On the Friday before spring break, I had the pleasure of seeing the Vanderbilt Core Choir perform their home concert that began their week long tour to Florida. The front end of the program was a typical classical repertoire, featuring works from Bach, Mendelssohn, and Brahms. Via short sets focusing on international pieces and original compositions by choir members and friends, there was a gradual transition into what I found to be an absolutely stunning performance of Americana songs at the tail end of the program. There was a complete change in atmosphere of the concert, and it was in no way related to the quality of the music going up for some strange reason. The performance level was stunning throughout; in the roots set, it was just like the music stopped being a performance and began to be a warm and welcoming conversation. It focused strongly on spirituals, arrangements of songs by The Wailin’ Jennys to highlight some of the ensemble’s remarkable sopranos and altos, and a selection for the male vocalists to shine on that happens to be one of my current favorite songs. This was an adapted arrangement of Marcus Mumford and Oscar Isaac’s recording of “Fare Thee Well (Dink’s Song)” for the 2013 Coen Brothers film Inside Llewyn Davis (you can listen to a recording of the choir’s men performing the selection above). The film follows a week in the life of Llewyn Davis, a fictional folk artist in Greenwich Village in the early 1960s struggling to make it by, providing a dreary reminder to the audience that for every Bob Dylan or Joan Baez success that came from this vibrant folk movement there were countless careers that failed to start. Again and again in this dismal setting, the film’s music shines through, punctuated by performances from Oscar Isaac in his titular role. The man that put that soundtrack together was T-Bone Burnett.
I spent the majority of my spring break plastering the walls of a cinderblock building in the Puerto Rican rain forest. The only way to possibly get through a task as mind-numbing as plastering walls is to have an upbeat, driving playlist of music blasting from a decent set of speakers. Luckily, for the most part, that was the situation; our work crew leader had impeccable and eclectic taste, and about 100,000 songs in his iTunes library. One day, though, we made the call to switch it up. My buddy Matt had concocted a playlist entitled “Ridiculous Rap,” mainly comprised of one-hit crunk wonders from the mid-2000s. The first couple songs were hilarious and everybody sang along. By song five, the high had disappeared and it dawned on us that we had been ingesting pure crap for the past fifteen or so minutes.
“Can we start it all over again this morning?” Beck asks early on in the opening track of Morning Phase, his first album since 2008′s Modern Guilt. After a gorgeous 40 second instrumental opening, strings give way into the plaintive guitar strums of “Morning”, and it truly does feel like a something entirely new, a rebirth — which is odd, because Beck has specifically said this album is a spiritual successor to his 2002 masterpiece Sea Change.
And sure, the beginning of “Morning” has an uncanny resemblance to the beginning of Sea Change opener “The Golden Age.” And sure, all of Morning Phase is ostensibly similar to its much-vaunted predecessor. It does feature the same musicians and the same California-folk influence. And yeah, even the cover art (Exhibits 1 and 2) looks strikingly similar, Beck’s steady gaze staring out behind smears of orange and blue.
But hear me out: the truth is that it’s only similar in the sense that all music by an artist sounds similar to previous music produced by that artist. No left turn is truly a total departure: even the cold, Kraftwerk heartbeat of Kid A‘s “Idioteque” had its roots in the laserbeam percussion loop of OK Computer’s “Airbag”.
The point of all this is to get you to look at Morning Phase in the ways it differs, rather than its similarities, because these differences are what make Morning Phase the best Beck album since 1998′s Mutations.
WRVU is going to Bonnaroo this year, and you can too! Read on to find out how you can win a pair of tickets to one of the nation’s biggest music festivals.
Alright, so maybe Bonnaroo and Coachella are a bit far off in the future, but it’s never too late to get excited about their imminent arrivals! With Elton John, Kanye West, and Jack White headlining Bonnaroo; Outkast, Muse, and Arcade Fire headlining Coachella, and many more amazing musicians/bands showcasing their talents at the two festivals, there is much about which to be excited. Bonnaroo is a little more than 100 days away; Coachella is just 40 days away; and spring break 2014 is happening right now. As many people are parading off to Mardi Gras in New Orleans and the beach for a week of relaxation and wild festivities, I’m sure they would appreciate a playlist to get them to where they’re going and make their trips more enjoyable. So, wherever you’re going for spring break, whether flying out or road tripping, or simply going home for some much-needed R&R after a stressful week of midterms, here is a playlist of catchy tunes by some of the artists who will be performing at this year’s Bonnaroo and Coachella to spice up your spring break!
It’s no secret that Aphex Twin (AKA Richard D. James) is one of my favorite artists, but I can see how someone who’s yet to give him a listen might be intimidated by his scattered discography. Following are my picks for the top 10 Aphex Twin productions.
Seemingly on the verge of a real popular breakout for years after collaborations with David Byrne, Bon Iver, and Kid Cudi, it’s telling that Annie Clark decided to follow up her most successful (and best) album yet with a self-titled affair. That it’s a fourth album is important as well: if third albums are about solidifying an artistic voice, a thing Strange Mercy did astoundingly well, fourth albums are about proving that you’re more. Some bands choose to build upon their sound like The National did with Boxer or Phoenix did with Wolfgang Amadeus Phoenix, some choose to buck it entirely like Radiohead’s Kid A, or some bands depressingly regress like Metallica’s Black Album. No matter the quality, these albums frequently become a focal point in the discography: a tone setter for the rest of a career. Thankfully, St. Vincent offers a confident distillation of just what makes Clark’s project so fascinating without shedding her experimental roots.
Kurt Cobain, the famed frontman of Nirvana, grew up in Aberdeen Washington. In interviews, Cobain rarely mentioned the city, sometimes saying things like, “In Aberdeen, I hated my best friends with a passion, because they were idiots.” Later recounting his childhood, Cobain reflected on Aberdeen as “a depressed and dying logging town.”