Sometimes the Vanderbilt music scene can seem a bit dull compared to our neighbors at Belmont, but Allan Boudreau-Fine begs to differ. Boudreau-Fine, a sophomore, hosts VU Backstage, a weekly look into the thriving Vanderbilt music scene. I met with him this week to chat about WRVU’s only radio show focused on campus music.
Snarky Puppy earned their second Grammy on Sunday for their ninth album “Sylva,” an instrumental masterpiece of composition. Michael League, bassist, bandleader, and the group’s main composer has been aiding in the redefinition of big band jazz-fusion on a mainstream level for over 10 years. An art form that has been slowly escaping the public’s ears, Snarky Puppy is successfully bringing big band music back into the spotlight.
Saturday night, Unknown Mortal Orchestra played a crowded show at Exit/In with Lower Dens. The show delivered delicious energy and excitement without being over the top, proving it was worth that possibly-pricier Stubhub purchase after the tickets sold out.
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.
The creative lyricism of Tom Petty was thrust upon me at a young age. My mother used to sing “Free Fallin” as she reminisced about living in California in the 80s. When I was about 15, I imported all eight CDs of the complete Tom Petty collection onto my iPod. But, not all Tom Petty albums were created equal. For me, Full Moon Fever takes the cake. Released in 1989, Full Moon Fever was Tom Petty’s first official solo album – he previously performed with a band as “Tom Petty and the Heartbreakers.” This album is about love, break-ups, loneliness and achieving international stardom. Most of these we can all relate to. The point is, no matter where you are in your personal life, Tom Petty’s got you covered.
1. Free Fallin’
This is the #1 song to play at max volume while you’re driving down a deserted highway. It arouses feelings of nostalgia and the lyrics are perfect for a sloppy sing-along. Watch out for the awesome guitar solo at 3:19.
Heads up, the John Mayer version sucks. This is a prime example of a cover that should never have been attempted. Stick to the original.
“All the vampires walkin’ through the valley, move west down Ventura Blvd. And all the bad boys are standing in the shadows and the good girls are home with broken hearts”
My favorite thing about electronic music is that possibilities for creating different instrumental tracks are endless. One thing that I do on a daily basis is find different remixes for a song and listen for new combinations of beats, chords and synth effects that mix well with the main melody. It’s definitely interesting, and it’s taught me a lot about different sound effects that I can incorporate into my own music.
Above all, listening to remixes is a lot like listening to a song for the very first time. Oftentimes, I will hear a song and wish that it were a little faster or slower, with a little more bass, or a few extra beats here and there. Remixes can make these ideas into reality, and it’s really cool to hear someone make variations to a song in the exact way that you had envisioned. Other times, a remix can show you a version of a song that you never expected would work. Either way, it’s a lot of fun.
Below are 10 of my favorite remixes/ covers (in no particular order)
The cover art of T. L. O. P., the album that has stirred up so much controversy in its short life. Source
Kanye West’s new album has been in the news many times in the past couple of weeks. First, there was the issue of what it would be called. He changed album titles a few times before settling on T. L. O. P., which stands for The Life of Pablo. Then, there was the question of when it would be released.
Today, the album is in the media for a very different reason. After premiering at Madison Square Garden on February 11 during the Yeezy Season 3 fashion show, the album has been a hot topic due to a reference to another celebrity. In his song “Famous,” West had a couple of questionable lines that featured Taylor Swift. The lyrics say, “I feel like me and Taylor might still have sex/ Why? I made that b***h famous.”
Following the release of the Rites lineup, one of the most common complaints I heard was that Future had no business being invited to perform. Many of these critics complained that his lyrics left something to be desired. Others found the songs repetitive. Even then, others found him too simplistic and not deep enough. People have a right to their opinion, but in this instance I think many critics of Future and trap music in general are doing themselves a disservice by ruling out the genre. All the things that give trap rap a bad name are the same things that give it a valid place on the musical spectrum. Let’s take a look.
I think it is safe to say that we all had that one band at one point in our lives that really got us into music. The one band that made us go, “Wow, so that’s how listening to music is supposed to feel.” For me, it was Arctic Monkeys. When I was in high school, I used to go to my local library to rent CDs and burn them onto my computer (sorry, iTunes). One of the first albums I obtained was Arctic Monkeys’ first full length debut, “Whatever People Say I am, That’s What I’m Not” (among other gems, including “Is This It?” by The Strokes and “The Queen is Dead” by The Smiths). That album, and the subsequent ones that I devoured later, became the soundtrack to my high school experience; my go-to answer to the feared “what’s your favorite band?” question.
