You want Lorde tickets. We know. Here’s the first clue: Where are you most likely to find melodrama on campus? Go to that location to find the next clue! Oh, and…
Sunflower Bean turned heads with their first full length album Human Ceremony, released back in 2016. Their debut’s breadth and urgency was illustrious of the band’s burgeoning appetite for a life beyond New York City’s DIY scene, and was ultimately successful in helping them realize the musician’s cliched dream of making it out of one’s hometown. After putting out music for only a year prior, the record was an impressive start for bassist and singer Julia Cumming, guitarist Nick Kivlen, and drummer Jacob Faber. The Brooklyn based trio were young and ambitious then— as they still are now, although their energy has become undeniably more harnessed— and these characteristics were central to Human Ceremony’s sound and thesis. The album was appropriately all over the place musically, with tracks ranging in style from shoegaze to surf rock to psych pop, and influences like the Velvet Underground and Black Sabbath obvious (in some cases on the same songs). Now, Sunflower Bean is back and more polished than ever on their sophomore release Twentytwo in Blue.
Alright, before you completely hate me for bashing your favorite source for enjoying your tunes, know that I am also a loyal Spotify listener. I even subscribed to their premium service (but I pay half price thanks to that sweet student discount ~cuz money is tight amiright?~). But it’s about time that you knew the truth of how Spotify treats the artists that they stream.
Gleams of sunlight patterned the back patio of The Basement East as WRVU chatted with Clay Frankel of Chicago-based rock band, Twin Peaks, the evening before their sold-out show. In between wisps of a cigarette, Clay shared his insights on tour life, the writing process, musical influences, his album artwork drawings, along with answers to various questions from WRVU’s DJ-created Question Bucket Hat.
Being from the Chicago area, I greatly anticipate the release of the Lollapalooza and Pitchfork Music Festival lineups each year. Some years are certainly weaker than others, but, this year, I think that both festivals put together strong lineups.
DIAL UP is a Chicago creative collective that’s carving out their own musical niche, with a healthy injection of multimedia prowess. In their short careers, all 11 members (Dave Prime, Magic Williams, Link Wolfe, Bria, Jack Crackstone, JEFF, Harsimus, Slim, Archie Blocka, Lazy Anwar, and Teah) have displayed boundless potential and versatility.
The DIAL UP podcast, The Lazy Anwar Show, and a slew of singles have led up to the release of their debut project “DIAL UP CD: (Side A)” on March 26th.
I had the opportunity to speak with members Jack Crackstone, Dave Prime, Archie Blocka, Bria, and Link Wolfe.
Lazaretto, Jack White’s 2014 album and second solo LP, received heavy criticism for a lack of his guitar skills. On his new record, Boarding House Reach, it seems that Jack took this criticism to heart.
Boy do we have news for you! WRVU and Rhythm N’ Blooms have teemed up to give YOU a free full, 3-day festival pass. Held in beautiful Knoxville, TN from April 6-8, these are tickets you won’t want to miss!
Snail Mail’s Lindsey Jordan is one of indie rock’s most promising young talents. 2016’s Habit EP, written while she was only an impressive fifteen years old, shocked critics with its depth and eloquence. The project tackled adolescence with the kind of careful reflection one would expect from someone sufficiently distanced from the melancholic woes of high school— except Jordan wrote it while she was still right there in the midst of it all. Habit beautifully chronicled youthful turmoil from inside the belly of the beast and did so successfully enough to land Snail Mail in-studio gigs with both Tiny Desk Concert and Audiotree Live, as well as a record deal with Matador. It’s clear that Jordan has a knack for putting the ineffable to words, and in combination with her excellent guitar skills and intricate style (she was taught by Mary Timony of Helium, Ex Hex, and Wildflag) it’s hard to imagine a future where she isn’t at the forefront of the lo-fi scene.
