Tyler Dunston – The Stanford Daily https://stanforddaily.com Breaking news from the Farm since 1892 Tue, 30 Jan 2018 01:06:55 +0000 en-US hourly 1 https://wordpress.org/?v=6.4.3 https://stanforddaily.com/wp-content/uploads/2019/03/cropped-DailyIcon-CardinalRed.png?w=32 Tyler Dunston – The Stanford Daily https://stanforddaily.com 32 32 204779320 On “I See You,” The xx stay true and expand https://stanforddaily.com/2017/01/18/i-see-you-the-xx-album-review/ https://stanforddaily.com/2017/01/18/i-see-you-the-xx-album-review/#respond Thu, 19 Jan 2017 06:13:29 +0000 https://stanforddaily.com/?p=1121594 “Dangerous,” the opening song off The xx’s third album “I See You” surprised me from the minute I started listening. Opening with the fanfare of a brass-like synth, it seemed a far cry from the minimal guitar, bass and subtle production of The xx’s previous work. But as the characteristic Jamie xx drum loop came […]

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“Dangerous,” the opening song off The xx’s third album “I See You” surprised me from the minute I started listening. Opening with the fanfare of a brass-like synth, it seemed a far cry from the minimal guitar, bass and subtle production of The xx’s previous work. But as the characteristic Jamie xx drum loop came in, I realized I’d heard this before — Jamie xx’s critically acclaimed solo debut “In Colour” had an energy that stood out against The xx’s restrained, emotional ambience. With The xx’s third LP “I See You,” we see them more openly embracing Jamie xx’s production style while still staying true to the roots they established on 2009’s “The xx” — efficient, evocative guitar and bass textures coupled with Romy Madley-Croft and Oliver Sim’s quiet but resonant vocal interplay.

In this way, “I See You” is not so much a reinvention as a progression. Thankfully, Jamie xx’s expanded production doesn’t overshadow The xx’s essential qualities. “Say Something Loving,” the album’s second single, is emblematic of the record as a whole, sounding at once familiar and entirely new. None of the pieces here — light, precise guitar, the conversation of Romy’s alto and Oliver’s baritone, the casual studio wizardry courtesy of Jamie xx — are new, but they come together in a way that is more immediate than ever before.

Credit is due to Romy and Oliver’s intertwining vocals. Though their range is somewhat limited, Romy and Oliver’s strengths as vocalists have always lied in phrasing. When Romy sings, “I don’t know what this is, but it doesn’t feel wrong” in “Say Something Loving,” she conveys a sense of desperation and uncertainty that imbues the lyric with an emotional heft it otherwise wouldn’t have. Similarly, when Oliver sings, “Now I go out / But every beat is a violent noise” on mid-album highlight “A Violent Noise,” we hear not only the noise itself (courtesy of Jamie xx) but the impact it has on the speaker.

“A Violent Noise” showcases not only Oliver’s phrasing abilities but also Jamie xx’s production talents. On this track, Jamie xx creates an atmosphere that builds and subsides alongside Oliver’s vocals like waves. As a result, the song feels bigger than the comparably skeletal arrangements on the band’s self-titled debut, where the listener could more easily isolate guitar, bass and drums. “A Violent Noise,” which, true to its subject, takes more of a wall-of-sound approach production-wise, exemplifies Jamie’s enhanced role following the success of “In Colour.” Likewise, Jamie’s heavily manipulated Hall and Oates sample on lead single “On Hold,” signals the shift in sound that we find throughout the record. And let’s not forget the atmosphere Jamie creates on the latter half of closing track “Test Me” (reminiscent of the latter half of the “In Colour” opening track “Gosh”), which provides one of the most moving moments on the album.

But this is still an xx record, and songs like “Performance” and “Replica,” complete with more subdued production and lone guitar lines, evoke The xx of early days. And we see slight traces of Jamie xx’s more prominent production role in songs like “Crystalised” from their self-titled debut and “Reunion” off “Coexist.” Accordingly, The xx’s “I See You” is not unprecedented, although it is certainly a step forward for a band that continues to display a unique knack for communication with one another as artists. “I See You” is not a Jamie xx album, nor is it a Romy and Oliver album — it’s an album by The xx, and a good one at that.

 

Contact Tyler Dunston at tdunston@stanford.edu.

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Playlist: The Stanford Daily music beat looks back on the year in music https://stanforddaily.com/2016/12/09/playlist-year-in-music-2016/ https://stanforddaily.com/2016/12/09/playlist-year-in-music-2016/#respond Sat, 10 Dec 2016 02:20:17 +0000 https://stanforddaily.com/?p=1120942 It’s been nearly 12 months and the shit-storm that is 2016 is almost over. Thankfully, 2016 brought with it a staggering amount of excellent music. In light of this, any 2016 music retrospective is going to be flawed and incomplete. With that in mind, we decided to have each of our writers choose one superlative […]

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It’s been nearly 12 months and the shit-storm that is 2016 is almost over. Thankfully, 2016 brought with it a staggering amount of excellent music. In light of this, any 2016 music retrospective is going to be flawed and incomplete. With that in mind, we decided to have each of our writers choose one superlative for the music of this past year. We hope you enjoy.

 

Most Forgotten Album – “Endless” by Frank Ocean

Make no mistake; this is not to be confused with most forgettable album. But any reference to Ocean’s Apple Music exclusive visual album are met with a cocked head and: “Do you mean ‘Blonde’?” While “Blonde” is no doubt the superior, more cohesive, Frank-er record between the two, “Endless” serves as more than just a way for Ocean to wiggle out of his Def Jam record contract or show off his woodworking ability. While many of the songs feel like airy rough drafts, songs like “(At Your Best) You Are Love” and “Rushes To” and the album’s sonic theme in lo-fi atmospheric experimentation prove that this album should be regarded as the true chronological successor to “channel ORANGE,” rather than the album you skip over and disregard to get to “Blonde” (well, only if you’re on Apple Music).

-Dylan Grosz

 

Most Relatable Album for the End of Fall Quarter – “This is Acting” by Sia

From everything ranging from the last parties of fall quarter like frosh formal to the quiet times of hard work and studying in the few weeks before exams, songs like “Alive” from “This is Acting” have you covered. It’s got frustration and liberty as its central emotions, and you’re bound to sing along — or scream along — with its catchy beats and unforgettable lyrics. It’s also incredibly eclectic, with familiar pop melodies sounding as though they belong to her previous albums or even other singers, but Sia, of course, being Sia, pulls it off with her powerful voice.

-Maimi Higuchi

 

Funniest Album of the Year – “Big Baby D.R.A.M.” by D.R.A.M.

I don’t know about anyone else, but I find D.R.A.M.’s debut album to be hilarious. Everything from the album art of D.R.A.M. cheesin’ with a puppy to his sexy bedroom song parody “WiFi” (featuring the legendary Erykah Badu) is just the right amount of ridiculous. Even his stage name, which stands for “Does Real Ass Music,” is clever. Honestly, the dude’s just a happy guy. His goofy but heartfelt treatment of R&B and rap is the kind of music you play when you want to put a smile on your face and don’t want to think too much.

-Andrea Lim

 

Best Cover Song – “Fickle Sun (iii) I’m Set Free” by Brian Eno

My spring quarter almost ended in disaster. I had to write about 70 pages in the last month of my junior year, half of which went to a capstone on racial injustice. (AMSTUD can be horrifically depressing sometimes.) There were times that I would be overwhelmed by the gravity of the subject matter, or question my ability to get everything done; in these moments I would turn to Eno’s cover of The Velvet Underground’s “I’m Set Free” from Eno’s most recent album “The Ship.” Every time Eno sings the title, it’s like a sunbeam that cuts through doubt and despair. It helped me find it within myself to keep on writing and keep on fighting. It still does.

-Jacob Nierenberg

 

Most Underdeveloped Album – “W:/2016ALBUM/” by deadmau5

The no-I-don’t-know-how-to-pronounce-that-either (or alternatively, the this-is-Stanford-we-should-all-know-it’s-the-W-drive) album hits the ground running with the melodious “4ware” that perfectly encapsulates the traditional spirit of the mau5. The album as a whole is a crossover between the well-known mau5 style and uncharted territory, which provides a refreshing new sound but also a sense of wanting; so many novel ideas, not as much development on them. It’s sure worth the listen, but the mau5’s true potential has yet to be unleashed.

-Arvind “Vince” Ranganathan

 

Freshest Album of the Year – “Bop City” by Terror Jr.

Up-and-coming pop trio Terror Jr. are largely unknown on the Internet; their rise to semi-fame has largely been due to Kylie Jenner’s usage of their song “3 Strikes” in an advert for a product of hers. But make no mistake — this minimalist group, consisting of two super-producers and an unnamed frontwoman contributing heavily autotuned vocals, is making music that’s about as fresh as it gets. They’ve been criticized for making similar sounding songs, and their debut album is barely an album at 8 tracks, but their music has an ethereal, floating quality to it. All of their production is both subdued and impeccable, featuring airy vocals and lyrics that play cleverly with millennial slang and culture.

-Dante Laird

 

Best Sample of a Conservative Cultural Commentator – “Drug Dealers Anonymous” by Pusha T and Jay-Z

“Drug Dealers Anonymous” is already a good song after a minute and a half, with Pusha T contributing yet another sleek, menacing verse about pushing cocaine (I personally like his line about “baptizing a brick,” but there’s really something for everyone) over an even sleeker beat courtesy of DJ Dahl. Yet it goes from good to great as Pusha T’s verse ends and an unexpected voice shows up. Yes, that’s Tomi Lahren, probably best known as that one conservative political commentator who gets shared by people you went to highschool with on Facebook. She’s sampled in what must be the most inventive way to introduce a Jay-Z guest verse — two bars of Lahren attacking Beyoncé for Jay-Z being a drug dealer followed by 48 of, well, Jay-Z talking about being a drug dealer.

-Jacob Kuppermann

 

Best Farewell Album – “Blackstar” by David Bowie

In a year filled with the tragic deaths of a variety of incredible and influential musicians (Prince, Phife Dawg, Leonard Cohen, Sharon Jones, Leon Russell, Maurice White, Paul Kantner, and of course David Bowie) — not to mention a bunch of other shitty things — choosing the best farewell album of 2016 is no easy task. But in this case, the first might just be the best. “Blackstar,” David Bowie’s 25th and final studio album marks an end to one of the most brilliant and varied careers in modern music history. What’s more remarkable is that this album ranks among Bowie’s best works. It’s hard not to think of this album as a farewell, a Last Testament of sorts, in light of Bowie’s awareness of his death. But let’s not forget that, in addition to being a moving meditation on death, “Blackstar” is a fucking great album, even by Bowie’s absurdly high standards. Bringing in elements of jazz (influenced by Kamasi Washington’s stunning arrangements on Kendrick Lamar’s groundbreaking “To Pimp a Butterfly”), art rock, experimental rock, etc. In the end, it’s an album that transcends genre. From January on, “Blackstar”’s shadow seemed to hang over a truly shitty year, reminding us, naturally, of loss, but also of the fact that we have art, and that’s something.

-Tyler Dunston

 

Contact Tyler Dunston at tdunston ‘at’ stanford.edu

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Playlist: The Stanford Daily music beat shares their songs for post-election love and healing https://stanforddaily.com/2016/11/15/music-beat-playlist-love-and-healing/ https://stanforddaily.com/2016/11/15/music-beat-playlist-love-and-healing/#respond Wed, 16 Nov 2016 01:55:50 +0000 https://stanforddaily.com/?p=1119870 “Take Care” by Beach House Beach House’s “Take Care” is a quiet bulwark of empathy, a song whose focus is not on what causes the need for care but the space we create when we actively choose to care for one another. “I’ll take care of you if you ask me to” is a reminder […]

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“Take Care” by Beach House

Beach House’s “Take Care” is a quiet bulwark of empathy, a song whose focus is not on what causes the need for care but the space we create when we actively choose to care for one another. “I’ll take care of you if you ask me to” is a reminder to care for yourself fiercely, as you would care for those you love, or as they would care for you. This is a reminder of the silent power of connection, the power of recognizing what is ailing, whether on a personal or national level, and the empathy and connection necessary to confront the ailment. The enduring mantra: “It’s no good unless it grows.”

— Medina Husakovic

 

“Move on Up” by Curtis Mayfield

One of many standout tracks on Curtis Mayfield’s virtuoso solo album “Curtis,” “Move on Up” is a brilliant example of form imitating message. As Curtis spreads a message of positivity and hope through his lyrics, the band behind him plays a fitting theme, propulsive and ever-striving towards the future. Even in this moment of profound malaise, distrust and hate, there is still room for hope, to aim towards moving past the forces of evil and into a better world.

— Jacob Kuppermann

 

“3 Things” by Jason Mraz

Gentle acoustics and a soothing melody line accompanied by the lovely vocals of Jason Mraz is a must when times are tough. The lyrics themselves are uplifting, encouraging you to let all emotions out, advising you to stay grateful of life, and then letting life move on, anew. In one of the most cathartic moments, “3 Things” kindly reminds us to never give up and that in the end, “Love is still the answer I’m relying on”. Try “3 Things” out — you won’t regret it. It’s the kind of song that leaves you smiling and refreshed.

— Maimi Higuchi

 

“Tubthumping” by Chumbawumba

Love it or hate it, you can’t deny the ability of this 90’s British classic to inspire. “I get knocked down but I get up again… you’re never going to keep me down,” the group vows. It’s exactly the kind of resolve we’re going to need if we’re going to survive these next four years.

— Alan Brown

 

“I Remember” by Deadmau5 and Kaskade

The intimate vocals susurrate gently above spacious, beautiful chords, as Deadmau5 and Kaskade take us through a ten-minute journey of pensive introspection through music. The chords progress through the song, swelling and receding in tandem with the relaxed pace of the track, but they never resolve. They repeat ceaselessly, and we turn back in recognition and remembrance.

— Trenton Chang

 

“untitled 08 | 09.06.2014.” by Kendrick Lamar

To make up for this track’s lack of a normal title, let’s call it “Blue Faces,” a recurring phrase in the song and what I see when many of us begin contemplating the years to come. However, Kendrick surrounds the sometimes hopeless and struggling lyrics with an ebullient, Thundercat-led groove, a ray of hope in what seems to be pure despair.

— Dylan Grosz

 

“Sacrifices” by Tinashe

Anytime Metro Boomin’ is involved in the production of a song, it’s safe to assume it’ll be nothing short of amazing. That philosophy holds with “Sacrifices,” a sleek, sensual banger by up-and-coming artist Tinashe. An instant feel-good song, it’ll fit in perfectly on virtually any playlist.

— Dante Laird

 

“How To Love” (Boombox Cartel remix) by Cash Cash

You know those songs that are unbelievably cheerful? That fill you to the brim with positive energy? That inspire you and let you start your day on a gleeful note? That tempt you to just stand up and holler along? That lift you up from whatever might possibly be holding you down? Well, this is one of those.

— Arvind ‘Vince’ Ranganathan

 

“I Want To Be Well” by Sufjan Stevens

I think at this point, we all just want to be well. Even when things seem to be falling apart, we just want to be content in the face of potential unhappiness. And, as Stevens accurately puts it, we’re not fucking around.

— Benjamin Maldonado

 

“Love’s in Need of Love Today” by Stevie Wonder

Stevie Wonder’s astounding “Love’s in Need of Love Today,” the opening track to his legendary double-LP “Songs in the Key of Life,” makes two requests, both of them essential and important to bear in mind: 1) “Love’s in need of love today / Don’t delay / Send yours in right away” and 2) “Hate’s goin’ round / Breaking many hearts / Stop it please / Before it’s gone too far.”

— Tyler Dunston

 

Contact Tyler Dunston at tdunston ‘at’ stanford.edu

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Playlist: The Stanford Daily music beat presents their favorite Halloween tracks https://stanforddaily.com/2016/10/31/playlist-halloween-tracks/ https://stanforddaily.com/2016/10/31/playlist-halloween-tracks/#respond Tue, 01 Nov 2016 06:58:26 +0000 https://stanforddaily.com/?p=1118982 “Cry For Judas” – The Mountain Goats What’s scarier than devil worship and having to deal with your own decisions in life? – Jacob Kuppermann   “Toxic” – Yael Naim Yael Naim’s cover of Britney Spear’s “Toxic” is a little less teen-angsty and a lot more spooky. Its tension comes from the minimal sound, as the […]

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“Cry For Judas” – The Mountain Goats

What’s scarier than devil worship and having to deal with your own decisions in life?

