into a sea of thrashing beats and heart-stopping pauses paired with an incredible light show in the back as the song began.

After a whirlwind of “Cannonball,” “Hippy Hill,” and even a Beastie Boy’s cover of “Sabotage” thrown in, Grouplove finished it off with Zucconi telling the crowd to raise their hands and makes some noise. A battle cry was raised before getting carried into “Welcome to the Life.”

Grouplove’s vocals are frequently characterized by soulful cries and drawn out higher-pitched whole notes, and it was breathtaking to hear the audience add their call to the lyrics, sometimes even filling in for Hooper and Zucconi when the two were too immersed in their playing to sing them.

The band made their departure but were coaxed back onstage by the crowd, with only Zucconi returning to the stage, acoustic guitar in hand. This was a big contrast to the plugged in set they had been playing. Zucconi sang a light and touching “Enlighten Me,” and it seemed like he would be ending on a sweet and airy note, until the rest of the band rushed the stage and the color and energy was rejuvenated through “Ways to Go,” and my personal favorite, “Colours.”

Grouplove brought a great source of energy to Madison that night and wrapped the crowd up in a feeling that can only be described as love.

Photo by Abby Gillardi via flickr

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features

only play dis at night How 90’s hip-hop resurrected the harp and the vibraphone by nik Heinemann

T

hough we may associate old school hip-hop with hard beats and cutthroat MCs, we can find a more meditative approach in some records. In the 1990s, producers like Pete Rock, “Butterfly” (of Digable Planets) and J Dilla pioneered the use of jazz records to produce a hazy, mellowed out aesthetic to complement the MCs they worked with. They experimented with their sampling techniques, incorporating a wide array of 70’s jazz and soul instrumentation. In the midst of hip-hop’s golden age, the most skilled producers brought forth a revolution of sound.

And with a discerning ear, we can identify the use of long-forgotten instruments such as the harp and the vibraphone. In the hands of hip hop heavyweights such as J Dilla, Q Tip and Pete Rock, these instruments were used to paint vibrant, textured portraits. Indeed, some of hip-hop’s most treasured cuts were crafted from illustrious jazz harp and jazz vibraphone samples. Though they might be a minor side note in the genres history, the harp and the vibraphone are definitely worthy of 500 words in a student-run music magazine.

Don’t come at me with that bullshit.

“Vibes N Stuff” A Tribe Called Quest “Things Done Changed” The notorious b.i.g.

Biggie is the greatest rapper of all time because he was effortlessly versatile. He had a magnetic sense of flow, a gift for storytelling and the ability to deliver unpredictable punchlines (“I drop unexpectedly like birdshit”). Most importantly, he knew to craft each song as a concept — every Biggie Smalls track has a nucleus, an idea that allows it to transcend the art of hip-hop.

On another level, each Biggie track captures a distinct moment in time; in the case of “Things Done Changed,” that moment is the crucial realization made by Christopher Wallace: that Bed-Stuy will never be the same in the wake of the crack epidemic. Biggie’s observations are accompanied by a hypnotic harp arpeggio, borrowed from the Main Ingredient track “Summer Breeze.” The harp soothes the listener into a state of deep meditation; it encourages us to reminisce and wonder how hours turned to days, and then weeks, and then years. But you don’t hear me though.

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Lifestyle music at its best. “Vibes and Stuff” was released in 1992, off of a Tribe Called Quest’s magnus opus, Low End Theory. Q Tip sampled the 1971 Grant Green track “Down Low on the Ground” to establish an ethereal groove. “Vibes and Stuff” is lounge music at its core – a song you can kick back to, smoke and immerse yourself in deep thought. Tip raps about culture and unity, while Phife (Rip) kicks a quick freestyle.

photo by wally gobetz via flickr

features

“Gimme Yours” AZ feat. nas After blessing Nas with a classic verse on the 1994 track “Life’s a Bitch,” AZ had access to some of the best production on the market. On “Gimme Yours” (off Do or Die), AZ worked with famed producer Pete Rock, to create an ode to the dreamers with ambition. Whereas “Things Done Changed” looks to the past, “Gimme Yours” looks to the future. AZ raps about his desire to live a lavish life, his ambitions and his immaculate taste. The harp lingers throughout the track, lacing AZ’s kingpin visions with a spellbinding aesthetic.

