It has been on my bucket list since the beginning of my first semester – watch an awesome show at the Exit/In. That may be redundant, considering the bands that come to the venue are more likely than not, extremely talented. Some of them have been lucky enough to have their names written on a large wall behind the bar or on the grand mural outside the front door. Well, I would argue that the show I went to, Kodaline with the fantastic opener LP, should be put up next on that wall of fame.
In the past decade, a new style of music has wormed its way onto the music scene. While dubstep rose in popularity late in the first decade of the new millennium, with its driving, syncopated rhythms and epic bass drops, a completely opposite subgenre of quasi-electronic music also became popular. Chillwave, also known as glo-fi or shoegaze, is a much more ambient style that is reminiscent of popular music from the 1980s. It incorporates a lot of effects processing, sampling, use of synthesizers, and ambient background noise. Its slower tempos, light, ethereal vocals; relatively simple and singable melodies, and ample synthesized effects remind its listeners of the sounds of the summer, especially since its sudden explosion in popularity occurred during the summer of 2010.
Back as a sophomore in high school I came across a very peculiar album cover that had could have well been a classic art piece, if not for the strange bread-like object that had replaced the girl’s face in the artwork. I decided not to judge an album by its cover and went to listen to a couple songs. It was unlike anything I had heard before – eerie, dreamy, lyrically ambiguous, but somehow very beautiful. It was none other than the album “In the Aeroplane Over the Sea” by Neutral Milk Hotel. I would never have guessed that a little over three years later I would watch the band live after their indefinite hiatus.
A great drummer can make the difference in a band. Anyone will tell you that’s a fact. Try to imagine The Who without the thunderous, kinetic play of Keith Moon. Or “Be My Baby” without that famous drum break and frantic yet tasteful fills by Hal Blaine. Or James Brown’s classic records without the “Funky Drummer” himself, Clyde Stubblefield. Even the much-maligned Ringo Starr knew exactly when to accent a moment in a song with a perfect fill (think “Helter Skelter” or “Drive My Car”) and when to sit back and let the music groove.
Sadly, the drummer is often ignored in indie-rock conversation. Maybe it’s because the genre itself doesn’t lend itself to the kind of flash that classic rock and roll or funk or jazz does (there aren’t a lot of soloists in indie rock). The drumming in a ton of indie rock music also doesn’t move beyond simple timekeeping or tasteful grooves, which doesn’t immediately impress as much as a great jazz solo or a thunderous metal part. As a drummer and indie rock fan, I’ve found the genre to house plenty of interesting and excellent players, some of which don’t get the respect they deserve. These are just a few of the drummers of indie rock who deserve more attention.
Despite plenty of success and years of experience, some artists just want to mix things up. This motivation creates what we may call side projects or musical supergroups. Take all the best qualities of similar, or not so similar, musicians, put them in a recording studio, and watch the magic happen. In the past decade or so, five projects in particular have redefined the expectations of musical collaborations. In fact, some of the names may even surprise you.
Before the official release of Bugg’s sophomore album Shangri La, he released two singles from the album What Doesn’t Kill You and Slumville Sunrise, which featured a significant development in Bugg’s music from his first debut album Jake Bugg. The two singles were much heavier, rockier, and fast moving; that’s definitely not a bad thing by any means, but I fell in love with Jake Bugg’s music because it felt real, genuine, and I liked the folky acoustic sound in all of his songs. So while I was excited to listen to Shangri La, I was worried it would disappoint my expectations for Bugg. But, it’s amazing and everyone should listen to it.
2013 has been a year of marvelous releases. A few personal favorites have been Kanye’s Yeezus, James Blake’s Overgrown, Streetlight Manifesto’s The Hands That Thieve, and Daft Punk’s triumphant return with Random Access Memories, but these don’t even begin to comprise a complete highlight list. Coming up with my list of Top Albums for the year is going to be an intensive process and I’m looking forward to it; in between debating the merits of different albums, I get to listen to all of them again. It’s going to be something truly magical. A much easier list to make, though, is my favorite albums of the semester. While a lot of the heavy hitters for the year were released outside of that time period, there’s a great amount of quality for just these ~3 months. In my opinion, these were the cream of the crop (presented in alphabetical order by artist). [Read more...]
It’s here. After a beautifully executed marketing campaign highlighted by street art veve drawings and fictional bands, Arcade Fire’s fourth studio album, Reflektor, has arrived to bring music to our waiting ears. At a personal level, this record has struck a vibrant chord with me. The simplistic epic that was “Wake Up” from Arcade Fire’s debut, Funeral, was one of the first songs that opened up my musical horizons past classic rock, where I had always thought that the guitar solo was king. I’m finding my tastes diverging now into more like that of a dance-maven, and so a danceable album from the band that was a real catalyst in getting me to originally expand my musical horizons might just be my favorite release of the year when it’s all said and done.