Jacob Kuppermann

 

“Toxic” – Yael Naim

Yael Naim’s cover of Britney Spear’s “Toxic” is a little less teen-angsty and a lot more spooky. Its tension comes from the minimal sound, as the song begins mostly with a controlled balance of silence and bells. Gradually, the sound builds and Yael’s high, breathy voice layers over the bells, synth and moody electric guitar to culminate in an eerie cacophony.

Andrea Lim

 

“You Want It Darker” – Leonard Cohen

“You Want It Darker,” the first song off of Leonard Cohen’s new album of the same name, complete with cryptic lyrics and gospel choir arrangements, is the spookiest sermon you’ll ever here, the perfect soundtrack for Halloween night. Cohen plays the role of shadowy preacher here, with vocals so low they drag across the ground like rusty chains. “You Want It Darker,” his most recent album, came out immediately after Cohen publicly stated, “I’m ready to die,” only to follow up with, “I intend to live forever.” Somehow, this dark, enigmatic track straddles these two poles. “You want it darker?” Cohen asks in the song’s chorus. One might rightly respond, No thanks, this is plenty. Too bad, he interjects: “We kill the flame.”

Tyler Dunston

 

“When I’m Around U” – BURNS

Electronic dance hit “When I’m Around U,” marked by enigmatic lyrics and stygian soundscapes, has a certain quality of unease and spookiness that make it especially suitable for Halloween. A disembodied, plaintive voice mourns above and across the profound darkness. It decides to take on the curious character of a spectre, searching for someone. It moans above a sea of susurrating chords, “When I’m around you / You make my temperature rise / All I want / Is you there beside me.” Is this ghostly voice just searching for a long-lost love? Have we misconstrued its intentions altogether — is this a moving story of romance and reunion? A resounding “no” booms across the soundscape, as the sinister nature of this song is betrayed: The melody begins subtly, nearly imperceptibly, creeping impishly below the ominous snare drum and the soaring pads. It is cacophonous, with a gnashing, rasping timbre, growling in strange tones. It is lithe, wraithlike. Now it draws ever closer — from behind, from the front — the unearthly din of the specter surrounds you, and suffocates you as you gasp for air. Then it screams its arrival into your ears. A few unearthly words are spoken — and now you are left, alone, your ears filled with the echoing sound of the Mephisto in the vast darkness, engaged in diabolical matrimony with your throbbing heart beating time. It is around you — it is around U.

Trenton Chang

 

“The Ring” – Hans Zimmer

Want to feel spooky and scared on Halloween night? Then the Ring’s theme song is a classic hit. There are debates on whether the Japanese version or English version is superior, but you can’t deny that the famous buildup in this piece is creepy — try listening to it alone. Or maybe it’s a great way to get into the mood before you watch a horror movie, party at a Halloween-themed place, or trick-or-treating (yes, even adults can go)!

Maimi Higuchi

 

“The Upside Down” – Kyle Dixon & Michael Stein

Off of the first volume of the Stranger Things Official Soundtrack, “The Upside Down” marks a pivot on the album (and in the show) from the ostensible innocence of childhood and a small town to a place of absolute fright, a perfect metaphor for Halloweekend. At around 1 minute and 20 seconds, the familiar positive synths get undercut by a deep pumping bass, adding a new layer of fear. Another minute passes and then an overwhelming wave of calculated dischord on the lead synth fades in and launches this song into full creep, filling the ears with the a sound so full, so alarming, that it shakes your brain into alertness as your breathing accelerates and your pupils involuntarily widen.

Dylan Grosz

 

“Disturbia” – Rihanna

Rihanna’s 4th number one is lauded by music critics and fans as one of her best songs for many reasons: it’s danceable, catchy, and features haunting lyrics and melodies. The song itself transports you to a dark, gritty world that perfectly captures the spirit of Halloween.

Dante Laird

 

“In the Room Where You Sleep” was featured in the monumentally frightening “The Conjuring,” and for good reason: it starts out fun and spooky due to its contagious synth, but is ultimately taken over by genuinely eerie gothic rock. Zach Shields and Ryan Gosling (literally Ryan Gosling) sing in half-dead mumbles about a thing they see in “the room where you sleep,” and the ambiguity is terrifying as we imagine it “touching [our] hair.” Everything about this song is a mimic of “The Conjuring” and haunted houses in general: the isolated clapping that reminds us of that one terrifying scene, the creaking floorboards and heavy breathing, the lyrics that sing of something dangerous looming, something that takes over the song until it becomes threatening, warning in a gravelly mumble that “you better run, you better hide.”

– Medina Husakovic

 

“Infernal Dance” from “The Firebird Suite” – Igor Stravinsky

Extremely experimental when it premiered in 1910, this composition maintains its effect on audiences even today. Frantic, wild and uncontrollable, this movement causes feelings of anxiety and conjures terrifying images of fiery beasts in dance, a diabolical bacchanalia. The primitive yet not overly exaggerated essence of this piece seems to touch the fiendish aspects of our souls. With its dissonance and harsh rhythms, this composition is sure to darken anyone’s day.  

– Benjamin Maldonado

 

Contact Tyler Dunston at tdunston ‘at’ stanford.edu

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Playlist: The Stanford Daily music beat shares their songs for the midterm struggle https://stanforddaily.com/2016/10/25/music-beat-playlist-midterms/ https://stanforddaily.com/2016/10/25/music-beat-playlist-midterms/#respond Tue, 25 Oct 2016 08:08:04 +0000 https://stanforddaily.com/?p=1118529 “Piano Phases” — Steve Reich From his “Another Look at the Counterpoint,” “Piano Phases” by Steve Reich is a 12-minute minimalist epic. The repeating rhythms are both calming and invigorating, allowing the mind to focus without being distracted. Using phasing (the technique of shifting repeating melodies forward or back half a beat), this piece is […]

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“Piano Phases” — Steve Reich

From his “Another Look at the Counterpoint,” “Piano Phases” by Steve Reich is a 12-minute minimalist epic. The repeating rhythms are both calming and invigorating, allowing the mind to focus without being distracted. Using phasing (the technique of shifting repeating melodies forward or back half a beat), this piece is sure to keep you awake during the seemingly endless nights of studying (it might also sound a bit stressful, but this is also perfect for midterm week).

Benjamin Maldonado

 

“Bros vs. Ufos” — Princess Century

From their 2015 album “Progress,” Princess Century’s “Bros vs. Ufos” has no lyrics but rather an insidiously good beat, an alien flux, a minimalist rhythm that doesn’t compromise your studying but furnishing your brainwaves with a dynamic, productive repetition. At 6 minutes and fifteen seconds long, this “Stranger Things”-esque song eventually presses into itself; you can practically hear the cogs compress in a way that is massively conducive to strapping down and focusing on notes that are otherwise not so enticing.

— Medina Husakovic

 

“How We Feel” — Panama

Panama’s “How We Feel” is a perfect song for those nights when you need a chill, atmospheric song to get into the zone, but one that’s still upbeat enough so you don’t fall asleep!

— Andrea Lim

 

“A 1000 Times” — Hamilton Leithauser + Rostam

Hamilton Leithauser + Rostam’s “A 1000 Times” begins with a promise of being soft and easy listening. However, similar to Stanford academics, you realize that any promise of ease gets broken very soon and very quickly. The song blasts into a loud rasping verse and chorus that still somehow retains the tenderness from the now long-forgotten beginning. It will leave the listener singing along as they join Hamilton and serenade good midterm grades, belting that they had “a dream that you were mine … a thousand times.”

Dylan Grosz

 

“3 Strikes” — Terror Jr.

With a bouncing, ethereal beat and vocals to match, this song is perfect whether you’re on the treadmill at the gym or trying to fill your dorm room with enough noise to get yourself to finally write that midterm paper — without getting too distracted by said noise, of course.

– Dante Laird

 

“Reconsider” — The xx (Jamie xx edit)

This song, though minimal and dreamy, has the beat to keep you going on those late night study sessions, but it’s unobtrusive enough to allow for concentration. The weaving in and out of Romy Madly Croft’s and Oliver Sim’s vocals, fading in and out with Jamie xx’s excellent production, provide a calming, minimal soundtrack to a long, quiet night of studying.

— Tyler Dunston

 

“Day Two” – Lemaitre

Lemaitre’s “Day Two” from their recent EP “1749” is a uplifting track featuring Lemaitre’s acoustic instrumentals combined with electronic sounds. The vocals are soothing, and the tone of the track is calming and focused without verging on boredom. The speed of the track also works well — it is driven, but not to the point of hyperactivity. In all, it is not a distracting track, and it provides some pleasing background entertainment to the hard-working student struggling with their midterms. The lyrics are also rather encouraging: “We’re gonna make it,” exclaims the song optimistically. For further listening, Lemaitre’s “1749” features a plethora of tracks with a similar quality, making that collection ideal for studying.

— Trenton Chang

 

“Pick Me Up” – Dinosaur Jr.

Listen to the encouraging words of these middle-aged alt-rock survivors — they’ve been around for longer than you, and regardless of age, “hold on” is good all-purpose advice. Also, sometimes you just need a really long guitar solo to relieve your stress.

Jacob Kuppermann

 

“My Neighbor Totoro” – Ghibli

What’s the best time to study? When you’re concentrated and relaxed, of course! A sense of relaxation often results in optimum levels of concentration, and this is best achieved when the brain produces alpha waves. When it comes to relaxing songs, Ghibli Studio is full of relaxing music covers of familiar theme songs. The CD piano cover of “My Neighbor Totoro,” one of the most famous pieces in Ghibli, is bound to bring out those alpha waves.

— Maimi Higuchi

 

“Watership” – Au5 & COMA

“Watership” represents an entirely new level in electronic downtempo, blending mellow melodies and warm vocals with a deep atmospheric ambience. Granted, you might begin to daydream of swimming through the depths of the Pacific, but if you’re already in the zone, it will inspire and encourage you to keep going.

— Vince Ranganathan

 

Touch of Grey” – The War On Drugs

Adam Granduciel and company inject a dose of their signature mellow psychedelia into Grateful Dead’s optimistic classic, “Touch of Grey.” It’s a nice reminder that, yes, you will get by any nasty midterm that your professor throws at you. You will survive.

Alan Brown

 

Contact Tyler Dunston at tdunston ‘at’ stanford.edu.

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Ten featured albums of the summer https://stanforddaily.com/2016/10/11/ten-featured-albums-of-the-summer/ https://stanforddaily.com/2016/10/11/ten-featured-albums-of-the-summer/#respond Wed, 12 Oct 2016 06:09:48 +0000 https://stanforddaily.com/?p=1117870 With Volume 250 of The Daily up and running, we’d like to start off the quarter by highlighting some of the best music releases that came out during summer break. 2016 has been an all-around great year for music so far, and this past summer is no exception. Below, I’ve compiled a variety of releases […]

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With Volume 250 of The Daily up and running, we’d like to start off the quarter by highlighting some of the best music releases that came out during summer break. 2016 has been an all-around great year for music so far, and this past summer is no exception. Below, I’ve compiled a variety of releases that came out from the end of school last year (June 10) up to the first day of classes this year (Sept. 26). We hope you find something here you enjoy.

“Give a Glimpse of What Yer Not” — Dinosaur Jr.

Veteran indie rock group Dinosaur Jr. has returned with the fourth installment to its unprecedented third act as a band. Much like previous releases “Beyond,” “Farm” and “I Bet on Sky,” “Give a Glimpse of What Yer Not,” is no-bullshit indie rock in the traditional sense — fast-paced songs, instantly-gratifying hooks and a healthy amount of killer guitar solos courtesy of J. Mascis, one of indie rock’s most iconic guitarists. This is Dinosaur Jr. doing what Dinosaur Jr. does best. The contributions by J. Mascis and Lou Barlow work together and contrast each other in rewarding ways, reminding us how good it is to have the band back together.

“HEAVN” — Jamila Woods

You might remember Jamila Woods’ smooth vocals from last year’s summer hit “Sunday Candy,” off of Chance the Rapper-affiliate Donnie Trumpet & The Social Experiment’s excellent debut LP “Surf.” Or perhaps you recognize her from Chance the Rapper’s excellent (“ain’t-no-gosh-darn-part-you-can’t-tweet”) new mixtape “Coloring Book.” But more than a featured singer on a few hit songs, Jamila Woods is an auteur — musician, poet, activist, etc. — and her debut “HEAVN” is a phenomenal collection of soul and gospel-influenced, socially conscious R&B. Thematically, it covers everything from love to systematic injustice to growing up. As a singer, Woods handles every note with care, and as a writer, she’s crafted an album in which every song feels essential, from the woozy love ballad of Chance the Rapper-featuring “LSD” to the powerful, Noname-featuring “VRY BLK.”

“Prima Donna” – Vince Staples

Last year, Long Beach rapper Vince Staples came out with “Summertime ’06,” his debut LP as well as one of 2015’s best albums. Following up this ambitious double album with an equally ambitious, though slimmer, EP entitled “Prima Donna,” Staples proves himself to be one of the most conceptually and technically riveting new rappers on the scene. Staples tells the story of a rapper from the beginning of his career to his eventual suicide — and he tells it backwards. The album, like “Summertime ’06,” opens with a gunshot. In between, we’ve got dark, mumbled interludes (including a rendition of “This Little Light of Mine”), new production sounds courtesy of James Blake, No I.D. and Dahi, (which veer from dark and dazed atmospheres to vigorous beats) some of the best bars we’ve heard yet from Vince Staples, and commentary on everything from the insidious nature of institutionalized racism (“War Ready”) to the startling impact of fame (“Prima Donna”).

“For Those Of You Who Have Never (And Also Those Who Have)” — Huerco S.

You may not have heard of the Kansas City producer Huerco S. (a.k.a. Brian Leeds) at this point, but keep an eye out. An ambient artist with a soft spot for club’s quieter side, Huerco S.’s “For Those Of You Who Have Never (And Also Those Who Have)” is undoubtedly one of 2016’s strongest ambient albums to date. Eschewing any traditional sense of percussion, Huerco S. makes electronic music more closely linked to Aphex Twin’s “Selected Ambient Works Volume II” than, say, the “Richard D. James Album.” It’s ambient music in a traditional sense, but the subtle influence of club music and the preference of sudden song endings rather than a seamless flow make this record unique. The languid echoes of synth that stream across this record are achingly melancholy and well worth a thorough listen with a good pair of headphones.

“Telefone” — Noname

Chicago rapper and slam poet Fatimah Warner (better known by her stage name Noname) has been delivering killer, insightful guest verses on a variety of great songs over the past few years (most famously her appearance on Chance the Rapper’s breakout mixtape “Acid Rap” on the song “Lost”). This past summer, her debut mixtape “Telefone” has been released, and it is a brilliant and quiet (but no less devastating for it) affair. As always, Noname’s flow is tight, and the production is lush and intimate. “Telefone” is at once inspiring and harrowing, detailing artistic struggle and racial injustice as well as personal and collective grief, while also finding strength in overcoming.

“Freetown Sound” — Blood Orange

Writer Brian Howe once said that if Prince were an introvert, he’d probably sound something like Blood Orange (otherwise known as Dev Hynes). Indeed, there’s no denying the influence of Prince on Blood Orange’s sound, and Dev Hyne’s work is quieter, more contemplative than Prince’s. Although “Freetown Sound,” Blood Orange’s best record yet, provides us with some striking beats and soaring hooks from guest vocals ranging from Carly Rae Jepsen to Nelly Furtado, it is undoubtedly a quieter affair than anything in Prince’s oeuvre. This is not to say the album doesn’t have intense moments. From the opening lines of standout track “Augustine” (“My father was a young man / My mother off the boat / My eyes were fresh at 21 / Bruised but still afloat”) to the Ta-Nehisi Coates sample on “Love Ya,” “Freetown Sound” is replete with powerful, thought-provoking moments.

“MY WOMAN” — Angel Olsen

Until recently, many fans have known singer-songwriter Angel Olsen as a folk musician. On her searing opus “Burn Your Fire for No Witness,” she pushed folk rock to its limits, imbuing it with a fire that simmered with quiet energy. With her newest release “MY WOMAN,” Olsen moves towards a more full-fledged rock sound, broadening her sonic palette and embracing some of her most direct hooks. Her songwriting is top-tier, as always, her lyrics at once emotional and philosophical, and the vocal melodies, particularly on “Heart Shaped Face” and “Sister” are powerful. In particular, the way in which longer tracks “Sister” and “Woman” build over Olsen’s resonant vocals lends the album an emotional heft that is remarkable, evoking heartbreak, melancholy, desire, etc. Though fans may at first miss the simmering folk of “Burn Your Fire for No Witness,” Olsen’s “MY WOMAN” demonstrates that she is capable of anything.