photo via creative commons

“drop” J dilla

photo via creative commons

A highlight in J Dilla’s legendary catalogue, produced for alternative hip-hop group The Pharcyde. The duo derides sellout MCs and boasts of the potency contained within their lyricism. It took 20 years for the hip-hop community to dig up the source sample for this song, as Dilla rendered it nearly indistinguishable. He borrowed from famed jazz harpist Dorothy Ahby’s catalogue, slowing down her 1984 song “Django,” and then reversing it. To this day, “Drop” remains one of the most innovative tracks ever produced.

‘worldwide” pete rock & CL smooth Only to be played at night. This 1994 masterpiece highlighted Pete Rock’s ability to synthesize serene smooth jazz samples with earth shattering drums and impossibly funky bass lines. Rock places an ominous vibraphone melody in the background, keeping the listener transfixed and allowing CL’s esoteric lyricism to shine through.

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just like

features

photos by antonio pagano

The Kills’ alison mosshart proves womanhood — in all of its various forms — is more than skin deep.

By mia sato

E

arlier this summer, I attended a [redacted] show that I enjoyed to a decent degree. The band played their hits well, they sounded just like the album. The crowd danced. I saw an old teaching assistant acting messy and drunk in the first row. I went home and began to review it, until I realized I had absolutely nothing new to contribute to the pile of stories that would be published the next day. The story never ran because as editor, I couldn’t even find a story.

body like she’s possessed by an evil spirit, or better yet, by the music. She flails and hinges at every possible angle where you’re worried she will literally concuss on stage, yet somehow hits every note, catches everyline and engages every person watching. Together, their chemistry is so palpable that you almost feel you’ve interrupted something too intimate for outside eyes. The two closed the set with a gorgeous rendition of “Monkey 23” with Hince jamming alone, the sticky air hanging around him and audience breaths held in.

Mosshart sat on an amp, back to the crowd, watching him towering over her, his guitar inches from her face, just as in awe as the crowd was.

“W h e n I s aw Mos s h a rt p e rform . . . I h a d m y firs t t ra n s formative mom e n t of re a l ization th at th e re is m ore th a n on e way to b e w oma n ly. ”

Enter the Kills at the season’s final Live on King Street on Sept. 16. Supported by two immensely talented acts, L.A. Witch and GGOOLLDD, the Kills encompassed and surpassed the appeal of live music — a spontaneous and unique, but fleeting experience shared by audience and artist. The beauty of a live show is that a band shouldn’t be able to perform it quite the same from night-to-night, and watching some acts stand nearly motionless and completely expressionless is a shame for both the performer and the witnesses. It’s almost unfair to compare the Kills with the not-to-be-named act I saw a few months ago, so powerful and electric Alison Mosshart and Jamie Hince are on stage. Hince, who wields his instrument like it’s an extension of his body, creates sounds both beautifully delicate yet distorted and industrial — the anchor and the guiding beat of the duo.

Mosshart, on the other hand, provides the soul and aura of the Kills. She snakes around the stage, twisting and contorting her

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Now is a good time to disclose that most of what I have to say about the Kills and their show in Madison, Wisconsin revolves around Alison Mosshart. Jamie Hince is a visionary with his guitar and his embrace of technology, but his willingness to cede space to his female bandmate and let it be all about her is equally noteworthy.

Mosshart has been a guiding female figure in my life since I was 15 and saw her perform for the first time with the Dead Weather, redefining for me the boundaries of “womanhood.”

Pop culture and its music in particular is saturated with a narrow and contrived ideal of femininity and sex appeal thatcaters to a heteronormative male gaze. We’re told there is one way to be attractive, one way to acquire and retain the attention of

a woman

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photos by antonio pagano

men, one way to look like a Real Woman, whatever that is.

