Big shout-out to William Doran for the creative design seen throughout this tournament. The Round Three/Elite Eight vote results are below, as well as previews of the Final Four matchups. But more importantly,
The Sweet 16 round of the Album of the Year tournament has come to a close. The round featured some very close finishes, with two matchups determined in tiebreakers. Click the box to find out what remains.
The remaining eight albums can be called elite, but they’re by no means champions. For that, they need to win three more times. Let’s take a look at this round’s matchups.
Mac Demarco - Salad Days and Beck - Morning Phase face off for a spot in the Final Four. Salad Days’ popularity in the nominations indicate it as this matchup’s favorite, but don’t count out the Grammy-nominated Morning Phase.
Swans - To Be Kind and its small, loyal following look to derail R&B star FKA Twigs’ LP1.
Run the Jewels - Run The Jewels 2 looked strong in the first two rounds of voting. We’ll see if it can maintain its momentum against Aphex Twin – Syro.
St. Vincent – s/t takes on Flying Lotus - You’re Dead! in what may be a close matchup with no clear favorite.
But you already know who you’re voting for, don’t you? Go on, then.
Read on for a recap of round one.
The results for the first round of WRVU’s Album of the Year tournament are in. Check out the updated bracket to see what albums remain standing.
The journey will end here for eight of these albums. Support your favorites, because without you they will never become WRVU Album of the Year.
For us college kids, 2014 was consumed by late nights studying, barely passed exams, countless job and grad school apps, and maybe a few parties, concerts, and vacations to keep us sane. 2014 meant we were one year closer to the real world, except we didn’t feel older.
For music fans, 2014 meant a continuous stream of new music to sift through: a lot of it good, more of it bad, and some of it downright confusing. At the end of the day, it’s the good we remember, and 2014 had plenty. A pop left turn from America’s best-selling artist. A disconnected folk artist’s rumination on aging and death. Celebrated hip-hop producers and emcees honing their craft. These artists all made it to WRVU’s collection of the 32 best 2014 albums, but now they compete to be crowned album of the year.
Tournament seeds were awarded based on rankings from our DJs. Higher ranked picks received more points. Over 100 unique albums received votes, and the top 32 appear in this tournament. 16 will advance past the first round. Your favorite albums need your votes to advance. Your least favorite albums need your votes against them to be stopped. At the end of the day, only one will remain: the 2014 WRVU Album of the Year.
Design credit to William Doran.
It may be surprising to see a retrospective of a nine-year-old nu metal album on this blog, particularly from a writer who has vented at length about the overall lack of quality of mid-2000s popular music. Then again, everything about System of a Down’s music, from the band’s ability to mash together disparate and seemingly irreconcilable influences to their shocking success on the mainstream airwaves, is a bit surprising. System’s landmark 2005 album Mezmerize happened to be on my mind as I put together a discussion for my psychology class, and revisiting it as I worked resulted in three dominant trains of thought, none of which dealt with my homework: 1) nostalgia for the days when my biggest concern was whose backyard trampoline the neighborhood kids would be hitting up after school, 2) amazement at how irresistibly fun the eleven songs are, and 3) wonder at System’s ability to somehow maintain this fun amidst livid, highly caustic lyrics and guitar riffs. In conjunction, these concurrent streams of consciousness brought me to the crucial question: how the hell did a band like System of a Down hijack the popular music consciousness?
I think the answer boils down to two factors: perfect timing and the group’s ability to infuse its thrashing songs with elements that made them palatable to mainstream listeners.
I’m sure by now you’ve all heard the news: Taylor Swift has removed all of her music from Spotify. As in, everything. Not just 1989. The only track you can find that even features Swift is “Safe and Sound,” her collaboration with The Civil Wars. Go now and listen while you still can, before we have all been forsaken by the great blond goddess of our musical age.
On this day nineteen years ago, four of Blind Melon’s five members woke up expecting to play a show that night at Tipitina’s in New Orleans. The fifth, lead vocalist and chief songwriter Shannon Hoon, never awoke. He had died of a cocaine overdose at age 28. Today, to honor Hoon’s memory, I’d like to take a look at Blind Melon, a terribly under-appreciated member of the grunge pantheon.
For this week’s article I’m trying something new. Thinking about music and how it fits into my life, I thought about how I relate to a lot of my friends and family through music. My dad and I like listening to Neil Young on long drives, my best friend and I love going to see Manchester Orchestra whenever they come to town, and I’ve made a lot of close friends based on our mutual affinity towards certain artists.
Everyone has some sort of preference for music, it’s a very human process, and it can help them to relate to others. Going off of that idea, I thought, “I wonder what sort of music Vanderbilt faculty and staff members listen to.”