“Skeleton Tree” — Nick Cave & The Bad Seeds

Born out of unspeakable personal tragedy, Nick Cave’s newest release with The Bad Seeds asks the question: How do you even talk about an album that tackles loss in such a harrowing way? Simply put, if you want the more profound experience, you don’t. You listen. I don’t think it’s an exaggeration to say that “Skeleton Tree” is one of the best albums in an already remarkable discography, up there alongside “The Boatman’s Call,” “Abattoir Blues / Lyre of Orpheus” and “Let Love In.” From the minimal, experimental sonic landscape to Nick Cave’s by-turns mythological (“Jesus Alone”) and deeply personal (“I Need You”) lyrics to the emotional desolation depicted herein, “Skeleton Tree” is not, strictly speaking, pleasurable to listen to. But it is meaningful and gut-wrenching. There are no pleasant pop songs, no earworm melodies. This album demands full intellectual and emotional attention. Like the most powerful Greek tragedies, “Skeleton Tree” takes us through a harrowing landscape of pain and loss and leaves us with catharsis.

“Puberty 2” — Mitski

Mitski Miyawaki (primarily known by her stage name Mitski) has made one of the best indie rock albums of the year. The effortlessly searing “Puberty 2” covers a wide sonic and emotional range. Standout track “Your Best American Girl” tells a story of love and loss in the context of cultural divide: “Your mother wouldn’t approve of how my mother raised me / But I do, I finally do / And you’re an all-American boy / I guess I couldn’t help trying to be the best American girl.” Mitski’s vocal performance on this song is impassioned and bracing and beautiful, and the rest of the record is in the same vein. The album, though a pleasure to listen to, covers some dark territory. “My Body’s Made of Crushed Little Stars” distorted guitar documents the pain of restlessness, “I Bet on Losing Dogs” feels like an elegy for faded love, and opening track “Happy” is anything but. In spite of, or perhaps, because of this, “Puberty 2” feels triumphant, an indie rock record that soars even when it sinks.

“Blonde” — Frank Ocean

It was getting to the point where we weren’t sure if Frank Ocean’s second album would ever see the light of day. Even if it did, many were convinced that Ocean could never follow up his masterpiece “Channel Orange,” one of the most canonical R&B albums in recent memory. It’s been four years, and the follow-up is here: “Blonde,” an album that makes genre designation seem quaint and daunting. This may come close to heresy, but let me say that “Blonde” is every bit as good as its predecessor, though in very different ways. “Blonde” is undoubtedly less immediately accessible — the production is more minimal, experimental and guitar-laden. As always with Frank Ocean, who will almost surely go down as one of the best songwriters of the 21st century, the vocal melodies, the lyrics, the production and the overall product are top-notch. Songs like “Self Control,” “Skyline To,” “Ivy,” “Godspeed,” etc. are of the highest tier. And though the highs on “Channel Orange” are untouchable, “Blonde” feels like a more cohesive record overall in terms of mood and sound, making for one of the year’s best records thus far.

 

Contact Tyler Dunston at tdunston ‘at’ stanford.edu.

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Bon Iver’s ‘22, A Million’ finds beauty in uncertainty https://stanforddaily.com/2016/10/04/boniver-22amillion-album-review/ https://stanforddaily.com/2016/10/04/boniver-22amillion-album-review/#respond Wed, 05 Oct 2016 04:37:09 +0000 https://stanforddaily.com/?p=1117587 It’s been five years since we’ve last heard from Bon Iver, a band that, since its inception, has been undergoing consistent reinvention. Since the evocative, quietly experimental folk of “For Emma, Forever Ago” — Bon Iver’s debut LP — Justin Vernon has become one of the biggest stars in the indie world. Expectations for his sophomore […]

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It’s been five years since we’ve last heard from Bon Iver, a band that, since its inception, has been undergoing consistent reinvention. Since the evocative, quietly experimental folk of “For Emma, Forever Ago” — Bon Iver’s debut LP — Justin Vernon has become one of the biggest stars in the indie world. Expectations for his sophomore album were lofty and specific, and he managed to exceed them in surprising ways with 2011’s “Bon Iver.” Likewise, the expectations for his new record “22, A Million” were crushingly high. After “For Emma,” Vernon was pegged as an indie folk darling. With the fuller chamber pop of “Bon Iver,” Vernon took home a Grammy, and all eyes have been on him ever since. Vernon’s newest album “22, A Million” is simultaneously a shocking change in direction and a natural continuation of his creative arc thus far — a cryptic and emotional existential crisis of a record.

Since “For Emma,” Bon Iver has been trying to escape the origin story that birthed it: Artist at the end of relationship retreats to cabin in Wisconsin with guitar and records one of the best indie folk records of the decade. The image has only been romanticized over the years, but Vernon has always been more than a folk artist — which he proved on his sophomore LP and through his subsequent side projects and collaborations. But in the five-year gap between “Bon Iver” and “22,” a multitude of questions arose concerning Vernon as an artist. For “Bon Iver” to continue in a world where music is constantly changing, where music and technology shape each other in powerful ways, Justin Vernon would have to (as Radiohead did in the late ’90s) reexamine what it means to make music in the modern day. “22” does this and does it well.

“22” is not without precedent, but there’s no denying that it marks a giant leap forward in Bon Iver’s sound. Vernon largely eschews traditional song structures built around verses and choruses in favor of songs that sound like sketches or experiments. The opening track, “22 (OVER S∞∞N),” builds on a single, modulated vocal loop. There is a verse of sorts, the stirring refrain of “It might be over soon,” and a simple, striking saxophone solo before the song gives way to “10 d E A T h b R E a s T ⊠ ⊠,” which might be the most strikingly different song on the album for Bon Iver listeners with its crunchy beat. Other tracks such as “715 – CRΣΣKS” are made up only of modulated, layered vocals that build upon each other. These songs are often skeletal and impressionistic in nature, leaving behind more questions than they answer. “22, A Million,” unlike Bon Iver’s previous work, feels uncertain, as if it’s trying to find its own place in the world.

Although “22, A Million” is markedly different from Bon Iver’s previous LPs, it is not entirely removed from previous work. Fans of Justin Vernon’s music can hear the roots of songs like “715 – CRΣΣKS” in the harmonies of “Woods” (off Bon Iver’s “Blood Bank” EP), another song made up of manipulated vocals layered on top of each other, building to powerful effect. Kanye West sampled “Woods” on the monumental “My Beautiful Dark Twisted Fantasy,” collaborating with Bon Iver again on 2013’s “Yeezus.” West’s influence on Bon Iver (particularly during the “Yeezus” period) is most apparent in the crunchy opening beat of “10 d E A T h b R E a s T ⊠ ⊠,” but the influence of West’s production style is apparent throughout. Additionally, we see the beginnings of the new sound of “22, a Million” in Volcano Choir’s (Vernon’s side project with Collections of Colonies of Bees) 2013 album “Repave.” Songs like “Byegone” and “Comrade” were bigger than any of Bon Iver’s releases at that point. Now, the highs of “22” at times reach this level of intensity.

Though “22” at first feels strikingly different from previous work, Justin Vernon has been experimenting with similar sounds throughout his career. The opening of standout track “33 ‘GOD’” sounds like it could be at home alongside “Michicant” from Bon Iver’s self-titled record. (Though, as it builds and S. Carey’s clashing drums come in, there is a clear divergence.) Likewise, “29 #Strafford APTS” is probably the closest thing to “For Emma” we’ve heard in awhile. It’s almost a folk song, but the modulated voice singing “Canonize, canonize” disrupts the illusion, reminding listeners that “For Emma” was indeed forever ago.

The burden of expectations placed on Bon Iver’s shoulders since the release of “For Emma” is one of the primary reasons for the crisis of identity that “22” documents. It explains those weird, semi-pronounceable song titles in the track listing as well as the flouting of traditional song structures. Bon Iver had to undergo reinvention in order to be free. “22,” which builds on an already stunning career, further proves that Bon Iver’s Justin Vernon will not be limited by genre, expectations or tradition in the pursuit of his art.

 

Contact Tyler Dunston at tdunston ‘at’ stanford.edu.

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From Bandcamp to Matador: Car Seat Headrest’s cathartic ‘Teens of Denial’ https://stanforddaily.com/2016/05/30/carseatheadrest-teensofdenial-album-review/ https://stanforddaily.com/2016/05/30/carseatheadrest-teensofdenial-album-review/#respond Mon, 30 May 2016 08:15:11 +0000 https://stanforddaily.com/?p=1115883 Will Toledo (A.K.A. Car Seat Headrest) is an example of a modern phenomenon: a musician making it big through the Internet. Over the past few years, he’s garnered a devoted fan base for his lo-fi Bandcamp-released indie rock recordings, such as 2011’s “Twin Fantasy” and 2014’s “How to Leave Town.” Recently, he caught the attention of noted independent […]

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Will Toledo (A.K.A. Car Seat Headrest) is an example of a modern phenomenon: a musician making it big through the Internet. Over the past few years, he’s garnered a devoted fan base for his lo-fi Bandcamp-released indie rock recordings, such as 2011’s “Twin Fantasy” and 2014’s “How to Leave Town.” Recently, he caught the attention of noted independent label Matador Records. With this, Will Toledo joined the ranks of previous Matador signees Pavement, Guided by Voices, Yo La Tengo and Belle & Sebastian.

2015’s “Teens of Style,” Toledo’s first record with Matador, was an album of old songs re-recorded using the studio provided by a label. (Given that the name “Car Seat Headrest” came from the fact that Toledo recorded many of his songs in the backseat of his car, this was quite a step forward.) The result was a promising indie rock album that boasted a more polished sound than his Bandcamp work, while still retaining a certain DIY aesthetic. Now, Car Seat Headrest has released his first proper album of newly-recorded songs, “Teens of Denial,” which, though it sonically resembles its predecessor, is wider and more coherent in scope. More than a collection of songs, “Teens of Denial” is a cohesive album – and an ambitious one at that.

It’s certainly one of the most lively albums dealing with depression we’ve heard so far this year. This is not to say that Toledo makes light of a serious subject. Rather, although he comments seriously on his own struggle with depression, anxiety and substance abuse, he has a keen sense for irony and a powerful wit. Toledo churns out killer indie rock tracks as well as more daring sonic adventures, able to render a thematically-dark song cathartic.

The sprawling, 12-minute epic “The Ballad of the Costa Concordia” is an example of the latter, solidifying “Teens of Denial”’s status as Toledo’s most ambitious work to date. At the emotional apex of the song, Will Toledo forgoes vocal melody in favor of a gripping spoken word interlude: “How was I supposed to remember to grab my backpack after I set it down to play basketball? / How was I supposed to know how to not get drunk every Thursday, Friday, Saturday / And – why not – Sunday? / How was I supposed to know how to steer this ship?” These lines, which reference the captain of the Costa Concordia, a cruise ship that sunk in 2012, speak to the recurring theme of depression and substance abuse on this album.

The opening track, “Fill in the Blank,” in addition to being one of the best indie rock songs of 2016 so far, announces this theme alongside piercing guitar riffs, pulling no punches in doing so. The chorus opens with the lines, “You have no right to be depressed / You haven’t tried hard enough to like it.” By the end of the song, these lines are subverted as Toledo cries, “I’ve got a right to be depressed / I’ve given every inch I had to fight it / I have seen too much of this world yes / And it hurts it hurts it hurts.” Thanks to Toledo’s talent for songwriting – most notably his soaring vocal melodies and guitar riffs – songs that deal with heavy subject matter become self-affirming. What makes “Teens of Denial” so compelling is that it is packed with songs like “Fill in the Blank,” which make make catharsis out of struggle.

 

Contact Tyler Dunston at tdunston@stanford.edu.

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‘A Moon Shaped Pool’: Radiohead returns with another anxious and mournful masterwork https://stanforddaily.com/2016/05/16/radiohead-amoonshapedpool-album-review/ https://stanforddaily.com/2016/05/16/radiohead-amoonshapedpool-album-review/#respond Mon, 16 May 2016 08:04:27 +0000 https://stanforddaily.com/?p=1115111 It’s been five years since Radiohead’s last album, 2011’s “King of Limbs.” Radiohead fans have been waiting with bated breath ever since guitarist Jonny Greenwood announced in 2014 that the band was working in the studio. This year, Radiohead teased the new album by (1) registering a new company called Dawn Chorus LLP (they’ve been […]

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(Courtesy of anyonlinyr, Wikimedia Commons)
Frontman Thom Yorke, known for his trademark falsetto. (anyonlinyr, Wikimedia Commons)

It’s been five years since Radiohead’s last album, 2011’s “King of Limbs.” Radiohead fans have been waiting with bated breath ever since guitarist Jonny Greenwood announced in 2014 that the band was working in the studio. This year, Radiohead teased the new album by (1) registering a new company called Dawn Chorus LLP (they’ve been known to register companies in the past before dropping an album), (2) sending cryptic leaflets, which read “Burn the Witch” and “We know where you live” to the houses of fans in the U.K., (3) completely erasing their Internet presence and (4) releasing the singles “Burn the Witch” and “Daydreaming,” each with their own music video.

And now, here it is, Radiohead’s ninth studio album: “A Moon Shaped Pool.” The first thing you’ll notice on the album’s opening track “Burn the Witch” is the percussive strings of Jonny Greenwood, whose expressive arrangements are prevalent on this album, as well as the ambiguous, paranoid lyrics emblematic of Thom Yorke. The album’s first lyric reads, “Stay in the shadows / Cheer at the gallows / This is round-up / This is a low flying panic attack,” evoking everything from the frenzy of the Salem Witch Trials to the anxiety, paranoia and uncertainty of living in the modern world, which Radiohead so brilliantly captured on their landmark 1997 record “OK Computer.”

After “Burn the Witch” comes a rapid tonal shift, which due to Radiohead’s and producer Nigel Godrich’s uncanny knack for music, sounds like a natural progression. We quickly go from the anxiety-stricken rush of “Burn the Witch” to the beautifully mournful ballad “Daydreaming,” which opens with stark piano and the defeated line, “Dreamers, they never learn.” In mere seconds, the break-neck pace of the strings is replaced by slow, spare piano and Yorke’s echoing vocals.

The shift from “Burn the Witch” and “Daydreaming” is indicative of the album as a whole, which fluctuates between themes of anxiety and heartbreak. Musically, the record is not a total stylistic shift in the way that “Kid A” was, though there are new and striking elements here (the prevalence of Greenwood’s orchestration, for one). Rather, it’s an affirmation of everything that Radiohead does so well. You have Radiohead’s own unique brand of rock in songs like “Identikit,” with its stunning guitar solo, which is at once frenetic and controlled. And you have heart-wrenching ballads like “Glass Eyes,” with its devastating strings and its direct and emotional lyrics. The song opens with Yorke singing, “Hey it’s me / I just got off the train,” and ends with “I feel this love turn cold.” Despite their at times perplexing lyrics, Radiohead knows how to pull at your heartstrings when they want to.

Perhaps the most striking example on this album of Radiohead’s exceptional skill is the closing track “True Love Waits.” Though this song has been played and recorded live as early as 1994, it had yet to find its way into Radiohead’s studio work, but it has certainly found a home on “A Moon Shaped Pool.” The new “True Love Waits” – noticeably different from the version off of the 2001 live EP “I Might Be Wrong” with its driving acoustic strums – is driven by spare piano and lightly soaring vocals. The effect is devastating when coupled with Yorke’s lyrics. Yorke opens by singing, “I’ll drown my beliefs” and closes with the refrain of “just don’t leave.” Solidifying the theme of heartbreak on this record, the song speaks to the aching need of love and the wrenching pain of loss.

It’s certainly a painful ending, as the endings to most Radiohead albums tend to be. After five years of silence from the band, it’s hard to see them leave again. Fans have waited a long time for this record, and it’s safe to say they’ll be waiting at least as long for the next. Indeed, considering Radiohead’s stellar discography and their profound influence on modern music, all this impatient anticipation for their next creation is hard to deny. But hey, true love waits.

 

Contact Tyler Dunston at tdunston@stanford.edu.