As a 15-year-old (and even now as a 21-year-old), I couldn’t relate to that image of the perfectly maicured girl/woman with a neutral temperament and interests and passions limited to pleasing the men around me. When I saw Mosshart perform six years ago, I had my first transformative moment of realization that there is more than one way to be womanly. In Mosshart’s case, the way she wrings every ounce of energy into every show, how hard she works, and her sheer talent as a musician and frontwoman become her own brand of femininity — one I admire and aspire to mirror.

The night’s lineup conveniently (or perhaps intentionally?) featured only bands with female leads, each with their own identity and sound. It truly felt like a showcase of the scope and abilities of female musicians, and a display of the complexity of the female mind, body and soul. Music, like so many industries, is dominated by men, and female-led artists are often dismissed as subpar or too niche while many male-led bands’ mediocrity is rewarded. Even if it was just one night, witnessing talented, passionate, badass women bathe in the limelight one after another was a sight to behold. Not bad for a free show.

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photo via vevo

No album needed stand-alone singles give listeners a taste of what’s to come by collin kirk

I

t might be the hottest artist of the year or the one struggling to break into Top 40: not all of their songs share the same fate. The digital music and streaming age have made it fairly easy for our favorite artists to drop a fire track — and leave us hanging indefinitely. Lead singles tend to standalone for a brief period predating an album, but sometimes their performance will delay the process.

Other times the idea isn’t effective in the context of an album. The exclusion of a single from a larger body of work just depends on the context. From Drake to Beck, cases vary from artist to artist.

Here’s a roundup of some of the best stand-alone singles in recent memory.

“JuJu On the Beat (TZ Anthem)”, Zay Hilfigerrr & Zayion McCall [6.5/10]

This viral dance has taken over Vines from coast to coast. Will JuJu deliver a Soulja Boy-type fame to the artists in charge, or a one-and-done career? An album can answer these questions.

“This Is What You Came For”, Calvin Harris & Rihanna [7.5/10]

Does a DJ need an album to get the message across? This time around, Calvin notched Rihanna and produced a sister to 2010’s “We Found Love,” and you’ve heard it on the dance floor a time or two.

The song was not present on Rihanna’s eighth album, Anti, and Harris appears to have no plans for a third record.

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“Summer Sixteen”, drake [6/10]

Having ruled the majority of 2016, it seems a bit strange that the song that kicked off his massive Views era didn’t even end up on the album. However, he did name his tour after this track.

“óveður”, sigur ros [9/10]

Sigur Ros have set quite a high bar for themselves over the years. This time, they’ve taken a new approach with their release style, incorporating an industrial flavor in with the classic, atmospheric sound that brought them cult fame. A new LP is hoped for from the band at some point — but will this make the cut? photo via Wikipedia Commons

“The Spoils”, Massive Attack [8/10]

2016 was good to Massive Attack fans, delivering a new EP and this new atmospheric, contemplative tune with Mazzy Star singer, Hope Sandoval.

A follow-up to their 2010 album has yet to be announced.

“CRZY”, Kehlani [7/10]

A new voice in R&B and hip hop, but a mighty one: Kehlani brought up her game this year to try her hand at competing with the big guns. This song has become her first radio hit, and her first album in the spotlight could be coming in 2017.

“Rise”, Katy perry [5/10] photo by 92chill via flickr

It’s been a moment since we’ve heard this starlet on the airwaves — this year Katy returned with this song for the Olympics. She insists that it will not be on her anticipated fourth album.

“Told You I’d Be with the Guys”, Cherry Glazerr [7.5/10]

Cherry Glazerr hasn’t released a full length LP for some time, but their notoriety in the grungy pop-rock world has grown. This song is their first offering in quite some time. It acts as a great new staple in the band’s discography, as listeners await a follow-up to 2013’s Haxel Princess.

“Wow”, beck [7/10]

Since Beck’s last album, he dropped a different stand-alone single called ‘Dreams,’ which he says he released to have new touring material. Listeners await the follow up to the Grammy-winning Morning Phase. This song has fans hopeful that the album will come soon, despite a recent delay. photo via wikimedia commons

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5 features

classic tracks you didn’t know were protest songs

1951

“This land is your land” Woody guthrie

by becca meldman

Music has always been used to spread powerful messages, from the anti-war songs of the flower power era to the anti-government punk scene and everywhere in between.

