Well, it’s here at last. The trees have donned their leafy green uniforms, the ENO hammocks have found their places amongst the summery shade, and every student is slowly dying a crippling death by means of final exams. This only means one thing for us here at Vanderbilt, and that thing is summer. Before we are set free to our respective internships and summer vacations, we must make it past the hurdles that stand between us and our 14 weeks of relative peace.
There’s something about the music venue at 2208 Elliston Place. I’m not sure what it is, but when you walk through the door into that dimly lit music den to see a show, the world ceases to exist and you become a part of something greater. With its lax security policies and blackwashed interior, it’s a rather unassuming joint; however, when your gaze falls upon the list of names on the dark wall behind the bar, it dawns on you that you’re on sacred turf.
It’s finally spring here at Vanderbilt. The air is brimming with pollen, day parties have commenced, and everyone’s excited for Vanderbilt’s annual spring music festival. This year’s lineup is incredibly diverse: from electronic beat-maker Porter Robinson to comedic rapper Lil Dicky, there’s bound to be an artist for everyone’s tastes this year. With Rites of Spring just around the corner, it’s always a good idea to get to know the artists a bit in advance. So, check out the synopsis of this year’s lineup below.
Ah, to be young and in college. College is often revered as the breeding ground for intellectual development, excessive alcohol consumption, and wild parties. Though every part of that previous…
As my mother once told me, “Disco never died in Europe.” Although it is glaringly obvious that our transatlantic cousin continent has embraced electronic music more than we ever have, I was still taken aback by her statement. When I initially decided to study abroad, the last thing I expected to find was a time capsule of a 1970s discothèque in the heart of Prague. But there I was, wading through a crowd on that iconic glowing Tetris floor while loops of reverberating vocals flooded the club. Disco had, in fact, not died at this one hole-in-the-wall locale. It seemed surreal, but moms are typically always right — my case was no exception.
Everyone knows that Monday is the worst day of the week. Even if you don’t agree, it’s usually true to say that having a full week of meetings, assignments and…
As the school years comes to an end and finals begin to ramp up, it’s natural to think about everything other than academic responsibilities at hand. Naturally, it’s a time to dwell on memories, friendships, and, of course, our time here at WRVU. For me, this last blog post has got me thinking. While it’s incredibly sad I’ll be missing all my WRVU goings on for the next eight months, I’m beyond amazed at all the new stuff that’s been released in 2015.
As an ode to WRVU and this semester, I’ll be highlighting my ten favorite tunes of the semester, starting from the bottom (because Drake). If you happen to like electronica, check out some of the dopest of beats from early 2015 below.
Even though I like to pretend I’m a music aficionado, let’s face it: I seriously have no idea what’s going on when it comes to titling remixes. Sure, I have every song in my iTunes library labeled to a tee. I take care to list who’s featured on a track, who produced it, what label it’s on (if any), and most importantly, what the artist labeled the track. As a result of this OCD tendency combined with my love for all things electronica, my music catalog is brimming with words like “refix,” “original mix,” and “flip.” Despite this need for classifying these songs with various descriptors, I have no clue what most of these words actually mean. I’m sure many of you guys are in the same boat. So, after a few days of digging on Reddit and a few Google searches, let’s see if it’s possible to clear up some of this jargon.
One of the primary differences between tracks is length. Each different length has a different name. In a sense, every song in its purest form is an original mix, but some songs come in multiple versions. Although it seems intuitive, it’s still helpful to clarify that original mix denotes the first complete mix by the original artist. Simply put, it’s a song by an artist with no other changes; it can be of any length. If an artist prefers the track to be longer, he or she will produce an extended mix. In the extended mix, the track usually includes a longer intro and outro and is longer than the original mix. This type of mix is how the original artist imagines a song without time constraints — usually too long for radio. The last type of mix in this temporal category is the radio edit. In the radio edit, expletives are taken out and the length of the track is cut between 3 and 5 minutes in length (but usually closest to the three minute mark). Intros and outros that may bore radio listeners and take up valuable advertisement time are cut down.
Ah. Spring is in the air, the birds are singing, and the ferocious Nashville ice storms have ended at long last. You look out the window, watching your fellow students frolic about…
Music hunting is something we all do. Though you might not actively pursue it (but you probably do since you read this blog), you had to find your favorite music somewhere. Whether it came from your friends or from the depths of the internet, your music taste is something you’ve crafted from years of exposure to different sounds and styles.
In the digital age, hunting for music is barely a hunt at all. Whether you turn on the radio, open up your favorite Spotify playlist or Shazam what’s playing on the speakers of your local Starbucks, discovering new music is something everyone can do with ease. With wider exposure to new artists than ever before, anyone has the ability to find songs they love but may not have otherwise found. In recent years, accessibility to new artists and genres is at an all-time high; most of the time, we are inundated with so many new names it’s hard to keep them straight.
By a stroke of luck, I ended up winning a pair of tickets to the Cold War Kids’ concert in Nashville this past week through a WRVU giveaway. So, on Friday night, I ventured out to Marathon Music Works to watch their Hold My Home tour. I entered the venue to a surprisingly packed audience. Per usual, I weaseled my way as close as possible to the opening act, Elliot Moss.
Though I missed part of the act, what I did see was exciting. Before the show, I only knew Elliot Moss from his song “Slip,” but I was tingling with anticipation at the thought of seeing the life performance. Marathon Music Works has a tendency to be a loud crowd, and I was worried about his voice fading out amongst the chatter. Instead, Moss set the mood for the rest of the concert. By easing into the concert with his quiet energy, Moss outdid my expectations. My personal favorite of his ended up being “I Can’t Swim.” Definitely be on the look out for more of Elliot Moss in the future — he’s yet to release his upcoming debut album, but Highspeeds is definitely one to watch out for.
Getting into the electronica scene these days can get a little overwhelming. Trap, deep house, progressive house, jersey club, future R&B, dubstep, future bass and many more… the list just goes…