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Album Review: M83’s most recent space odyssey https://stanforddaily.com/2016/05/11/m83-album-review/ https://stanforddaily.com/2016/05/11/m83-album-review/#comments Wed, 11 May 2016 17:12:29 +0000 https://stanforddaily.com/?p=1114759 M83’s new album is called “Junk,” the art for its lead single “Do It, Try It” features a floating dog head in space and its second single “Go!” features an epic guitar solo courtesy of Steve Vai. Compared to M83’s previous record “Hurry Up, We’re Dreaming,” known for its hit single, “Midnight City,” the new album […]

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Anthony Gonzalez of M83. (Courtesy of Rama, Wikimedia Commons)
Anthony Gonzalez of M83 (Courtesy of Rama, Wikimedia Commons)

M83’s new album is called “Junk,” the art for its lead single “Do It, Try It” features a floating dog head in space and its second single “Go!” features an epic guitar solo courtesy of Steve Vai. Compared to M83’s previous record “Hurry Up, We’re Dreaming,” known for its hit single, “Midnight City,” the new album “Junk” has received lukewarm reviews. Reviewers have criticized it for being cheesy, going overboard with the 80s nostalgia, etc.

And while the depth of mining for old sounds on this album, combined with M83’s penchant for emotional extremes, can at times feel gratuitous, I’m here to defend the unapologetic ‘epic-ness’ that “Junk” provides. It’s important to note that M83 have never exactly been subtle. They’re named after a galaxy, and even the early “Dead Cities, Red Seas, & Lost Ghosts” had its fair share of post-rock crescendos juxtaposed with moments of electronic ambience.

Though perhaps not as cohesive as their previous release “Hurry Up, We’re Dreaming,” M83’s “Junk” captures the same emotional extremes of past work. From the ecstatic highs of the piano-driven opener “Do It, Try It” and the colossal “Go!” to more melancholy and, at times, subdued songs like “Solitude” – a song that’ll make you feel like you’re actually floating in space – and the heart-wrenching duet “Atlantique Sud.”

“Atlantique Sud,” a highlight from the new album, is an evocative duet  between Anthony Gonzalez and Mai Lan sung in French. It’s a love song in the classic sense, but like much of the album, the instrumentation – in this case, the piano, horns, strings and reverb-drenched vocals — gives us the sense that the two lovers exist outside of space and time, away from one another. The vocals weave in and out seamlessly, singing softly to each other across the distance: “Je pense toujours à toi” (I always think about you), “Je t’attends dans le noir,” (I’m waiting for you in the dark), etc.

If you read these lines on paper, you could easily criticize them for being cheesy, overly-romantic, etc., but when sung, they become transcendent. This is the key to much of M83’s music. Yes, it’s romantic, epic, even cheesy at times. But the talent of Anthony Gonzalez as a songwriter makes us suspend our disbelief for a moment.

In this sense, “Junk” is not as far as it may first appear from the sweeping, dramatic unfolding that the double LP “Hurry Up, We’re Dreaming” gave us. This record, like “Junk,” mined 80s nostalgia (e.g. the sax solo at the end of “Midnight City”) in order to create an immersive experience. “Junk” is more of a continuation of this trend than a departure. However, it does differ from M83’s previous works in one sense: In the sea of emotion, “Junk” knows how to have fun.

 

Contact Tyler Dunston at tdunston@stanford.edu.

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The Outsiders deliver a monster performance at EBF https://stanforddaily.com/2016/05/01/the-outsiders-deliver-a-monster-performance-at-ebf/ https://stanforddaily.com/2016/05/01/the-outsiders-deliver-a-monster-performance-at-ebf/#respond Sun, 01 May 2016 20:56:09 +0000 https://stanforddaily.com/?p=1114289 Last Wednesday, The Outsiders stopped by the Enchanted Broccoli Forest to play a set that got the denizens of EBF Happy Hour even more excited than usual. Though both graduated last year, artists Eli Arbor (Elliot Williams ’15) and gage (Megan Gage ’15) returned to Stanford, joining EAGLEBABEL (Tyler Brooks ’16), Jae (Janei Maynard ’16) […]

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Jae, EAGELBABEL, and Eli Arbor perform at Enchanted Broccoli Forest. Photo by Rahim Ullah/The Stanford Daily
Jae, EAGELBABEL, and Eli Arbor perform at Enchanted Broccoli Forest. Photo by Rahim Ullah/The Stanford Daily

Last Wednesday, The Outsiders stopped by the Enchanted Broccoli Forest to play a set that got the denizens of EBF Happy Hour even more excited than usual. Though both graduated last year, artists Eli Arbor (Elliot Williams ’15) and gage (Megan Gage ’15) returned to Stanford, joining EAGLEBABEL (Tyler Brooks ’16), Jae (Janei Maynard ’16) and Jess (Jessica Spicer ’17) in an exchange of raps and vocals over the course of the night. Needless to say, it was an amazing show, characterized by infectious energy, range and skill.

All this comes as no surprise — it’s The Outsiders, after all — but, due in part to the distinctive nature of the venue, this show stood out as particularly unique. The Outsiders’ work demonstrates impressive range, from hard-hitting tracks perfectly suited for a late-night party to heartbreaking songs intimate enough for a living room. As EBF’s Happy Hour fits more in the former category, energetic tracks like their “O/X1” mixtape highlight “Hurr About Us” felt right at home. Yet more intimate tracks like EAGLEBABEL’s “Tryin’” and Eli Arbor’s “My Paradise” lost none of their power. In fact, they felt amplified by the contrast.

The covers were as striking as the originals, providing some of the most high-energy moments of the night. Introducing one of them, EAGLEBABEL said simply, “I forgot one ode on the last tape” — referring to his debut solo EP “Odes,” in which each song refers to an artist who inspired him — before diving into a stirring cover of Missy Elliott’s “Wake Up.” Another likewise dazzling cover was the concert-closing rendition of Kanye West’s “Monster,” featuring Jess’s fierce raps on the Nicki Minaj verse. Every fist in the room was in the air as EAGLEBABEL, Jess, Eli, and co. shouted, “I’mma need to see your fucking hands at the concert.”

At the same time, some of the most arresting songs at The Outsiders’ performance on Wednesday were the more intimate tracks, all the more compelling in contrast to the venue’s usual intensity. EAGLEBABEL’s “Tryin’,” a standout track from his “Odes” EP, was a clear high point. The crowd that had been cacophonous a minute before was now almost hushed, as EAGLEBABEL delivered the song’s most devastating couplet, “If I ever said that I loved you I would be lyin’ / So yeah that makes two, but why does it feel like I got the blame for tryin’?”

Likewise, Eli Arbor’s “My Paradise,” a highlight from his debut “IDols,” stunned the crowd with its honest depiction of an interracial relationship in a world of prejudice. Sobering lines like “And she cares, but some things she’ll never get / Like when we get pulled over — keep your cool or I’m dead” rang out vividly over the sounds of Happy Hour. Eli’s raps and gage’s ethereal vocals wove in and out against the otherwise-raucous night. “And it’s not like I don’t wanna be with her / I just gotta be sure that I’m me with her,” he sang. Although it was a bustling setting for such intimate lines, Eli made it work.

And that’s what The Outsiders do. They make it work — whatever it happens to be. They pull together a wide variety of interests, ideas, emotions and talents, and they do it with grace and skill. And then they proceed to make it look effortless. We witnessed this at EBF last Wednesday, and we will undoubtedly see it again in their future endeavors.

Contact Tyler Dunston at tdunston ‘at’ stanford.edu. 

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Gallant’s debut LP ‘Ology’ perplexes and dazzles in equal measure https://stanforddaily.com/2016/04/13/gallant-ology/ https://stanforddaily.com/2016/04/13/gallant-ology/#respond Thu, 14 Apr 2016 06:45:52 +0000 https://stanforddaily.com/?p=1113559 On his debut LP “Ology,” Gallant manages to appear at times classic and at times groundbreaking. But whether he’s reviving old sounds or creating new ones, he’s an invigorating new voice in contemporary R&B. The appeal is thanks not only to this juxtaposition of old and new but also to his technical skill as a […]

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The album artwork for "Ology" (Wikimedia Commons).
The album artwork for “Ology” (Wikimedia Commons).

On his debut LP “Ology,” Gallant manages to appear at times classic and at times groundbreaking. But whether he’s reviving old sounds or creating new ones, he’s an invigorating new voice in contemporary R&B. The appeal is thanks not only to this juxtaposition of old and new but also to his technical skill as a singer. Gallant’s vocal instrument comfortably stands shoulder to shoulder with today’s (not to mention yesterday’s) R&B vocal greats. At the same time, it’s hard to know where to place Gallant in the context of the modern R&B scene.

He doesn’t quite fit in with current artists pushing the genre forward like Frank Ocean, Miguel and the Weeknd. He doesn’t fit into the scene of more alternative R&B artists like FKA twigs, Blood Orange and How to Dress Well. Nor can we lump him in with contemporary Soul/Motown/etc. revivalists such as Leon Bridges, Sharon Jones and the Dap-Kings or Charles Bradley, though he does exhibit throwback tendencies alongside more modern sounds. This is because Gallant’s first full-length LP “Ology” does a little bit of everything. As a result, though the album might lose a bit of precision and focus in trying to be several things at once, it shows off Gallant’s impressive range, positioning him as one of the most exciting new artists of 2016.

“Bourbon,” one of the lead singles off “Ology,” is an excellent example of Gallant’s prowess as a songwriter and vocalist – not to mention his stylistic range. The warm electronic production, coupled with Gallant’s hushed, immediately captivating vocals, initially brings to mind artists like How to Dress Well. However, Gallant quickly sets himself apart by demonstrating his incredible vocal range (in both falsetto and full voice), as well as his by-turns cryptic and direct lyricism. Enigmatic lines like “I’m a headless horseman on quilted sand dunes” stand alongside the striking refrain of “I’m shaking, and I need it like bourbon in my coffee cup.”

Though “Bourbon” sets Gallant apart from mainstream R&B with its ambiguous lyrics and alternative synth production, the melody, verse-chorus structure and thrilling vocals are relatively radio-friendly. In this sense, “Ology” is more direct and accessible than Gallant’s previous EP, “Zebra,” which boasts a more alternative sound. With “Ology,” Gallant throws his hat into the ring, not to merely be another idiosyncratic voice in the crowd but to be at the forefront of modern R&B.

That being said, Gallant is not a pop songwriter. We see this in the one-minute, atmospheric “Oh, Universe,” the production of “Miyazaki,” the ambiguous “First” and “Last,” which bookend the album (evoking Frank Ocean’s “Start” and “End” on “Channel Orange”) and Gallant’s lyrics. Despite his powerhouse voice and his penchant for memorable, striking melodies, Gallant is alternative, inspired by artists ranging from Seal to Sufjan Stevens. This is why Gallant is such an enigma. It is also why “Ology” is one of the most interesting and exciting albums of 2016 so far.

 

Contact Tyler Dunston at tdunston@stanford.edu.

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Real People Music dazzles at Sprung https://stanforddaily.com/2016/04/04/real-people-music-sprung/ https://stanforddaily.com/2016/04/04/real-people-music-sprung/#respond Tue, 05 Apr 2016 02:11:19 +0000 https://stanforddaily.com/?p=1113017 For those who didn’t attend — and were perhaps wondering what was going on at FloMo Field this past weekend — Sprung Music Festival 2016, put on by the Stanford Concert Network, assembled a diverse team of artists for another captivating musical event. Attempting to cover every act at this five-hour festival in 500 words […]

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For those who didn’t attend — and were perhaps wondering what was going on at FloMo Field this past weekend — Sprung Music Festival 2016, put on by the Stanford Concert Network, assembled a diverse team of artists for another captivating musical event. Attempting to cover every act at this five-hour festival in 500 words would do a disservice to all concerned. I will, however, do my best to provide a snapshot of the event by discussing the phenomenal set put on by Stanford’s own Real People Music.

I’ve seen a lot of bands perform on Stanford’s campus, and I’ve seen Real People Music a number of times. And somehow, no matter how many times I do, they never get old. This is due in part to their impressive live repertoire, including original songs as well as a variety of covers – ranging from Stevie Wonder to Parliament to Hiatus Kaiyote. With set-lists like theirs, things are always interesting, and Real People Music undoubtedly have the technical chops to back up this stylistic range.

Real People Music’s stunning performance at Sprung exemplified both the range and the talent of those onstage. Case in point: the band’s cover of Alicia Keys’s “Fallin’,” which transitioned seamlessly into a rendition of James Brown’s “It’s a Man’s, Man’s, Man’s World” and back again, featuring the show-stopping pipes of vocalist Gracie Laboy ‘16. Though such an epic mash-up might sound like a difficult feat, the folks at Real People Music pulled it off effortlessly.

The band demonstrated their depth not only through their wide range of expertly handled covers, but also through their original work. James Hanley ‘16 announced a new original song thusly at last weekend’s performance: “I wrote this song. It’s called ‘The Stanford Blues.’ It’s about feeling bad and stuff.” (Check it out on their new SoundCloud release “Sprung EP [Demo],” along with other Sprung originals such as “Sensitive Stinger.”) Between the band’s classic blues riffs, Hanley’s impassioned howls, and a variety of Stanford-specific takes on classic blues lyrics, “The Stanford Blues” was a hit, providing levity to balance out the melancholy of this otherwise fairly traditional track.

Real People Music provided the perfect closer to a phenomenal set in the form of an exuberant rendition of Stevie Wonder’s “I Wish.” A song capable of getting any crowd moving and humming along, the Stevie Wonder cover perfectly suited the atmosphere of SCN’s 2016 Sprung Festival and cemented Real People Music’s status as one of Stanford’s most consistently excellent live bands. Considering their routinely high-caliber live shows, embodied in their performance at this year’s festival, the next time we see Real People Music may well be on a higher-profile stage.

Contact Tyler Dunston at tdunston ‘at’ stanford.edu. 

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‘A Man Alive’ delivers a little slash, a little burn https://stanforddaily.com/2016/03/03/a-man-alive/ https://stanforddaily.com/2016/03/03/a-man-alive/#respond Fri, 04 Mar 2016 03:54:24 +0000 https://stanforddaily.com/?p=1112060 Looking for weird melodies, experimental yet strangely accessible jams, or a personal record about love and lack? Thao & The Get Down Stay Down’s new album “A Man Alive” somehow checks all of these boxes. Musically, it’s across the board: rock/pop, folk, hip hop, punk, electronica. It’s all there — somewhere. Working with producer Merrill Garbus […]

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Thao Nguyen performing with her band, The Get Down Stay Down, in 2009. (Courtesy of musicisentropy, Wikimedia Commons.)
Thao Nguyen performing with her band, The Get Down Stay Down, in 2009. (Courtesy of musicisentropy, Wikimedia Commons.)

Looking for weird melodies, experimental yet strangely accessible jams, or a personal record about love and lack? Thao & The Get Down Stay Down’s new album “A Man Alive” somehow checks all of these boxes. Musically, it’s across the board: rock/pop, folk, hip hop, punk, electronica. It’s all there — somewhere.

Working with producer Merrill Garbus of tUnE-yArDs, Thao Nguyen and her band The Get Down Stay Down’s latest album has a bizarre edge. They’ve come along way from their excellent debut “We Brave Bee Stings And All” (2008). Like tUnE-yArDs, Thao Nguyen & The Get Down Stay Down have become quite comfortable defying genre categorization.

Exhibit A: Album opener “Astonished Man,” which showcases erratic guitar, groovy beats, and Thao Nguyen’s off-kilter vocals. Comparisons to other indie art-rock acts like St. Vincent, TV on the Radio and early Animal Collective are not unmerited, but something about this feels unique. The key difference here lies in Nguyen’s songwriting.

Some context from the artist: “The record is essentially about my relationship with my dad, its trajectory. It’s a document of my life in conjunction with his, even though we’ve been always leading our lives away from each other. Some are optimistic and forgiving, some are the opposite.”

It’s heavy stuff for a record this fun. The melodies are strange but infectious, and the rhythms are downright funky, even as Nguyen spits such biting lines as, “A little slash, a little burn / A little never to return.” Indeed, one of the more compelling qualities on this album is Thao Nguyen’s skill as a lyricist, her knack for expressing with incredible concision a broad range of emotions, from resentment to forgiveness.

One of the most striking lines comes on “Millionaire,” a song carried by soothing guitar and Nguyen’s relatively tranquil tones. “Millionaire” is probably the closest thing to folk on the album, but don’t let Nguyen’s serene vocals fool you. In one cleverly-crafted line, she unloads a lifetime of bitterness: “Oh Daddy, I’m broke in a million pieces / That makes you a millionaire.” Damn.