Here’s a look at some of the best tracks that you might not have known were protest songs.

One of the most beloved and well-known American folk songs of all time originally featured two extra verses that protest inequality and the lack of social welfare in America.

After witnessing the hunger and hardships many Americans faced during the Dust Bowl, Guthrie was irritated by the optimism of “God Bless America.” He wrote “This Land Is Your Land” with the original title “God Blessed America For Me,” and included the verse “One bright sunny morning in the shadow of the steeple/ by the relief office I saw my people/ as they stood hungry, I stood there wondering/ if God Blessed America For Me.” There was also a verse that pointed out the hypocrisy of praising “America The Beautiful” for its sense of brotherhood, when people were losing their land and trespassers were sent to jail. By the time it was recorded 10 years later, the two protest verses were cut, most likely due to fears about offending public opinion.

photo via library of congress

1970

“have you ever seen the rain” creedence clearwater revival

photo via fantasy records

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This simple, somber folk song is heavy on the symbolism, making its message subtle as well as timeless. While the lyrics never mention soldiers or fighting explicitly, many people have interpreted the “rain” to be a metaphor for bombs, making this another anti-war Vietnam protest.

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1971 “What’s going on” marvin gaye

It’s easy to hear this soothing Motown classic and, without context, think it’s nothing more than a simple tune. In fact, this song was inspired by police brutality committed against protesters, and was written as a protest against such violence. This is most evident in the line, “Picket lines and picket signs/ don’t punish me with brutality/ talk to me, so you can see/ oh, what’s going on.”

Copr. 1966 J. Edward Bailey

“born in the u.s.a.” bruce springsteen

1984

This song is possibly one of the most misunderstood songs of all time. Although it’s got an upbeat tempo and a seemingly patriotic title, it’s actually a criticism of the Vietnam War. Ronald Reagan even asked to use the song in a political ad, suggesting he never listened to anything but the uplifting chorus. Had he done so, he might have picked up on Springsteen’s criticism of the empty American dream and America’s involvement in warfare. photo via creative commons

2007

“paper planes” M.I.a.

Cash register and gun shot noises abound in this low-tempo pop song that dominated the radio in the late 2000s.

The song was meant as a tongue-in-cheek jab against America’s anti-immigration policies, with lyrics that satirize the image of immigrants as inherently dangerous criminals who just want to steal money — hence the gunshots and cash register dings in the chorus. M.I.A. wrote “Paper Planes” after she was denied a visa to work in the United States because the Sri Lankan singer “matched the profile of a terrorist.” photo via interscope records

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i f p a t l S a f l y StS uncuffing season 1. “Perfect Illusion” Lady gaga 2. “No Scrubs” TLC 3. “Never Be Mine” Angel Olsen 4. “Just a Dream” Nelly 5. “Left My Woman” The Wild Feathers 6. “Mary Jane” Rick James 7. “Touch the Sky” Kanye West, ft. Lupe Fiasco 8. “Time to Pretend” MGMT 9. “Tears Dry on Their Own” Amy Winehouse 10. “Single Ladies (Put a Ring on It)” Beyonce 11. “99 Problems” JAY Z 12. “<3 (Heart)” Cherub 13. “Victor” Prinze George 14. “Store” Carly Rae Jepsen 15. “Stand By Me” Otis Redding 16. “Bye Bye Bye” *NSYNC 17. “No Woman” Whitney 18. “Only in Dreams” Weezer 19. “Ramble On” Led Zeppelin 20. “Unfaithful” Rihanna

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stay indoors 1. “Feel Something” Holy Other 2. “VCR” The xx 3. “Helplessness Blues” Fleet Foxes 4. “Sleeping In” the postal service 5. “Here Is Home” Ryn Weaver 6. “Everybody Here is a Cloud” Cloud Cult 7. “Make It Rain” Ed Sheeran 8. “Timeless” James Blake (feat. Vince Staples) 9. “Ghost Ship” Blur 10. “5050” RAY BLK 11. “The Breeze” Dr. Dog 12. “Catch & Release” Matt Simons 13. “Cape Cod Kwassa Kwassa” Vampire Weekend 14. “A Calf Born in Winter” Khruangbin

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Playlists curated by Emmie Magazine staff, just for you

Want more?

