Among the droves of indie “bedroom pop” artists saturating the music industry right now, Still Woozy stands out as one of the best. The man behind this whimsical name is Sven Gamsky, a recent college graduate from Oakland, California. Writing, producing, and recording everything in his own garage, Gamsky is obviously a man of immense talent and creative aptitude. His music is reminiscent of fan-favorites like Clairo, Gus Dapperton, and Rex Orange County, but his combination of live instrumentation and his affinity for genuine emotional connection set him apart from the rest.
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.
As we start on a new month and this truly, unexplainably terrible Nashville weather seems to be slowly improving, I thought it might be a good opportunity to take a quick look at two artists who are leaving the youth™ movement in music at the moment. Both Ravyn Lenae and Sidney Gish have blessed our ears with some excellent music in the last few months, and exciting things are surely in store for them as they progress and develop their skills. I’m going to limit things to one standout track from each respective project, but both of these releases are great front to back.
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.
Despite starting out back in 2003 with the album Toothbrush, most music fans know Dr. Dog for its funky fresh 2016 album The Psychedelic Swamp or its mellow, slightly folkly 2017 album Abandoned Mansion. And if you aren’t a music listener at all, there’s still a 99% chance you’ve heard Dr. Dog’s version of “Heart It Races” from 2007, the band’s most played song that features one of the recognizable, catchiest bass lines.
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,…
Lord Huron recently announced the release of his new album Vide Noir in January. To increase anticipation, the band came out with three new singles to hint at the forthcoming changes in sound. They include “Ancient Names (Part I),” “Ancient Names (Part II)” and “Wait by the River.”
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.”