Though such bitterness is a key theme on this album (e.g. “You know I’m so easy to find / You won’t come and get your girl”), it’s balanced in equal measure by calm, reflection, and forgiveness. The song “Give Me Peace” has a pensive air, “I’m so much older now / Give me peace, give me peace,” while “Guts” reveals even more emotional complexity: “I have a family, will they pardon me? / Taught to be loyal, never shown loyalty.”

Tension between resentment and peace regarding Nguyen’s relationship with her father drives the album lyrically. This complex web of emotion is perhaps best summed up by Nguyen in the span of a single stanza. On the album’s stirring closer “Endless Love,” Nguyen juxtaposes two lines for devastating effect: “I’ve got endless love, no one can starve,” immediately followed by, ”I don’t want it, carve it on out of me.” A tragic couplet of Shakespearean proportions.

Musically, Thao & The Get Down Stay Down make that kind of wonderfully genre-bending art-rock that is at once experimental and fun as hell. Lyrically, their work is dark, beautiful, at times bitter, at times understanding, but always and above all, honest. You can’t ask for much more than that.

 

Contact Tyler Dunston at tdunston@stanford.edu

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Is it human to adore ‘Adore Life’? Hell yes. https://stanforddaily.com/2016/02/10/adore-life-savages/ https://stanforddaily.com/2016/02/10/adore-life-savages/#respond Thu, 11 Feb 2016 07:47:07 +0000 https://stanforddaily.com/?p=1110598 Savages leap right out the door on their sophomore LP “Adore Life” with the opening track “The Answer.” Barreling, crunchy guitar and the repeated, desperate refrain of “If you don’t love me, don’t love anybody” announces the post-punk ensemble’s follow-up to their excellent debut “Silence Yourself.” Vocalist Camille Berthomier’s ostensible resolution of “love is the […]

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(Courtesy of Colin James)
(Courtesy of Colin Lane)

Savages leap right out the door on their sophomore LP “Adore Life” with the opening track “The Answer.” Barreling, crunchy guitar and the repeated, desperate refrain of “If you don’t love me, don’t love anybody” announces the post-punk ensemble’s follow-up to their excellent debut “Silence Yourself.” Vocalist Camille Berthomier’s ostensible resolution of “love is the answer” offers no relief from this concentrated assault. Though their opening track is called “The Answer,” this album is not about conclusions. Additionally, although the album is called “Adore Life,” it opts for honesty over optimism.

Indeed, “Adore Life” stands out immediately as a raw, open exploration of love.  Alongside Gemma Thompson and Ayse Hassan’s dueling guitar and bass, Camille Berthomier’s powerful and flexible vocals — reminiscent of the great proto-punk pioneer Patti Smith — illuminate the high-stakes game of passion. Savages don’t shy away from the ugly, dangerous sides of love—vulnerability, fear, identity crisis, etc. In fact, in “Adore  Life,” much of the beauty is in the danger.

This danger is front and center on “Adore Life.” Berthomier likens love to both disease and addiction on “Sad Person.” She explores the perils of this addiction on “I Need Something New,” shouting “I need you” repeatedly over a cacophony of guitar before acknowledging, “I need something new.”

(Courtesy of Colin James)
(Courtesy of Colin Lane)

On “When in Love,” which boasts one of the best opening guitar hooks on the album, she wonders, “Is this love or is it boredom?” And the title of the song “T.I.W.Y.G.” literally stands for “This is what you get when you mess with love.” Yet at the end of the song, Berthomier admits, “I mess with love.” “Adore Life,” though it openly confronts the dangers of love, embraces this powerful feeling at the same time. This tenuous relationship with love is exemplified on the album’s third single “Adore.”

Like the album as a whole, the song “Adore” is darker than its name would suggest. It’s also one of the strongest tracks on the record. It opens with a lumbering bass line, with by-turns noisy and clear guitars interspersed throughout. All the while, Berthomier’s pensive voice asks, “Is it human to adore life?” She wrestles with the pain and regrets of love (“If only I’d hidden my lust,” “If only I didn’t care so much”), illuminating the contradictions of love before moving on to the contradictions of life and death. Though at one point she says, “If only I didn’t wish to die,” the song ends in the repeated, building refrain of “I adore life.” “Adore” begins as quiet musing, but as the song draws to a close, the instrumentation builds, and Berthomier’s voice cries out an octave higher at the song’s climax.

As an album, “Adore Life,” much like the song from which it gets its title, hovers somewhere in between joy and despair. Savages delve into the nature of love, that feeling that can make us “wish to die” or “adore life.” Thankfully, they do this in pure post-punk fashion, giving us moments of bracing noise and quiet beauty in equal measure. From the explosive energy of opening track “The Answer” to the echoing atmosphere of the album’s closer “Mechanics,” Savages new release is an emotional punch to the gut in the best possible way.

Contact Tyler Dunston at tdunston ‘at’ stanford.edu.

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Complex roots: Rooney Pitchford’s debut “Familiar Places” https://stanforddaily.com/2016/01/24/rooney-pitchfords-debut-familiar-places/ https://stanforddaily.com/2016/01/24/rooney-pitchfords-debut-familiar-places/#respond Mon, 25 Jan 2016 04:08:35 +0000 https://stanforddaily.com/?p=1109716 Rooney Pitchford ‘15, the mustachio’d, Kickstarter-funded, guitar-strumming baritone, has just released his debut LP “Familiar Places.” It opens with a one-two punch: the twangy, world-weary title track — a song about the pain and fatigue of accumulated experience —and the impassioned country jam “Becky,” which narrows in on the more specific past. But this one-two […]

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"Familiar Places," by Rooney Pitchford '15. (Courtesy of Rooney Pitchford)
“Familiar Places,” by Rooney Pitchford ’15. (Courtesy of Rooney Pitchford)

Rooney Pitchford ‘15, the mustachio’d, Kickstarter-funded, guitar-strumming baritone, has just released his debut LP “Familiar Places.” It opens with a one-two punch: the twangy, world-weary title track — a song about the pain and fatigue of accumulated experience —and the impassioned country jam “Becky,” which narrows in on the more specific past. But this one-two punch is a bit of a feint. By the end of these two tracks, the predominant musical style is country, but that’s not the whole story.

Indeed, although labeling Pitchford’s debut as country is a bit reductive, some still may label him as a country revivalist. Which is simply to say that — unlike many country artists — he’s in touch with the roots of the genre. Like great artists who’ve played country in the past (Johnny Cash, Ray Charles [circa “Modern Sounds in Country & Western Music”], Willie Nelson, etc.), Pitchford draws from other genres whose roots seamlessly intertwine with those of country and western music — rock, soul, gospel, Americana, and the blues. If this makes him a revivalist, then I hope to see more revivalists in the future.

(Courtesy of Rooney Pitchford)
(Courtesy of Rooney Pitchford)

Drawing from all these disparate influences, Pitchford is more than a country-radio songster singing about whiskey (although he does reference said beverage on “CD Jam”). “Long Talkin’ River,” a standout track from his debut, evokes soul and gospel with its affecting vocals and piano accompaniment. “CD Jam” evokes Americana and folk with its descriptive storytelling and acoustic picking. Lyrics like “Things don’t get started here till one or two in the afternoon / But Jim’s been up since dawn doing what it is Jim likes to do / We spend the day just saving money gotta have some left for Friday night / I got a job as the backdoor man at the continental club tonight” wouldn’t be out of place alongside Woody Guthrie’s “Dustbowl Ballads” or Bruce Springsteen’s “Nebraska.” As if this wasn’t enough to illustrate Pitchford’s wide variety of influences, the closing song on Pitchford’s debut is called “A Eulogy for B.B. King.” And it comes with a killer guitar solo that is all blues and rock n’ roll.

All this is to say that Rooney Pitchford’s new album “Familiar Places,” like all good albums, makes us question the purpose of labeling music at all. Whether it’s country, soul, blues, or rock n’ roll, the designations fade away when you listen, leaving you only with the question of how it resonates with you.

“Familiar Places” can be streamed and downloaded at rooneypitchford.bandcamp.com.

Contact Tyler Dunston at tdunston ‘at’ stanford.edu.

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The Daily’s top five debut albums of 2015 https://stanforddaily.com/2016/01/07/top-5-debut-albums/ https://stanforddaily.com/2016/01/07/top-5-debut-albums/#respond Fri, 08 Jan 2016 07:28:37 +0000 https://stanforddaily.com/?p=1109031 On Jamie xx, Algiers and Little Simz: Music critic Tyler Dunston ruminates on this year’s greatest debut albums. “A Curious Tale of Trials + Persons” — Little Simz Little Simz’s debut, though it leaves us too soon at a mere 34 minutes, brings with it the promise of more to come. As an album, it […]

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Courtney Barnett's "Sometimes I Sit and Think, and Sometimes I Just Sit" is the Daily's top debut album of 2015. (Paul Hudson, Wikimedia Commons)
Courtney Barnett’s “Sometimes I Sit and Think, and Sometimes I Just Sit” is the Daily’s top debut album of 2015. (Paul Hudson, Wikimedia Commons)

On Jamie xx, Algiers and Little Simz: Music critic Tyler Dunston ruminates on this year’s greatest debut albums.

  1. “A Curious Tale of Trials + Persons” — Little Simz

Little Simz’s debut, though it leaves us too soon at a mere 34 minutes, brings with it the promise of more to come. As an album, it stands more as an introduction than a tale. Indeed, “A Curious Tale of Trials + Persons” is a coronation. Little Simz declares from the onset, “Women can be kings,” and she proves it by crowning herself. In doing so, she leaves us wanting more, already anticipating her sophomore LP.

  1. “Algiers” — Algiers

Algiers blends seemingly disparate genres such as soul, punk, and gospel into impassioned music as well as social protest. There is righteous anger directed at injustice, systems of oppression, and the scars of history. And through their music, there is catharsis. Algiers’ self-titled debut is not only exceedingly relevant to our current time but also a sonic force to be reckoned with.

  1. “In Colour” — Jamie xx

Jamie xx, one-third of the indie rock trio known as The xx, draws from a variety of influences and comes out with a blend of electronic/dance that builds upon its predecessors in order to create something new. From the nostalgic opener “Gosh” to the beautiful release of “Loud Places” (featuring The xx singer Romy Madley-Croft), Jamie xx’s debut “In Colour” reveals an intriguing new face in the electronic/dance genre.

  1. “The Epic” — Kamasi Washington

You may recognize Kamasi Washington’s sax from Kendrick Lamar’s groundbreaking “To Pimp a Butterfly.” You may recognize Kamasi Washington as a cohort of Flying Lotus’s Brainfeeder label. But if you take on this daunting, 3-hour, aptly-titled jazz odyssey, you’ll know Kamasi Washington as one of the most exciting faces in modern jazz, a spiritual child of Coltrane perhaps, an emphatic rebuttal for anyone claiming that jazz is dead.

  1. “Sometimes I Sit and Think, and Sometimes I Just Sit” — Courtney Barnett

Australian singer-songwriter Courtney Barnett’s debut full-length “Sometimes I Sit and Think, and Sometimes I Just Sit” solidifies her status as one of the most striking new voices in indie rock. In addition to her witty and profound lyrical prowess and her Dylan-esque knack for the turn-of-phrase, her ability to tell a story, whether it be the story of an elevator operator or a house-hunting couple, stands out as remarkable.

Barnett once said she liked the idea of being a photographer: “You take this one picture of this one thing that’ll never happen again.” It is a testament to her skill as a songwriter that she freezes life through her writing, as in a photograph. Her songs seem to capture these singular moments, as artists like Patti Smith and Bob Dylan did before. That’s what makes Barnett’s work so tremendous.

 

Contact Tyler Dunston at tdunston ‘at’ stanford.edu.

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The Outsiders and Real People Music get the whole world talkin’ at XOX https://stanforddaily.com/2015/11/18/he-outsiders-and-real-people-music/ https://stanforddaily.com/2015/11/18/he-outsiders-and-real-people-music/#respond Thu, 19 Nov 2015 00:29:16 +0000 https://stanforddaily.com/?p=1107445 If you missed The Outsiders and Real People Music’s performances at XOX last week, you missed primarily three things: 1) phenomenal sets by both artists, 2) a ferocious cover of Kendrick Lamar’s “King Kunta” by The Outsiders’ “EAGLEBABEL” (Tyler Brooks) ’16 and Real People Music, and 3) a soundcheck that featured not only references to […]

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Tyler "EAGLEBABEL" Brooks performing at the Anderson Collection last spring. (BENJAMIN SORENSEN/The Stanford Daily)
Tyler “EAGLEBABEL” Brooks performing at the Anderson Collection last spring. (BENJAMIN SORENSEN/The Stanford Daily)

If you missed The Outsiders and Real People Music’s performances at XOX last week, you missed primarily three things: 1) phenomenal sets by both artists, 2) a ferocious cover of Kendrick Lamar’s “King Kunta” by The Outsiders’ “EAGLEBABEL” (Tyler Brooks) ’16 and Real People Music, and 3) a soundcheck that featured not only references to free beer and the new Star Wars movie but also an a cappella beatboxing courtesy of EAGLEBABEL.

EAGLEBABEL’s sound check that night served as a preview to the incredible stage presence that The Outsiders exhibited during their set. EAGLEBABEL and Meetus (Daryle Allums) ’17 traded verses throughout the set — balancing each other out, each with his own unique style. EAGLEBABEL was typically more animated, whether soundchecking or performing, whereas Meetus took a more subdued but no less captivating route, accompanied with excellent beats by Doza (Mike Mendoza) M.S. ’16. that were by turns frenzied, funky or chill as the mood of the song required.

A definite highlight of The Outsiders’ set was a song from EAGLEBABEL’s solo debut (“Odes,” available on Bandcamp) called “Tryin’.” Midway through the set, a slightly sheepish Tyler Brooks announced that he was going to sing a song about his ex and gestured towards the audience, inviting them to come closer. We listeners complied, forming a circle around him. The intimacy established by physical proximity and the emotion in Tyler Brooks’ voice grew throughout the song, reaching its peak when he cried out, “I ain’t tryin’ to get back with you, I just wanna let you know I give a fuck about you,” his voice dropping into a quiet melody, “And if I ever said that I loved you I would be lyin’ / So yeah, that makes two, but why does it feel like I got the blame for tryin’?”

The transition from The Outsiders’ set to Real People Music, a stylistically distinct band, was made seamless thanks to a genius joint cover of Kendrick Lamar’s “King Kunta.” As soon as Real People Music took the stage, James Hanley ’16 burst out, to everyone’s surprise: “Bitch, where you when I was walkin’? / Now I run a game got the whole world talkin’, King Kunta.” Within seconds EAGLEBABEL came back on stage and took the mic to continue the rap verse, backed by Real People Music’s vibrant jamming.

For those of us who’d seen Real People Music perform their mélange of rock, jazz, funk, soul, R&B, etc. before, their set at XOX was, compared to the delightfully shocking intro of King Kunta, familiar but no less exhilarating. Shoutouts are due to a spirited rendition of Amy Winehouse’s “Valerie,” led by the soulful, resonant vocals of Gracie Laboy ’16, a stand-out riffing by Blane Wilson M.S. ’16 on the keys, and Hanley’s spritely guitar, engaging persona and howling vocals.

By the end of the night, the requests for “one more song” were inevitable, and Real People Music obliged with none other than Stevie Wonder, who was, in a sense, the perfect artist with which to close out the night, an artist who spoke to the shared roots of both Real People Music and The Outsiders — funk, soul and R&B. It goes to show that, although The Outsiders and Real People Music might seem different on the surface, there’s an essential energy to both bands that showed itself at XOX that night, making it one of the best shows of the year thus far.

 

Contact Tyler Dunston at tdunston ‘at’ stanford.edu.

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Arswain and TAPE GHØST reshape dance music at Kairos https://stanforddaily.com/2015/11/09/arswain-and-tape-ghost-kairos/ https://stanforddaily.com/2015/11/09/arswain-and-tape-ghost-kairos/#respond Tue, 10 Nov 2015 04:58:00 +0000 https://stanforddaily.com/?p=1106643 Arswain (Freddy Avis ’16) and TAPE GHØST (David Grunzweig BS ’14 MA ’16) stood in the darkened room, with laptops, mixers and guitar at the ready, on a stage framed by Christmas lights. People sloshed their wine and chatted on the dance floor, eyes on the electronic duo. The first thing you could hear was […]

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Arswain (left) and TAPE GHØST (right) working the boards. (KATLYN ALAPATI/The Stanford Daily)
Arswain (left) and TAPE GHØST (right) working the boards. (KATLYN ALAPATI/The Stanford Daily)

Arswain (Freddy Avis ’16) and TAPE GHØST (David Grunzweig BS ’14 MA ’16) stood in the darkened room, with laptops, mixers and guitar at the ready, on a stage framed by Christmas lights. People sloshed their wine and chatted on the dance floor, eyes on the electronic duo. The first thing you could hear was the synth, followed by pulsing bass and the spritely, crystalline accompaniment of electric guitar. This swirling intro of riffs, synth and beat evolved throughout the night.