Follow us on Spotify at emmiemusicmagazine congrats on the nobel prize win

Sunday brunch 1. “La femme d’argent”

Air 2. “Something Good” alt-j 3. “Party At Sunday” Cosmonauts 4. “Mrs. Robinson” Simon & Garfunkel 5. “Cranes in the Sky” Solange 6. “Days Are Gone” HAIM 7. “Water” Ra Ra Riot 8. “Two Princes” Spin Doctors 9. “Dang!”

Mac Miller feat. Anderson Paak 10. “Odessa” Caribou 11. “Goodnight Bad Morning” The Kills 12. “Sober” Childish Gambino 13. “Sunday Candy” Donny Trumpet & 14. “3AM” 15. “Won’t You Come Over”

The Social Experiment Matchbox Twenty Devendra Banhart

1. “Positively 4th Street” Bob dylan 2. “Subterranean Homesick Blues” 3. “You’re Gonna Make Me Lonesome When You Go” 4. “The Times They Are A-Changin’” 5. The entire Christmas in the Heart album 6. “The Man in Me” 7. “It’s All Over Now, Baby Blue” 8. “Don’t Think Twice, It’s All Right” 9. “Just Like A Woman” 10. “Blowin’ In the Wind” 11. “Mr. Tambourine Man” 12. “Like a Rolling Stone” 13. “One More Cup of Coffee” 14. “Rainy Day Women #12 & 35”

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crashprez and the world around him Where politics, music and identities collide, rapper CRASHprez has made his own epicenter.

By Emmie Magazine Staff Photography by Kenneth Laâ&#x20AC;&#x2122;ron

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U

niversity of Wisconsin-Madison alumnus Michael Penn II returned to the Memorial Union Terrace for a live performance in September. Known by his stage name CRASHprez, Penn is a 2015 graduate of the School of Journalism and Mass Communication, former staff writer at the Daily Cardinal and a member of the fifth cohort of the First Wave Spoken Word and Hip Hop Arts Learning Community, and is now based in Minneapolis.

CRASHprez: Almost no I’m pretty sure. For Michael the person to survive planet earth in the U.S. context, I can’t say all the shit that CRASHprez says all the time. But in spaces where I’m comfortable, and even in spaces where I’m uncomfortable it’s damn near no different. White friends have grown accustomed to how I process this type of shit, and recognize that it’s the same brain across me in person, on record, in 140 characters or in essays.

The day after his set at the Terrace that September night, video circulated on social media of the crowd at the show all on their knees, prompted by CRASHprez. What came next probably wasn’t shocking to those in attendance — the national anthem began to play.

EMMIE: You talk about expressing yourself across multiple platforms including music, writing and even social media. Is this something you’ve always done to process life, or did it develop over time?

The intersection of politics and art traces a long history far beyond the show at the Terrace. Art, and especially music, has been used as a powerful form of protest for as long as each has existed. From Dylan and Picasso to graffiti and performance art, the instances of political activism interacting with creative works are numerous, and CRASHprez — the music, certainly, but even as a concept — follows that legacy. For CRASHprez (and Penn), the music he makes and his identity as a black man are inseparable.

The Emmie magazine staff spoke with Penn about his time at UW-Madison, his music’s message, what he’s planning for 2017 and more.

EMMIE: For your show at the Terrace, did you plan ahead to have people kneel and then play the national anthem?

CRASHprez: It definitely developed over time, because I said some dumb shit in high school. I was emulating what everyone else displayed as OK and nobody would check me on it, and I lacked the capacity, the tools to check myself on the dumb shit I was saying. I hope I’m in a better place now, but if someone wanted to dig through Michael 2011 Twitter, I’m not proud of that shit, I don’t cosign that. There was a lot I had to unlearn before I got here. Thankfully I was around people who would not only call me on my bullshit, but donate their time to help me grow. Now I try to play that role when I can… helping people maneuver through the world and not be stupid. Especially dudes.

“Once I turn the track off, I’m endangered.

Once I leave the stage, my body can be claimed.”