Carolinerosemusic.bandcamp.com From strait-laced Americana to experimentation bordering on absurdism, Caroline Rose’s music has taken a new form since her 2014 debut I Will Not Be Afraid. Of the clear shift…
Join WRVU Podcasts as (part one) DJ’s Cole Jackson and Ayden Eilmus break down some of the music out there that’s just, well, bad; join us also for (part two)…
Called “SXSW’s grungy little sister” by Entertainment Weekly, Savannah Stopover is a hidden gem for festival-goers. In fact, EW perfectly describes this small city fest, as it was conceptualized eight years ago to attract touring artists who were on their way to the colossal South by Southwest Music Festival in Austin, TX. Savannah Stopover brings in a large spectrum of artists, from the local bands to the Grammy-winners, but gives them all the same southern welcome.
Infinitely relatable, angst-ridden tales of infatuation and heartbreak are what 20-year-old Nashville songwriter Sophie Allison, better known as Soccer Mommy, details with her debut studio album Clean.
In regards to emo and pop-punk, 2018 has not been off to a particularly bangin’ start. I imagine you’re probably thinking something along the lines of: that’s because those genres died, like, ten years ago. But that’s where you’re wrong. Whatever wave of emo is currently happening is still sputtering on, asphyxiating slowly resultant of its cultural irrelevancy. Despite the poor state of the scene at present, however, there are still a few upcoming releases everyone can look forward to, both in and out of the genre.
Here are a few of my favorite tracks this year with a bit of info on each of them. Enjoy! “King Cobra” – Yung Lean ft. Thaiboy Digital Prod. Hurtboyag,…
Mt. Joy’s self titled debut album is a wonderful adventure in self-reflection, situational awareness, and emotional consideration.
Atop the dark stage in the large ballroom of Nashville’s The Basement East sit six vintage television sets, arranged in a cultish semicircle. I’m here to see Joywave, the glitchy indie-pop group from Rochester, New York. They’re 10 minutes late. I begin to look at my watch when I hear a dull murmur emerge around the room. As I lift my gaze, I see a single man emerge from the darkness. A dim light illuminates his body from below. I can’t make out his face, but I can see his shirt strikingly clear. On it reads one succinct sentence: “I don’t like corn dogs, but I do like Korn, dawg.”
Recently, I’ve been trying to open my eyes to the way we interact with, and are influenced by, the man-made environment. Whether it’s a public park, a door handle, or an album cover, I believe every detail of objects and spaces can act as an important tool for shaping our perception, whether or not it was the intention of the creator of that object to do so.
When one considers the implications of art as an interaction, we can see the power of this tool. The real beauty of art, in my opinion, is that the artist only has so much control over how the work is perceived, while the viewer/user/audience must do much of the heavy lifting. I believe modern art provides many great examples of this interaction.
Subtlety has never been Courtney Barnett’s thing. So far, that’s been to her advantage. Native to Melbourne and on the rapid rise to fame since the 2015 release of her debut LP Sometimes I Sit and Think, and Sometimes I Just Sit, Barnett has made a name for herself through witty, avant-garde lyricism and garagey guitar riffs. Her previous work resonates with a sort of comfortable honesty, regardless of the first-glance mundanity of the everyday occurrences she so often addresses. This past October’s Kurt Vile collab album Lotta Sea Lice saw the further development of this knack, and quietly allowed Barnett to temporarily side step the anxieties of following up Sometimes I Sit and Think’s success. Now ready to tackle those fears head on, her second full length solo project, Tell Me How You Really Feel, will be released May 18th on Mom+Pop, Marathon Artists, and Barnett’s own Milk! Records. In tandem with this announcement, first single “Nameless, Faceless,” as well as an accompanying music video, were put out ahead of the upcoming album.
On April 27th, musician, actor, and activist Janelle Monáe returns with her 3rd studio album, Dirty Computer, after a 5 year long hiatus. In an interview with Apple Music’s Zane Lowe, Monáe introduces the album, saying:
“I actually had this title and concept before my first album, The ArchAndroid. It scared me because I knew that a lot of the things I needed to say were very deep, very personal, from the heart. This is an album that will give you the opportunity to get a closer glimpse into my mind.”
With another month, comes another wave of new singles and album announcements. Explore some of February’s highlights and preview upcoming LPs with this selected list of new songs, courtesy of evolving artistic landscapes.