If you caught Arswain’s performance at SCN’s Sprung Festival last year, you might not have expected the show they put on with TAPE GHØST last week. At Sprung, Arswain delivered soaring electronic rock that featured prominent vocals and rock song structures. But at Kairos last week, Arswain and TAPE GHØST provided a compelling mix of dance, ambient electronica, rock and jazz. The show wasn’t structured around independent songs, but around movements flowing seamlessly one into the other.

TAPE GHØST (David Grunzweig) is an innovative electronic producer and skilled jazz guitarist. (KATLYN ALAPATI/The Stanford Daily)
TAPE GHØST (David Grunzweig) is an innovative electronic producer and skilled jazz guitarist. (KATLYN ALAPATI/The Stanford Daily)

Though Arswain’s show at Kairos in some ways resembled a DJ set — the soundtrack to a late night rave — that wasn’t the whole picture. There was TAPE GHØST’s live accompaniment of jazz guitar. There were ambient moments in the set reminiscent of artists like Jamie xx, which offset periods of bass-heavy dance. There were ghostlike vocals reminiscent of Panda Bear, which, in contrast to Arswain’s cathartic solo show at Sprung, added texture rather than taking center stage.

TAPE GHØST and Arswain’s set evolved and expanded as the night wore on, evoking everything from more ambient dance artists like Jamie xx and Caribou to more traditional (and more animated) dance music. At times, Arswain and TAPE GHØST’s dynamic sound was volatile, erupting out of relative calm into a frenzy of throbbing bass; at other times, the frenzy would fade like a cymbal crash only to begin again in an icy synth phrase.

Arswain (Freddy Avis) provided live mixing and textural vocals. (KATLYN ALAPATI/The Stanford Daily)
Arswain (Freddy Avis) provided live mixing and textural vocals. (KATLYN ALAPATI/The Stanford Daily)

From chill, jazzy guitar intros drenched in electro-ambience to hard-hitting dance beats and sky-scraping synths, Arswain and TAPE GHØST covered all the bases. After a good while of music consistently blooming, unfurling and evolving in the night, the beat suddenly dropped out. Instantly, people clapped and chanted for “One more song!” Without missing a beat, the band responded with a funky dance rhythm to the crowd’s palpable delight.

At the beginning of the show, the band announced: “We’re gonna get your bodies fucking moving,” and they certainly delivered on that front. But, given the variety and dynamism displayed in Arswain and TAPE GHØST’s powerful set, it’s clear there was more to it than that.

Contact Tyler Dunston at tdunston ‘at’ stanford.edu.

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The Avant-Folk Goddess is Back: Joanna Newsom returns with “Divers” https://stanforddaily.com/2015/10/27/the-avant-folk-goddess-is-back/ https://stanforddaily.com/2015/10/27/the-avant-folk-goddess-is-back/#respond Wed, 28 Oct 2015 00:36:13 +0000 https://stanforddaily.com/?p=1105805 Joanna Newsom has built a reputation for herself among a niche group of listeners who enjoy literary avant-folk and who don’t cringe at the un-ironic use of the word “thee.” Between her use of the harp, her beautiful but complex lyricism and her uninhibited creativity, Joanna Newsom’s music can be daunting for the uninitiated. (Her […]

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Indie-folk songstress Joanna Newsom. (Courtesy of Daniel Arnold)
Indie-folk songstress Joanna Newsom. (Courtesy of Daniel Arnold)

Joanna Newsom has built a reputation for herself among a niche group of listeners who enjoy literary avant-folk and who don’t cringe at the un-ironic use of the word “thee.” Between her use of the harp, her beautiful but complex lyricism and her uninhibited creativity, Joanna Newsom’s music can be daunting for the uninitiated. (Her longest song is about 17 minutes long, and her last album “Have One On Me” is a two-and-a-half-hour triple LP.) But when met with open-mindedness, Joanna Newsom reveals herself to be one of the most creative songwriters out there.

Her new album “Divers,” her first in five years, might serve as the ideal introduction. Musically, the album possesses her most accessible beauty to date. Harp, string and piano arrangements as well as her winding, circuitous vocal melodies create a sense of beauty, grandeur and emotional resonance that is a joy to listen to. Plus, unlike “Have One On Me,” this one’s around the 52-minute mark, and the longest song is a mere seven minutes. Compared to the 17-minute opus that was “Only Skin,” the seven-minute title track “Divers” is a breeze.

Here’s the thing: Song lengths aside, Newsom’s music is and always will be lyrically complex. It doesn’t matter if her first single from the album “Sapokanikan” is only five minutes; it starts with the statement “The cause is Ozymandian.” Besides being a striking opening line, this one already requires us to start doing some research.

Sapokanikan was a Native American village that existed on present-day Manhattan in New York before the arrival of the Europeans. In the music video, Newsom starts by taking a jaunt through Greenwich Village, flashing smiles all around. At first, it seems cliché — until you realize what she’s really singing about. Her happiness turns to distress, darkness falls, sirens blare, and she cries, “The city is gone,” imploring us to “look and despair.” She’s not talking about New York. She’s talking about Sapokanikan. The poem referenced by Newsom — Percy Bysshe Shelley’s “Ozymandias” — tells of how legacies eventually fade. “Look and despair” is right. This song is not for the faint of heart.

As you can tell from “Sapokanikan,” this is an album dealing with loss in various forms. In particular, Newsom explores the relationship between the joy of love and the awareness and fear of death and loss. On the final song, she presents what could be read as the album’s thesis: “Love is not a symptom of time / Time is just a symptom of love.” Love brings with it the knowledge of its own inevitable end. For Newsom, time becomes real when you experience love, because, as she once stated in an interview, “there is something you cannot bear to lose.”

I’m not going to try and definitively assert “the meaning” of this record. Two reasons: Firstly, that would be a dissertation, not an album review; and secondly, like all great literature, this work can be understood in an infinite number of ways. You’re just going to have to give “Divers” a listen. Yes, it’s dense, but part of the joy of listening to Joanna Newsom is sifting through all the complexities, letting the music and winding words wash over you and finding your own meaning in the infinite depth of Newsom’s craft.

 

Contact Tyler Dunston at tdunston ‘at’ stanford.edu.

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Little Simz crowns herself king https://stanforddaily.com/2015/10/19/little-simz-crowns-herself-king/ https://stanforddaily.com/2015/10/19/little-simz-crowns-herself-king/#respond Tue, 20 Oct 2015 02:29:30 +0000 https://stanforddaily.com/?p=1105195 One of the first lines on Little Simz’ manifesto/story/debut album “A Curious Tale of Trials + Persons” is the defiant opening statement: “Women can be kings.” What follows is irrefutable proof of this assertion. Simbi Ajikawo, better known by her stage name Little Simz, is a new rapper straight out of the U.K. Of course, […]

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One of the first lines on Little Simz’ manifesto/story/debut album “A Curious Tale of Trials + Persons” is the defiant opening statement: “Women can be kings.” What follows is irrefutable proof of this assertion.

English rapper Little Simz, holding down the throne.  (Theirnewreligion, Wikimedia Commons)
English rapper Little Simz, holding down the throne. (Theirnewreligion, Wikimedia Commons)

Simbi Ajikawo, better known by her stage name Little Simz, is a new rapper straight out of the U.K. Of course, she’s not exactly “new.” Although “A Curious Tale of Trials + Persons” is technically her debut full-length LP, Little Simz has built a name for herself for years now through the release of four mixtapes and five EPs.

Though she’s gained considerable notoriety from these releases, “A Curious Tale of Trials + Persons” is her mission statement, a concise hip hop tour de force that serves to convince any doubters of her status. Armed with flow and lyricism rivaling the likes of Lauryn Hill and Kendrick Lamar, Little Simz has entered the hip hop fray with a sharp debut packed tight with storytelling, boasting and politics in equal measure. The very nature of Simz’ persona expresses this duality. Assertions like “Women can be kings” point to the fact that, unlike many other rappers, Little Simz’s ostensible boasting is, by its nature, political.

Little Simz’ writing serves as a critique of modern society. “Still applying the same pressure, I ain’t eased up / All they talk about is money and bitches to feel up / What happened to the content? What you saying?” she spits over a beat that’s been “made by Osiris.” Her indictment of modern culture is followed by a distorted guitar solo.

Like many great artists, Little Simz isn’t pinned down by one genre, delving into jazz, soul, rock, etc. while retaining her status as hip hop’s newest emcee. The fusion of seemingly disparate genres makes for a compelling listen, as does Little Simz’s seamless interweaving of loud and soft, fast and slow, as she spits fire and breathes ice one after the other.

In contrast to the intensity of songs like “Persons,” Little Simz closes the album with a short, subdued track called “Fallen,” in which she says “all good things gotta come to an end sometimes.” With the album clocking out after a brief 34 minutes, this line rings too true, and Little Simz knows it. That’s the reason her debut may not immediately seem as sprawling or ambitious in scope as “The Miseducation of Lauryn Hill” or “To Pimp a Butterfly.” Little Simz has given us her densely-packed manifesto, a brief, powerful introduction — but it’s only the beginning.

 

You can contact Tyler Dunston at tdunston ‘at’ stanford.edu.

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Majical Cloudz’s new record is not ‘study music’ https://stanforddaily.com/2015/10/15/majical-cloudzs-are-you-alone/ https://stanforddaily.com/2015/10/15/majical-cloudzs-are-you-alone/#respond Thu, 15 Oct 2015 16:24:27 +0000 https://stanforddaily.com/?p=1104887 Indie-electronic duo Majical Cloudz’s new album “Are You Alone?” opens in Cloudz’s characteristic minimalist style, with quiet but resonant vocals, piano and some well-placed horns and synths on the opening track, “Disappeared.” Majical Cloudz often employs relatively few elements at a time in its skeletal indie ballads, but each element feels crucial, perfectly executed and oriented […]

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Indie-electronic duo Majical Cloudz’s new album “Are You Alone?” opens in Cloudz’s characteristic minimalist style, with quiet but resonant vocals, piano and some well-placed horns and synths on the opening track, “Disappeared.” Majical Cloudz often employs relatively few elements at a time in its skeletal indie ballads, but each element feels crucial, perfectly executed and oriented in the context of the whole album.

“Are You Alone?” is not an album to melt your face off (for that, I recommend the death metal/shoegaze outfit Deafheaven’s new release “New Bermuda”), nor is it an album for any kind of dancing that’s not swaying (I refer you to Neon Indian’s “VEGA INTL. Night School,” out this Friday). Majical Cloudz is music for quiet contemplation, for thinking and feeling deeply and for biking back to your dorm in the middle of the night after that demoralizing study session in the library.

https://soundcloud.com/majical-cloudz/are-you-alone-1/s-XeXeN

That being said, this album is not background music. Though it ventures into several categories of music — minimal, ambient electronica, etc. — which are invariably pegged as “study” music, it is not to be ignored. If you intently listen to acts such as Majical Cloudz, acts which are susceptible to the artistic purgatory of one of Spotify’s myriad “Chill Music for Studying” playlists, you’ll find depth beneath the ambiance. What gives Majical Cloudz’s music this depth — what keeps it from being merely “nice” or “pretty” — is a sense of urgency that permeates the tranquil tones.

The unifying element that holds this sound together is Devon Welsh’s earnest baritone and his simple, emotional delivery. His voice is one of immense gravity, underpinned by piano and synth throughout this searching record. Simply put, Majical Cloudz’s music — like many other artists who have experimented with ambient, philosophical music such as Radiohead and The National (both artists who have undoubtedly influenced Majical Cloudz) — has character.

Indeed, Majical Cloudz isn’t shy about its influences. Stylistically, it takes cues from bands like The National, Depeche Mode, Radiohead, etc. In fact, it directly references Radiohead’s landmark album “Kid A,” referring to the iconic opening lines of “Motion Picture Soundtrack” (“Red wine and sleeping pills…Cheap sex and bad films.”) in the title track “Are You Alone?” This reference may seem out of place without context, but the somber nature of Majical Cloudz’s lyrical allusion is not an outlier on its melancholic new record.

Devon Welsh, presumably the narrator on this album, is not doing great. He’s wrestling with shame (“Can I dress up in your clothes and be somebody new?” on “Control”), denial (“You say it’s stupid to be upset / You smoke another cigarette” on “Easier Said Than Done”) and death (“And if suddenly I die / I hope they will say / That he was obsessed, and it was okay” on one of the album’s finest tracks: “Downtown”).

“Downtown” is an example, however, of an important clarification: This album not a merely a “gloomy” album. Yes, it is tinged with melancholy throughout, but to label it as merely “gloomy” is too simple.

“Downtown” is a song about love — perhaps not healthy love — but love nonetheless. Welsh sings, “Nothing you say / Will ever be wrong / ‘Cause it just feels good being in your arms.” Sure, it’s denial, but it’s a testament to the power and beauty of living in the moment. Welsh sings, “Is it really this fun when you’re on my mind? / Is it really this cool to be in your life?” At first it may seem discordant to phrase love as a question, but when Welsh asks it, it rings true: love and doubt go hand in hand.

“Downtown” is a song about how love and doubt, happiness and melancholy, are inextricably connected, about how sometimes love is obsession, and maybe sometimes that’s “okay.” No, Majical Cloudz’s new record is not “study music” — it’s much more.

Contact Tyler Dunston at tdunston ‘at’ stanford.edu.

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Enter the haze of Kurt Vile’s newest record https://stanforddaily.com/2015/09/29/kurt-vile-blieve/ https://stanforddaily.com/2015/09/29/kurt-vile-blieve/#respond Wed, 30 Sep 2015 04:23:53 +0000 https://stanforddaily.com/?p=1104013 “Wanna live, wanna live / A life like mine / Ah baby, well, get in line.” If you’re unfamiliar with Kurt Vile, considered by many to be indie rock’s resident “Dude” Lebowski, this line from his new album “b’lieve i’m goin down” might ring with uncalled-for egotism. But if you’re familiar with his brand of […]

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“Wanna live, wanna live / A life like mine / Ah baby, well, get in line.”

If you’re unfamiliar with Kurt Vile, considered by many to be indie rock’s resident “Dude” Lebowski, this line from his new album “b’lieve i’m goin down” might ring with uncalled-for egotism. But if you’re familiar with his brand of so-called “stoner” wisdom (though, as he quipped on his previous album, he’s never “touched the stuff”), then you probably won’t take this line too seriously. You may see it as just another case of Vile’s irony — his false bravado just another example of his knack for mingling humor and sadness.

Content-wise, Kurt Vile’s lyrics have always bridged this divide between high and low, evoking laughter and melancholy in the span of a line. This makes it hard to take his sadness or happiness too seriously. After all, Vile’s previous album “Wakin on a Pretty Daze” essentially opens with the line, “Phone ringing off the shelf / I guess he wanted to kill himself.”

Though “b’lieve i’m goin down” continues this trend, Vile has said in interviews that this album is gloomier, a so-called “night album,” in contrast to 2013’s sun- and reverb-drenched “Wakin on a Pretty Daze.” In addition to being more melancholy than his previous album, “b’lieve i’m goin down” is also, strangely, funnier.

The album opens with “Pretty Pimpin’,” a lively, guitar-driven song about loss of identity, which tells the tale of Vile waking up in the morning and not recognizing himself in the mirror, “[brushing] some stranger’s teeth,” as he puts it. Kurt Vile has said in interviews that this song, along with many songs on the album, came out of a dark place. But in true Kurt Vile fashion, he flips the mood on the listener with a joke, describing the stranger in the mirror: “He was sporting all my clothes / I gotta say, pretty pimpin’.”

Kurt Vile, live in concert. (Courtesy of Bill Ebbesen, Wikimedia Commons)
Kurt Vile performs live in concert. (Courtesy of Bill Ebbessen, Wikimedia Commons)

The ever-shifting mood of Vile’s world, which doles out melancholy and humor in equal measure, makes for a compelling listen. Unlike many artists who explore melancholy and angst, Vile doesn’t take his pondering too seriously, always cutting short any existential navel-gazing with a snarky turn of phrase.