CRASHprez: Things like that are just me doing bullshit. Like, “You know what would be funny?

This.” I thought of that one in particular for about a week or so beforehand. I didn’t want it to be boring. I try to be very cognizant of what statements I’m making and how predictable it can be, and try to subvert my own predictability as much as possible.

EMMIE: What statement does your music make?

CRASHprez: I just say it’s hip-hop. I don’t say it’s political, I don’t say it’s socially conscious. I think a lot of [those labels] are inherently classist. I don’t like a lot of those labels; I try not to even preface [my music]. I also don’t speak for anyone but me. I speak a lot about what people like me are going through, but I’m just one person. I don’t try to put myself on a pedestal to make huge grandiose statements about anything, it’s just me trying to process shit, like looking around like, “What the fuck is going on?”

EMMIE: Would you say there’s a difference between Michael as a person and CRASHprez?

EMMIE: For this story, you’re wearing and displaying statements that some people may take offense to. What do the two statements mean to you personally, as opposed to how they might be perceived by others?

CRASHprez: The state of Wisconsin imprisons more Black men per capita than anywhere else in the country. Its police forces, not unlike anywhere else in our country, executes Black people. A brief look into the Race to Equity report finds just how much the city of Madison in particular has laid the framework to disenfranchise its Black youth, poor Black folks, all Black folks in one way or another.

Speaking to my own half-decade of residency as a UW-Madison student, and then a freelance writer, my time at UW-Madison, as well as all of my associates, involved several smaller deaths, political deaths, the idea of killing one’s soul rather than one’s body. They expect us to do their work: to learn and educate when we’re neither salaried nor working for tenure, to facilitate dialogues involving the safety and sanctity of our bodies, to observe blatant exhibitions of white-supremacist nature and pass them as pieces of discourse that deserve validity.

My experience wasn’t an absolute negative, but this is the lens of [modifying the Wisconsin shirt]. Lincoln wasn’t as fond of Negroes as our country lets on; I damn sure didn’t know

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“I don’t care if common sense costs me a Pepsi sponsorship or a daytime TV slot; believe it or not, I’m not an entertainer.” that until I inquired for myself. It’s sitting atop the grandest view of our campus, our city, on Native ground nonetheless, but we’re supposed to rub [Lincoln’s foot] for good luck and celebrate with diploma and degree in hand? Dead that.

As for the [All White People Are Racist] hoodie, it’s a simple fact of the world created for us. Eneale [Pickett, creator of the hoodie] has spoken at length about it, and I personally don’t wish to edify confused parties any further, for fear of repeating myself as I — as we do — in times like these. If we can validate a noose around an Obama mask, we can damn sure validate that. [At an October Badger football game, a fan wore a mask of President Barack Obama, with a noose around his neck held by another fan in a Donald Trump mask.]

EMMIE: How do the messages depicted in the shirts (and your wearing of them) tie into your music?

CRASHprez: I know my music reaches a white majority as of now. If you’re white and a fan of mine, you already know what it is. I don’t care which black kid was your next-door neighbor, I don’t care if common sense costs me a Pepsi sponsorship or a daytime TV slot; believe it or not, I’m not an entertainer. I don’t intend on entertaining anyone with my work; it’s not the primary vehicle of how I express myself.

Once I turn the track off, I’m endangered. Once I leave the stage, my body can be claimed. If you can’t fathom any reiteration of this phenomena via the way I present myself, you can leave me now.

You weren’t listening.

EMMIE: We also heard that you don’t drink or take any other kinds of drugs. Is that true? And if so, what was it like going to school at UW-Madison, which has a party school reputation?

CRASHprez: That’s true. I got over it eventually.

In the right circles the pressure is evasive. There were moments when I felt dumb paranoid because it’s like, “Ahh! Everybody’s drunk!” Otherwise, everyday I wake up like, “Ahh! I’m black!” Then it’s like, “I’m black and you’re drunk. Ahh!” That was a weekend basis.

EMMIE: What do you have planned coming up in terms of releases?

CRASHprez: I’m so disillusioned with how things are. I realized I dropped an hour long album and it kind of didn’t work.