Sun Seeker, whose newest single, “Georgia Dust,” has become a Third Man Records favorite, played some of their undeniably catchy and easily lovable tunes at Grimey’s last Saturday.
No matter your relationship status, I have tailored six different playlists to be the perfect soundtrack for your February 14th experience.
When Josiah Williams, a trombone performance major from Downer’s Grove, Illinois, isn’t performing in a Blair ensemble, you might find him reading something like this:
She’s all states, and all princes, I,
Nothing else is.
Princes do but play us; compared to this
All honour’s mimic, all wealth alchemy.
Thou, sun, art half as happy as we,
In that the world’s contracted thus.
Thine age asks ease, and since they duties be
To warm the world, that’s done in warming us.
Shine here to us, and thou art everywhere;
This bed they center is, these walls, thy sphere.
(John Donne, “The Sun Rising”)
Josiah’s love of poetry informs one of WRVU’s most unique shows: Wax Poetics. I sat down with the DJ this week to discuss his show, how it started, and what he’s discovered along the way.
The art of spotting a sample has faded to technology. Now all a good ear has to do is a quick google search or peruse a blog to reveal the mystique of an eloquent beat. But an infectious hook, loop, and vocal can haunt me for an afternoon. Or a few days. Or this past week. Red Pill’s 2015 release Look What This World Did To Us has been on regular rotation on my Spotify feed. Rum and Coke especially speak to my Friday nights’ struggles between a girlfriend, a graduate student’s bank account, and a bar tab. Yet that’s not what this post is about. On the self-titled track “Look What This World Did to Us”, Red Pill tells a Bukowskian tale with an acerbic tongue. Familiar to early Atmosphere, the track speaks of a guarded regret singular to the loss of youth.
WRVU is hosting its first big festival giveaway to the Okeechobee Music & Arts Festival in Florida taking place from March 4-6. What better way to start your spring break?…
When a friend told me about Discover Weekly on Spotify, I thought it was one of the better ideas of online music services. A playlist tailored to your music preferences, including songs from artists you probably don’t know? Every week? All the work of finding new music now done by a computer for you. How unbelievably convenient!
Thirty-four years ago, Swans hit the underground in New York with their self-titled EP. Now (thirteen studio albums, ten live albums, a heap of EPs and compilations, dozens of members, and a thirteen year hiatus later) the band is finishing up work in the studio on what is, according to the band, going to be the final work from this incarnation of Swans. After this album and its subsequent tour, Michael Gira and the rest of this current six-piece form of the band are ending a historic reunion run the likes of which just don’t happen.
In Galaxie 500’s incredible On Fire, the opener “Blue Thunder” immediately places the album—and the listener—into a state of motion. The iconic refrain of “I’ll drive so far away” never really addresses the place from which the speaker is so intent on leaving, letting the focus rest on the act of departure and the imagined “elsewhere” to which we’re going and being taken. Money’s sophomore album Suicide Songs is at times thematically and sonically reminiscent (with singer Jamie Lee even belting “I’m on fire” in “Night Came”), positing suicidal ideation as an act of departure from the self, offering a framework through which to explore and complicate the notion of identity formation as simultaneously oppressive and liberating.
Allow me to introduce you to The Oh Hellos. Siblings Tyler and Maggie Heath (center) formed a folk rock duo in 2011 and have since released three albums. Today, as you can see, they are supported by an army of musicians. The Oh Hellos are an independent band, meaning they are self-funded and do not belong to a record label.
Before you say “oh no, not another indie folk band,” hold your judgment and watch their NPR Tiny Desk Concert from December.
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…
Possibly one of the most notable things about Death of a Bachelor is that it is the first time Panic! at the Disco wrote an album with only one member. After the departure of drummer Spencer Smith in April 2015, Brendon Urie was left to carry on and write what actually may be the band’s best album yet. Already, it has done much better than the previous four. In its debut week, it sold more than 190,000 album units and scored a spot as number one on the US Billboard 200, the first album by the band to accomplish such a feat.
When I was in high school, a close friend of mine introduced me to the hilarious and often ridiculous wonder that is Ezra Koenig’s twitter. I initially dismissed his posted jokes as self-indulgent banter with a worshipping fan base. But, admittedly, I was intrigued, and started listening to Vampire Weekend. I got almost immediately hooked, and rapidly transformed into a person who listened to their self-titled album and Contra every day after school.