At times, Vile cuts out the musings entirely and lets his agile guitar-picking do the talking. Musically and conceptually, “b’lieve i’m goin down” more resembles 2011’s “Smoke Ring for My Halo” (another so-called “night album”) than 2013’s “Wakin on a Pretty Daze.” “b’lieve” also brings in other instruments — such as piano (“Life Like This” and “Lost My Head there”) and banjo (“Outlaw”) — to share the guitar’s spotlight.

Despite such adornment and a lively opening track, “b’lieve i’m goin down” feels like a quieter, more introspective album than Vile’s previous efforts in many ways. Emphasizing this change is the fact that, in general, the album features less reverb and more acoustic guitar. Such an alteration, however, does nothing to clear the smoky haze of Vile’s surreal, enveloping world.

Indeed, Kurt Vile’s wizard-like guitar playing, his low-down, dusty baritone, in addition to a well-placed piano chord or two, are more than enough to pull the listener into his unique fog. And what an enjoyable fog it is.

Contact Tyler Dunston at tdunston ‘at’ stanford.edu.

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Album Review: ‘Tallest Man’ and the Evolution of Folk https://stanforddaily.com/2015/05/12/tallest-man-and-the-evolution-of-folk/ https://stanforddaily.com/2015/05/12/tallest-man-and-the-evolution-of-folk/#respond Tue, 12 May 2015 07:05:08 +0000 https://stanforddaily.com/?p=1100714 From the beginning, Swedish songwriter Kristian Matsson – better known by his stage name The Tallest Man on Earth – has drawn Bob Dylan comparisons with his feverish guitar strumming, reedy vocals and poignant lyrics. But like Bob Dylan, Kristian Matsson is equally indebted to the folk tradition of Woody Guthrie, characterized by simplicity in […]

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From the beginning, Swedish songwriter Kristian Matsson – better known by his stage name The Tallest Man on Earth – has drawn Bob Dylan comparisons with his feverish guitar strumming, reedy vocals and poignant lyrics. But like Bob Dylan, Kristian Matsson is equally indebted to the folk tradition of Woody Guthrie, characterized by simplicity in terms of production while also sporting complex guitar picking and storytelling.

800px-The_Tallest_Man_on_Earth_03_-_20101117
Folk artist Kristian Matsson, also known as The Tallest Man on Earth. (Courtesy of Matt Perich.)

The Tallest Man on Earth’s first two albums – “Shallow Grave” and “The Wild Hunt” – were striking examples of a modern folk singer experimenting within that aesthetic, powerful in part because of their raw energy. But you won’t mistake Matsson’s newest release “Dark Bird is Home” (set to be released May 12th) for “The Wild Hunt,” nor would he want you to. Matsson’s previous album “There’s No Leaving Now” marked a distinct shift in that it sacrificed some of Matsson’s intensity for moments of elegance, incorporating new instruments and a more polished production. “Dark Bird is Home” continues and vastly expands upon this new development.

From the album’s opener “Fields of Our Home,” it is clear that the production is bigger than before. Near the end of the song, with its crescendo of strings, horns and multi-tracked, resonant vocal harmonies, you can scarcely hear the guitar’s gentle strumming, ever-present but almost imperceptible, a gentle reminder of the raw exuberance of his early work.

Thematically, the album is somber – the lyrics detail struggles with doubt, uncertainty, thwarted desire and fear – but this release is about navigating the darkness and the light. On “Darkness of the Dream,” Matsson muses, “I feed on the sunlight, but sunlight just drives me away.” Likewise, though he often tells of the struggles of an aimless wanderer, he also sings, “At times like these even travelers can win.” On the album’s closing title track, he cries, “I fall in love but keep on falling.”

Although Matsson’s new album navigates gloomy territory, it acknowledges the joy of life as well. The song “Sagres,” the first single released for the album, is a perfect example of the juxtaposition of this light and dark as well as Matsson’s expanded sound. The song’s swirling riff is lively, exuberant and indicative of an expanded musical palette. Yet amid the polished production, Matsson still manages to sound like the lonesome traveler of his more traditional folk days. Layers of sound drop out on the bridge as he quietly sings, “It’s just all this fucking doubt.” For a minute, his voice nearly breaks; it seems as if he’s reached his lowest point. Then the triumphant instrumental riff, which holds the song together, re-enters. Though the song depicts internal struggle, Matsson doesn’t come out doubtful in the end – he emerges vibrant and alive, aided by the grandeur of the production, using every tool at his disposal.

The Tallest Man on Earth’s development over the years – as well as the development of other likeminded folk artists such as Iron & Wine and Bon Iver, who moved beyond more traditional folk to experiment with other genres and sounds – raises interesting questions for folk music as a whole. For a genre so embedded in tradition yet filled with so many creative songwriters, it can be difficult to determine what “folk” truly means. Does a traditional folk artist lose their authenticity or their energy when they go from a raw acoustic sound to more polished, layered production? How do they stay true to themselves and their folk roots while still experimenting with craft? Ever since Bob Dylan went electric on the Newport Folk Festival stage in 1965, these questions have defined the genre as a whole. Dylan’s performance in ’65 was met with both cheers and boos. In the end, listeners will have to experience The Tallest Man on Earth’s new sound for themselves and choose which side they are on.

Contact Tyler Dunston at tdunston ‘at’ stanford.edu.

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Coachella recap: The California desert, alive with sound https://stanforddaily.com/2015/04/22/coachella-recap-2015/ https://stanforddaily.com/2015/04/22/coachella-recap-2015/#respond Thu, 23 Apr 2015 02:08:40 +0000 https://stanforddaily.com/?p=1099629 Coachella 2015 took place over the last two weekends in the desert city of Indio, CA. As promised, Drake sang “Tuesday” on a Sunday, Jack White got the audience chanting “Music is sacred!” and AC/DC were back and in black. But what made Coachella memorable was more than just the biggest acts. The festival’s most striking aspects […]

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A view of the festival's iconic palm trees and Ferris wheel. (GABRIELA GROTH/The Stanford Daily).
A view of the festival’s iconic palm trees and Ferris wheel. (GABRIELA GROTH/The Stanford Daily).

Coachella 2015 took place over the last two weekends in the desert city of Indio, CA. As promised, Drake sang “Tuesday” on a Sunday, Jack White got the audience chanting “Music is sacred!” and AC/DC were back and in black. But what made Coachella memorable was more than just the biggest acts. The festival’s most striking aspects were its surprises – the exceptional artists that didn’t receive as much press but shone just as bright as the headliners.

This year was no exception. Concertgoers enjoyed lesser-known acts ranging in style from psychedelic rock, rap and soul to blues, country and dance. For audiences seeking a more laid-back experience, there was chillwave pioneer Toro y Moi, Tycho’s guitar-laden ambient electronica, Caribou’s unique blend of dance and other genres and beats by up-and-coming producer and remix artist Jamie xx. For those seeking more energetic performances, there were the hard-hitting verses of rap duo Run the Jewels and the full-throated howls of soul-influenced artists such as Alabama Shakes and St. Paul & The Broken Bones. A plethora of distinctive artists made their mark, including a country singer who makes references to both Stephen Hawking and Buddhism in his lyrics (Sturgill Simpson), an experimental rocker with some of the most creative guitar riffs out there (St. Vincent) and a New Orleans songwriter with roots in both blues and punk, sporting raw, soulful vocals and gritty guitar licks to boot (Benjamin Booker).

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St. Vincent captivates the crowd. (GABRIELA GROTH/The Stanford Daily).

With such a wide range of musicians and genres, it was naturally impossible to experience everything that Coachella has to offer in one weekend. In addition to the music, there were multiple other attractions, including a collection of art exhibits – such as a gigantic glowing butterfly (“Papilio Merraculous” by Poetic Kinetics), an office building filled with hippos (“The Corporate Headquarters” by Derek Doublin and Vanessa Bonet) and an enormous Ferris wheel.

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Florence Welch soldiers through her set with a broken foot. (GABRIELA GROTH/The Stanford Daily).

From this disorienting cluster emerged a wealth of unforgettable moments. Take, for instance, when The War on Drugs lead singer Adam Granduciel intoned amid swirling guitars: “When the come-down here is easy / Like the arrival of a new day,” right as the sun was setting over the desert hills. Or when Flying Lotus remixed “Wesley’s Theory,” the track he produced on Kendrick Lamar’s critically acclaimed album “To Pimp a Butterfly.” Or when psychedelic rockers Tame Impala played “Let It Happen,” a new song from their forthcoming album “Currents,” at night beneath a string of glowing balloons (a piece entitled “Balloon Chain” by artist Robert Bose). Or when Alabama Shakes’s lead singer vigorously belted “Gimme All Your Love” to an animated crowd. Or when Father John Misty sang the words “I love you, Honeybear” with all the intensity and swagger of a folk Mick Jagger. Or when Florence Welch of Florence + The Machine sang through her entire set with a broken foot. Or when Kanye West showed up during the Weeknd’s set to everyone’s astonishment, performing his own mini-set featuring old hits (“Can’t Tell Me Nothing”) as well as more recent material (“All Day”).

With such an extensive variety of musicians to hear and sights to see, it’s clear that no two individuals’ Coachella experiences could ever be the same. Yet in the night under the balloon chain lights, whether you were watching Jack White or FKA Twigs, the crowd and the performers were all united by a passion for music.

Contact Tyler Dunston at tdunston ‘at’ stanford.edu.

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Sprung Music Festival Rocks FloMo Field, Siberian Front to Play Frost https://stanforddaily.com/2015/04/07/sprung-music-festival/ https://stanforddaily.com/2015/04/07/sprung-music-festival/#respond Wed, 08 Apr 2015 04:30:56 +0000 https://stanforddaily.com/?p=1098476 From 3 p.m. to 10 p.m. last Saturday, Stanford’s Sprung Music Festival encompassed a wide range of musical performances, from indie rock to dance. The festival featured the Battle of the Bands, a series of performances by Stanford bands competing for the opportunity to open for the likes of Flume, Kaytranada and AlunaGeorge at Frost Music Festival, the much-anticipated Stanford music and arts festival scheduled for May 16th. Following the showcase of Stanford talent came the headliner acts — Chrome Sparks, Sango and GoldLink — to close out the night.

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Student band Camp Youth showcased original songwriting. (RAHIM ULLAH/The Stanford Daily)
Student band Camp Youth showcased original songwriting. (RAHIM ULLAH/The Stanford Daily)

From 3 p.m. to 10 p.m. last Saturday, Stanford’s Sprung Music Festival encompassed a wide range of musical performances from indie rock to dance. The festival featured the Battle of the Bands, a series of performances by Stanford bands competing for the opportunity to open for the likes of Flume, Kaytranada and AlunaGeorge at Frost Music Festival, the much-anticipated Stanford music and arts festival scheduled for May 16th. Following the showcase of Stanford talent came the headliner acts — Chrome Sparks, Sango and GoldLink — to close out the night.

The Battle of the Bands consisted of a variety of Stanford student groups: Real People Music, Alta Mar, Camp Youth, Arswain, and Siberian Front. From Alta Mar’s self-described “electro-goth” to the soul and folk-influenced rock of Camp Youth to the thrilling electronic rock of Arswain to Siberian Front’s energetic alt-rock, Sprung Festival showcased a broad range of on-campus musical talent.

The festival was filled with memorable moments, like when Camp Youth bassist Dan Ruprecht ‘17 broke a bass string during a thrilling performance of the song “Eldridge.” The vocals of Jenna Swartz ‘17 — evoking contemporary indie folk-rock artist Lady Lamb — rang out over the crowd, who moved energetically to the rolling beat. “Lay in the sunshine,” Swartz sang, as the instruments dropped out, the beat held only by a cappella vocal harmonies and the steady clapping of the crowd. Before long, the instruments, led by Ruprecht’s vigorous bass, returned in full force for one last visceral chorus.

Likewise, Arswain’s performance of a brand new song thrilled the crowd. Entitled “Hologram,” the track opened with an icy synth beat quickly joined by electric guitar. Over the interplay of synth, guitar and drums came the chilling vocal line: “Tired of this place I’m in / Trying to get away / But I can never escape.”

In the end, it was the enthusiastic alt-rockers of Siberian Front who took home the gold. Their infectious energy and talent garnered them the most student votes (with Arswain coming in second and Camp Youth arriving in third), providing them the opportunity to play at Frost. Indeed, the band delivered an invigorating performance that perfectly suited the outdoor venue, which allowed students ample room to move to the music or simply recline on the grass.

Siberian Front at Sprung Music Festival. Photo by Rahim Ullah.
Siberian Front will open Frost Music Festival after winning Sprung’s battle of the bands in a student vote. (RAHIM ULLAH/The Stanford Daily)

Siberian Front opened with “Seattle,” the opening track off of their self-titled debut EP. Frontman Thomas Reidy ‘17 sang with an intensity that matched his yellow blazer: “The voices in my head won’t go away.” The band continued to play essential fan-favorites throughout the set such as the anthemic “Freedom.” As Reidy belted out the chorus, the crowd came alive, jumping with their hands in the air, clapping and singing along. The audience’s excitement was similarly palpable when lead guitarist Gio Jacuzzi ’16 began to play the opening guitar riff to “Last Night,” the classic song by indie rock band The Strokes and another clear fan-favorite.

Following Stanford’s Battle of the Bands, Chrome Sparks’ DJ set got the audience moving, and Sango’s 808 remixes — by turns bass-heavy dance music and more ambient R&B-infused electronica, evoking artists such as Jamie xx and Kaytranada — continued that trend. By the time GoldLink stepped onstage and asked the audience, “How the f*** y’all feeling in here tonight?” it was clear, judging from the audience’s reaction, that Sprung had been a success.


Contact Tyler Dunston at tdunston ‘at’ stanford.edu.

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Arcade Fire’s Will Butler promises rewarding listen with debut solo album, ‘Policy’ https://stanforddaily.com/2015/03/11/arcade-fires-will-butler-promises-a-rewarding-listen-with-his-debut-solo-album-policy/ https://stanforddaily.com/2015/03/11/arcade-fires-will-butler-promises-a-rewarding-listen-with-his-debut-solo-album-policy/#respond Thu, 12 Mar 2015 06:17:58 +0000 https://stanforddaily.com/?p=1097488 Though the musician and composer Will Butler’s work ranges from the soundtrack to the Spike Jonze film “Her” to current-event inspired songs for the Guardian, he is probably most well-known as a member of the indie rock band Arcade Fire. His debut solo album, titled “Policy,” came out March 10 via Merge Records, and despite […]

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Album art for Will Butler's new album "Policy." Courtesy of Merge Records.
Album art for Will Butler’s new album “Policy.” Courtesy of Merge Records.

Though the musician and composer Will Butler’s work ranges from the soundtrack to the Spike Jonze film “Her” to current-event inspired songs for the Guardian, he is probably most well-known as a member of the indie rock band Arcade Fire. His debut solo album, titled “Policy,” came out March 10 via Merge Records, and despite its relatively short run-time (27:15), it is a lot to take in.

Indeed, Will Butler’s debut boasts an astonishing breadth of influences, at times evoking Buddy Holly, Talking Heads, The Violent Femmes and more. This is not altogether surprising given the ambition of Arcade Fire’s stadium-filling sound, but neither Will Butler nor Arcade Fire are mere arena rock performers. After all, Arcade Fire, the same band that won Album of the Year for their 2010 record “The Suburbs,” also recorded their debut LP “Funeral” in a freezing Montréal apartment in the wake of family tragedy before becoming one of indie rock’s biggest success stories. Like his band, Will Butler’s ambitious music is rooted in emotional energy. Though he experiments with a variety of genres — folk, early rock n’ roll, synth rock and piano balladry to name a few — the music on Butler’s debut album is anchored by his raw intensity.

“Policy” opens with ample energy, as the momentous, crunchy guitar of “Take My Side,” evokes influences as varied as Chuck Berry and The White Stripes. Butler cries out over and over “Are you gonna take my side?” By the end of the song, the answer is clear; the audience is along for the ride. Butler instantly shows off his virtuosity as the rock n’ roll rhythms of “Take My Side” dissolve into the synth-dominated song “Anna,” a tune reminiscent of artists such as Talking Heads and David Bowie.