How disillusioned streaming makes me and how people make shit just to put on playlists. I feel like I’m going to make a million songs and just drop them all. As far as formal bodies of work, I’ll probably drop two EPs next year.

EMMIE: What artists would you want to collaborate with?

CRASHprez: I tweeted a few days ago that I’m going to collab with Fall Out Boy and told people to favorite the tweet. And then when it happens, I can go back and say, “I told y’all!” I gotta get Childish [Gambino] on a track and fuck him up off principle. I gotta get Kendrick [Lamar] on a track and fuck him up off principle. I gotta get Thom Yorke on a track off principle. Lil Wayne, Ed Droste, Vince Staples, too.

EMMIE: Would you rather fight one 20-foot tall Michael Jackson, or 100 one-foot Princes?

CRASHprez: I’d rather fight MJ. Prince would just shade the shit out of me.

CRASHprez’s music is available on SoundCloud and at http:// crashprez.com. Check out his post-election playlist on page 39.

Left: Penn is photographed in his sophomore year dorm room in Chadbourne Hall. Penn was called a “n—” by a fellow student in the floor’s lounge area that year.

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Hoodie by Insert Apparel

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CRashprez g u e s t p l ay l i s t “The playlist is called ‘Streaming is the Devil and So is Donald Trump” ­— CRASHprez

side a 1. “Wastes of Time” 2. “America” 3. “Home Pt. 3” 4. “Coronus, The Terminator” 5. “Crisis” 6. “Dear God 2.0 (feat. Monsters of Folk)” 7. “A Rebellion (feat. Alori Joh)” 8. “November Has Come (feat. MF DOOM)” 9. “Heavenly Father” 10. “The Gleam Pt. 2” 11. “Seigfried” 12. “Red” 13. “Will Calls (Marfa Demo)” 14. “Kush & Corinthians (His Pain)[feat. BJ the Chicago Kid]” 15. “Scatterbrain. (As Dead As Leaves.)”

16. “A Burning Hill”

elvis depressedly Teen suicide Current joys Flying lotus ANOHNI The Roots ab-soul Gorillaz isaiah Rashad The microphones frank ocean mirel wagner Grizzly bear kendrick lamar radiohead Mitski

whe n you ta k e a b r e ath

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when you take to the streets side b 1. “POWER” 2. “Up Like Trump” 3. “Caroline” 4. “Pop Out (feat. King Louie)” 5. “Daggers” 6. “Love Ya” 7. “FUBU (feat. The-Dream & BJ the Chicago Kid)” 8. “Fuck the Police (feat. Webbie)” 9. “Neva Eva” 10. “I Can Drive” 11. “Karma (feat. YG Hootie, Popa Smurf & Slim Dunkin)” 12. “3Hunna (feat. Rick Ross)” 13. “I’m Me” 14. “Funeral” 15. “FDT” 16. “FDT pt. 2 (feat. G-Eazy & Macklemore)

Kanye WEst rae sremmurd Aminé Katie Got Bandz April + VISTA Blood orange solange Boosie badazz Trillville lil uzi vert waka flocka flame Chief Keef lil wayne shy glizzy YG & Nipsey Hussle YG

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kt tunstall It took her so long to get here, but here she is KT Tunstall spoke with Emmie about her new record, Kin, touring in the US and why she feels on top of her game.

by collin kirk

F

inishing my cup of coffee excitedly on a Wednesday afternoon, I had worked out all the kinks and was finally prepared to interview one of my favorite artists of all time — KT Tunstall. Having followed her career for a decade, I was more than ready to delve into the ins and outs of her brand new era. I told myself I didn’t need to be nervous as I was preparing to speak with one of the most down-to-Earth and kind individuals in the pop-rock world.

It might have been a while since you last heard the name of the dynamic, chocked-full-of-life musician, KT Tunstall. Her debut hits “Suddenly I See” (“This is whaaat I wanna be!”) and “Black Horse & the Cherry Tree” took the world by storm in the mid-2000s, but her rock goddess energy has never ceased.

Hailing originally from Scotland, Ms. Tunstall has embarked on a soul-searching journey since the understated, desertthemed Invisible Empire // Crescent Moon (2013).