Such dynamic contrast does not end here. Rather, Butler forges ahead, further experimenting with different genres. “Anna” slows into the stirring piano ballad of “Finish What I Started.” The opening chords instantly recall the likes of Radiohead, yet the intro is sparse. Butler is emotionally bare, wrestling with fame and identity with lines like “Someone, please, can you take the credit,” and “Someone, please, tell me what my name is.” The sound grows as choir vocals enter behind Butler’s plaintive croon, “The feeling I felt hasn’t faded / It’s far too real.”

As if in answer to this feeling, the next song “Son of God” immediately signals a 180-degree turn. Slow piano is out; fast-paced acoustic guitar is in. Just like the music, Butler’s lyrics exhibit contrast, as he yells, “Nothing lasts forever, but some of this shit’s getting pretty old,” as if sticking to one genre, to one sound, bores him. Song to song, Butler is constantly reinventing himself.

At times Butler’s energy is diverted to tongue-in-cheek irony such as on “What I Want,” when he cries, “Tell me what you want, baby / And I will get it / Though it might take three to five business days, maybe longer.” At other times, such as on the following song “Sing to Me,” his energy is diverted to wistful pleas for comfort — “Sing to me / Cause I’m so scared / Of what is waiting through the door.” Butler manages to transition from witty banter to heart-stirring, earnest emotion with the apparent exertion of the flick of a wrist  and somehow manages to make it convincing.

Whatever persona, genre or emotion he embodies, whatever mask he puts on, Butler dives fully into it with reckless abandon. Where his band Arcade Fire’s albums often focus on and explore in-depth a singular concept, Will Butler’s album “Policy” dives headlong into myriad concepts and styles, examining love, religion, humor, depression and fear, each with a brief but passionate glance.

In an interview with Pitchfork, Butler said, “I’m drawn to every genre,” listing influences from rock n’ roll to hip hop to jazz, and it shows on his debut album “Policy.” Yet somehow, despite his scatterbrained musical dynamics and wide variety of influences, Butler manages to create an identity for himself as an artist, an identity that is instantly engaging and makes us wonder what musical melange he will cook up next.

Contact Tyler Dunston at tdunston ‘at’ stanford.edu.

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Roah Summit and Siberian Front give thrilling performances at Kairos https://stanforddaily.com/2015/02/25/roah-summit-and-siberian-front-give-thrilling-performances-at-kairos/ https://stanforddaily.com/2015/02/25/roah-summit-and-siberian-front-give-thrilling-performances-at-kairos/#respond Wed, 25 Feb 2015 10:08:47 +0000 https://stanforddaily.com/?p=1096420 Last Wednesday, Los Angeles indie rock group Roah Summit and Stanford indie rock quintet Siberian Front performed at Kairos, both delivering engrossing performances. There were two stages, one on either side of the darkened room, sparsely lit with strings of ambient, multi-colored lights. Hushed anticipation reigned just before the show. To start off the night, […]

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Siberian Front lead singer Thomas Reidy at a performance at Sigma Chi earlier this year. Photo by Gabriela Groth.
Siberian Front lead singer Thomas Reidy ’17 performing at Sigma Chi earlier this year. Photo by Gabriela Groth.

Last Wednesday, Los Angeles indie rock group Roah Summit and Stanford indie rock quintet Siberian Front performed at Kairos, both delivering engrossing performances. There were two stages, one on either side of the darkened room, sparsely lit with strings of ambient, multi-colored lights. Hushed anticipation reigned just before the show.

To start off the night, Siberian Front vocalist Thomas Reidy ‘17 stepped onstage with palpable excitement and announced to the crowd, “Alright, let’s get this party started.” Immediately, lead guitarist Gio Jacuzzi ‘16 and rhythm guitarist Walter Torres ‘15 opened with an upbeat, rollicking melody to which the audience started dancing. Damian Mcglothlin ‘15 soon joined in with his rhythmic bass as Shamik Mascharak ‘15 set the beat with pelting drums that roared alongside Reidy’s vocals.

From the start, Siberian Front were, musically and physically, in constant motion. Their visceral sound and energetic performance evoked the enthusiasm of early Arctic Monkeys. During instrumental breaks, which featured dual guitars creating a gritty wall of sound, Reidy was not standing still. Rather, he was dancing to the music, rushing about the stage and interacting with the audience.

The song “Skinny Jeans” encapsulated their performance style: they opened with solo distortion guitar, courtesy of Jacuzzi, before leading into Reidy’s fast-paced melody. During the song, Reidy knelt down fervently before two of the audience members, sang to them imploringly, hit the high note and fell to the ground as if stunned. Not a second later, he was up on his feet again, moving.

Siberian Front sang original songs off their debut self-titled EP, such as “Seattle,” in which Reidy sang about his inner demons — “The voice that’s in my head won’t go away.” They sang thrilling covers of songs by bands that have influenced their sound — such as Young the Giant’s “Cough Syrup,” one of the smoothest songs of their set, and The Strokes “Last Night,” which showcased their ability to have fun onstage. Yet no matter what they sang, whether original song or cover, Siberian Front commanded the room. Before the set finished, Reidy gave a shoutout to the next act Roah Summit, exclaiming, “They f***ing rock.”

A well-rounded ensemble, Roah Summit dazzled the crowd with their layered sound. Photo by Gabriela Groth.
A well-rounded ensemble, Roah Summit dazzled the crowd with their layered sound. Photo by Gabriela Groth.

While equally powerful, Roah Summit’s smooth, transcendent performance, in light of Siberian Front’s raw energy, was a striking surprise. Though the two bands possessed similarities — among them, layered guitars and a penchant for reverb — they each boasted a distinct musical and performance style. Where Siberian Front played an animated show, Roah Summit delivered a more mellow but no less riveting performance. From the minute bars of fluorescent light illuminated the pitch-dark stage, to the final, ethereal reprise of “Secrets,” an emotionally stirring song from their debut EP “Deep Bloom,” Roah Summit captivated the audience.

Overall, Roah Summit’s sound was full and immersive, tending more toward atmospheric than Siberian Front’s visceral rock n’ roll. Nevertheless, the band still sported striking rhythms, especially evident on the song from their EP “Mother American,” in which Jake Berry’s crooning voice rang out (“Oh-oh-oh”) over waves of Kevin Clarke’s synth and Drew Chaffee’s guitar, all the while supported by Jay Odebunmi’s intricate percussion, which bore similarity to the complex beats of bands such as The National and Spoon.

Frontman Jake Berry tuning his guitar in preparation for another stirring song. Photo by Gabriela Groth.
Frontman Jake Berry tuning his guitar in preparation for another stirring song. Photo by Gabriela Groth.

What made Roah Summit’s performance so breathtaking, causing the crowd to stand transfixed before the white light of the stage, was apparent in their performance of the song “Secrets.” To begin, Berry sang in a low voice, brushing aside his long brown hair, alongside steady drums and guitar. All sound dropped out save Berry’s vocals and a few well-placed piano chords — then, as drums and guitar reentered, Berry’s voice rose in one of his most dynamic and emotional performances of the night. “Be careful who you put yourself above,” he intoned as the guitar echoed behind him in a stirring union. Through the show, Clarke’s synth and Chaffee’s guitar exhibited shoegaze influences combined with the folky timbre of Berry’s vocals. Such juxtaposition called to mind musical influences such as The War on Drugs.

The music unfolded with eloquent ease, as Berry sang, “I don’t care about your secrets,” making way for an interlude of electronic sounds. Then, the guitars crashed back in like ocean waves in slow-motion and Odebunmi’s elaborate rhythms returned full-force. At this point the depth of Roah Summit’s evocative and layered aesthetic became apparent. Each distinct element was an integral piece in their orchestra of sound, executed with sleek precision.

Though the two bands’ performances were distinct, both Siberian Front and Roah Summit delivered transcendent sets to a crowd of music-loving Stanford students that night. Whether the crowd was dancing or swaying in place, this was a show the audience could get lost in, or, to quote Jake Berry in the song “Secrets,” it was a musical realm with “no beginning or finish.”


Contact Tyler Dunston at tdunston ‘at’ stanford.edu

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José González explores the human experience in his new album https://stanforddaily.com/2015/02/15/jose-gonzalez-new-album/ https://stanforddaily.com/2015/02/15/jose-gonzalez-new-album/#respond Mon, 16 Feb 2015 06:56:37 +0000 https://stanforddaily.com/?p=1095773 González, acclaimed for his acoustic folk cover of The Knife’s electro-pop song “Heartbeats,” is a man of contradictions. His sound is sparse, but his ideas are ambitious. A classical guitarist who grew up listening to latin folk, pop and bossa nova, González played guitar in multiple hardcore punk bands before becoming the indie-folk singer-songwriter we now know him to be.

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Out Feb. 17, 2015, José González’s first album in eight years, “Vestiges & Claws,” opens with the cryptically-titled song “With the Ink of a Ghost” and ends with González singing quietly — as if to himself — “I feel just like an open book.” The listener is left putting together the pieces in between.

Indie singer-songwriter Jose Gonzalez. Courtesy of Malin Johansson.
Indie singer-songwriter Jose Gonzalez. Courtesy of Malin Johansson.

González, acclaimed for his acoustic folk cover of The Knife’s electro-pop song “Heartbeats,” is a man of contradictions. His sound is sparse, but his ideas are ambitious. A classical guitarist who grew up listening to Latin folk, pop and bossa nova, González played guitar in multiple hardcore punk bands before becoming the indie-folk singer-songwriter we now know him to be. Despite gaining notoriety from his covers of artists such as Joy Division, Massive Attack and Bruce Springsteen, González’s poetic, philosophical writing is one of his most striking qualities, which is especially apparent on his third full-length album “Vestiges & Claws.”

Through his lyrics, González seeks to explore both the environment within himself and the environment in which we live, examining such contrasting concepts as good and bad, tranquility and chaos, wholeness and loss. This is particularly evident on “The Forest,” in which, amid acoustic guitar, peaceful clarinet and the imagery of “mountains covered in snow,” González asks himself — so hushed it’s disarming — “Why didn’t I see / The forest on fire behind the trees,” examining the beauty of the mountains alongside the jarring destruction of a forest fire. Whether he’s singing of the natural world or looking inward, González’s lyrics are conceptual in nature. In “Afterglow,” he muses on the transience of human experience with lines such as “All of this will be gone someday / You and me and everyone we know.”

Gonzalez's album delves deep into the human experience.
Gonzalez’s album dwells on deep philosophical questions.

Although González acknowledges the darker truths of the world in his music, some of his most poignant musings bear faint glimmers of hope. On “Let It Carry You,” his echoing voice sings over acoustic guitar: “Let it carry you away / And dissolve into the foam of things near, of things gone / To remind our restless souls of the beauty of being here at all.” Likewise, in the lilting “Every Age,” he sings, “We don’t choose where we’re born…But we can learn to know ourselves.” That is just what González is doing when he asks such challenging questions as “What will it be / If our will is free?” on “What Will.” All he offers in reply is the stirring instrumental of the following song “Vissel” — a duet between González’s pensive guitar and his tranquil whistling — and perhaps that’s all we need.

The music on “Vestiges & Claws” is equally striking. Though the songs evoke his trademark simplicity, often limited to his serene vocals, acoustic guitar and light percussion, González has broadened his sound since his debut LP “Veneer.” From the multi-tracked, ethereal vocals on “Let It Carry You,” to the commanding percussion on “Stories We Build, Stories We Tell,” to the atmospheric clarinet on “The Forest,” González’s sound feels far more expansive than before. This is especially notable given the fact that González chose to work without a producer on this album, which lends a raw quality to it — an elegant ruggedness, much like the “landscapes blurred by rain” González describes on his song “The Forest.” This is a testament to González’s skill as an artist.

Through the record, González poses unanswerable questions. On “Open Book,” the album’s simple and transcendent closer, he sings, “Asking myself what it’s all about / What am I doing here, what’s this leading to?” To the end, González doesn’t seek to provide definite answers for the listener, embodying the words of the poet Rilke: “Try to love the questions themselves…like books that are now written in a very foreign tongue.” By the end of González’s spellbinding “Vestiges & Claws,” such words ring especially true.

Contact Tyler Dunston at tdunston@stanford.edu. 

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Camp Youth rocks White Plaza in support of global health initiatives https://stanforddaily.com/2015/02/07/camp-youth-white-plaza/ https://stanforddaily.com/2015/02/07/camp-youth-white-plaza/#respond Sat, 07 Feb 2015 20:12:25 +0000 https://stanforddaily.com/?p=1095198 Last Wednesday, students huddled together before the stage in White Plaza, clutching CoHo cappuccinos, awaiting the performance of the Stanford indie rock band Camp Youth. The platform was adorned with Christmas lights, drums, amps, and several microphones. The performance was in support of “Rhythms and Reflections,” an event sponsored by PIH Engage and Dance Marathon, featuring testimonials […]

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Last Wednesday, students huddled together before the stage in White Plaza, clutching CoHo cappuccinos, awaiting the performance of the Stanford indie rock band Camp Youth. The platform was adorned with Christmas lights, drums, amps, and several microphones. The performance was in support of “Rhythms and Reflections,” an event sponsored by PIH Engage and Dance Marathon, featuring testimonials from student speakers on their experiences in global health who studied a wide variety of topics from maternal depression to public policy. Camp Youth played a set before and after each speaker, helping to draw a crowd of curious listeners with their magnetic presence.

Camp Youth lead singer Jenna Swartz roused the crowd with her vocals.
Camp Youth lead singer Jenna Swartz roused the crowd with her vocals.

Silence filled the air until Camp Youth burst into their opening song (“Eldridge Guns”). The band’s sound — characterized by Jenna Swartz’s smooth alto vocals and jangling lead guitar, Dan Ruprecht’s noteworthy bass, and Andrew Mitchell’s bright percussion — has influences beyond the indie rock genre. Touches of soul and vocal groups from the ‘50s and ‘60s could be heard, lending an undeniable uniqueness to their style.

Camp Youth’s cover of the Shakey Graves song “Dearly Departed,” with its passionate, call-and-response vocals recalled elements of soul, evoking the band’s soul-tinged rock contemporaries such as Alabama Shakes. Midway through the song, the instruments dropped out, leaving only Swartz’s fluid voice. Before long, both band and audience started clapping steadily to the beat. During one such interlude, Swartz invited a cycling student to join — “You, on the bike!” — eliciting a chuckle from the crowd, many of whom began as mere passersby but stopped to listen upon hearing the music.

The speakers between each set talked about several organizations, as well as their experiences with global health issues in a variety of locations from California to Senegal. One speaker, a HumBio major studying maternal depression and early childhood language development, shared a story about her work in Senegal: One night, during a severe power outage, she stood above the city when suddenly, the generators turned on, and she was amazed to see the wealthier half of the city lit up like fireworks, while the more impoverished side of the city remained in darkness. This stark contrast emphasized the global health inequality gap in her mind.

Remarkably, the group’s performance seemed to mirror such contrast of light and dark with their musical contrast of soft and loud, slow and fast, tranquil and energetic. Indeed, Camp Youth has a knack for this kind of musical dynamism. One moment they were playing a stirring ballad cover of “Blue Moon,” which recalled doo-wop songs of the 1950s like The Penguins’ “Earth Angel.” At other moments, they were playing beat-driven, guitar-riff-laden songs, such as “The Jungle,” an original song set to be released as Camp Youth’s first single this weekend. It will also be featured on their forthcoming EP. Such songs evoked the controlled energy of indie rock bands like The Strokes and Yeah Yeah Yeahs but with a more jubilant tone. When Swartz sang, “Come on now, take your chance to be free,” as the propelling lead and bass guitars played alongside one another, you could not help but bob your head and move to the beat.

After Camp Youth performed their final song, the audience’s disappointment at the concert ending so soon was audible; shouts of “encore!” erupted from the crowd. When the event organizers announced, “I think we have time for one more song,” the excitement that followed was equally palpable. The audience clamored for a cover of the Talking Heads’“Psycho Killer!” I was struck with enthusiasm as Swartz sang those famous lines: “Psycho killer! Qu’est-ce que c’est?” When she spat out the syllables “Fa-fa-fa-fa-fa-fa-fa-fa-fa-far,” they became not only intelligible but eloquent in her hands, set against the jumping, rollicking guitar and the jittery beat of the drums.

Throughout the performance, much of the crowd danced animatedly, singing along with Swartz, while others sat back to let the music wash over them. All in all, when Swartz sang “Run run run run away,” exploding into the chorus of “Ay-ay-ay-ay-ay-ay,” running was the furthest thing from our minds.

Contact Tyler Dunston at tdunston ‘at’ stanford.edu. 

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