KT pulls out all the stops on her newest studio album, Kin, much to the delight of critics and fans: the album takes a journey through the highs and lows, showcased through the

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Photo by Tom oxley

filter of sunshine and a glow never before seen from the star.

I had the honor of speaking to KT about her new album, tour, dream collaborators and more.

EMMIE: What elements of Kin are most new for you? What are its biggest musical influences?

KT TUNSTALL: The biggest change for me has been personal.

I’ve done lots of self reflection since my last record, and everything has changed. From my marriage having fallen apart, my move to California and losing my father… making music has been an amazing sanctuary for me through it all. I had no attraction to making records for a long time. In fact, I thought a longer hiatus was happening. I wanted to dabble in new things, which I got to do [in the form of] a little bit of film writing. (Tunstall has recently written for the films “Winter’s Tale” and “Million Dollar Arm.”)

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“From my marriage having fallen apart, my move to California and losing my father… making music has been an amazing sanctuary for me through it all.”

As far as influences go, landscapes are one of the hugest things for me. Driving through canyons in L.A. and Mulholland Drive always inspire me. We also went to Joshua Tree National Park for a writing retreat, as well as a trip to New Mexico. These things are hugely influential to my state of mind; they give me a sort of fleeting liberation. While making Kin, I’ve been listening to a lot of Tom Petty, Neil Young and Fleetwood Mac which come out in many songs.

I felt the material was strong enough — too strong to keep to myself and to stay on a hiatus.

For me, it feels like a full circle has been reached. I’ve experienced unfettered writing for the first time in what seems like a while. Now, I’m not so bothered by what people will think.

With this record, I’ve broken free of expectations and pressure.

EMMIE : About your new single, “Hard Girls” — what’s up with the power tools in the new music video?

EMMIE : That being said, what are your favorite and least favorite songs to perform live? Are the old hits like “Suddenly I See” ever boring to keep performing?

KT : The more famous songs are so much fun to perform because of the huge reactions in crowd. I never get tired of people feeding off of that energy. It’s always positive for me.

For this tour and in general, my favorite ones to perform are always the newest. I’d say my favorite song on the record in general is “It Took Me So Long to Get Here, But Here I Am,” which reflects the mood and energy of the Kin album in one of the best ways.

EMMIE : What have been the most memorable takeaways from touring and visiting the Midwest, or Wisconsin specifically?

KT : Touring in America as a whole for me is a deep joy. I’m so proud to have a fan base that takes me through the heartlands.

It’s upsetting that some of my fellow Brits dislike America.

It feels much more emotionally open in America; people are often much more appreciative of live performances.

“I’ve experienced unfettered writing for the first time in what seems like a while. Now, I’m not so bothered by what people will think.”

KT : “Hard Girls” is probably my favorite video I’ve ever done.

It was huge to work with a Spice Girl, Mel C, in the video.

I wanted to make a song for girls that brings them together, rather than making it about being competitive.

EMMIE : I haven’t gotten to see you live yet, after many years of being a fan. What does this new tour have in store for me and other long-time fans?

KT : This tour and album in general has been a rebirth. It’s a very special time in my career. It feels like the beginning of part two. In many ways, it feels like my ‘real’ second album. It almost seems best that you’ve waited all this time to see me — I’m in what feels like one of the highlights of my career, the stage production is a ton of fun and I’m having a great time with the new material.

EMMIE : What did you grow up listening to?

KT : Strangely enough, nothing! I did not start listening to music until I was 15. The first album I ever got was a gift from my father from a sort of British Walgreens, called Boots.

It was a mix CD entitled The Boot Walk Collection, with all sorts of music like The Stranglers, 10 CC, T Rex, Blondie, Pat Benatar and my personal favorite, Beck.

EMMIE : There’s a James Bay collaboration on Kin. What other artists would you love to collaborate with? Beck, perhaps?

KT : A Beck collaboration is the dream. David Bowie has also always been a dream collaboration of mine. The first day he passed away was the first studio day for Kin. We all listened to “Life on Mars” in silence. Prince, too — it’s been a wild year.

Check out KT Tunstall’s latest album, Kin, in stores now.

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