by sdgooch on Nov.30, 2011, under Local
That’s homegrown, y’all. Buy your tickets online here.
Sunday, November 27 Lonnie Walker, Ed Scrader’s Music Beat and Future Islands took the stage at Cat’s Cradle in Carrboro. According to Sam Herring, it was the best-selling show yet of their US tour — and it was date #30.
Local band Lonnie Walker opened. The set started a little early and was shorter than the fans wanted. What can we say – we love Lonnie. After closing out with their most popular songs, Ed Scharder’s Music Beat took the stage. The two-piece is from Baltimore, where Future Islands now reside. The songs were short but powerful, up-in-your-face without scaring you away.
If you think you don’t like Future Islands, go to one of their shows and you’ll think again. Watching this band live is an unforgettable visceral experience that will leave you tired, sweaty and wishing for more. You will be entranced by frontman Sam Herring’s theatrical stage presence and how every word he sings is so infused with genuine energy, passion and (usually) heartache. Sam is charming, entertaining and rigorously emotional all at once and his performance is one from which you will not be able to look away – you will see him crouch to the ground, jump, dance and beat his fists against his chest all while singing in his gruff and deeply yearning vocals. In between songs, Sam steps out of this character and engages the crowd instead with lighthearted anecdotes that starkly contrast the intensely emotional songs. The way the band interacts with the audience is humble despite all this, letting you know they’re excited and grateful to be there, too.
Over the past few years every Future Islands show I’ve attended has seemed more packed than the one before it, and Sunday night’s performance at Cat’s Cradle was no exception. This is a band that consistently puts on a stellar live show and that has helped them continue to build a loyal following in the Triangle, and hopefully beyond. While their records are absolutely worth thousands of listens, if you have never seen Future Islands before I guarantee that after you do, you will appreciate this band in a way that you cannot even imagine now.
Last Sunday, Future Islands along with Lonnie Walker and Ed Schrader’s Music Beat captivated the audience at Cat’s Cradle with their diverse and energetic performances. These are three unique live acts that are definitely worth keeping an eye out for, whether you missed the show on Sunday night or because you can’t wait to see them again.
by jdlanglo on Nov.29, 2011, under Eye on the Triangle
Nov. 29, 2011
Sorry! Eye on the Triangle will not be having a show this week.
We hope everyone had an awesome Thanksgiving.
Join us next week for our second to last show of the semester!
Hip-hop fans have been waiting. Ever since the split of North Carolina hip-hop group Little Brother, many have eagerly anticipated the moment when Phonte would step back in the limelight, grab the mic and start to rhyme again. But the past few years have witnessed Phonte forging his path as a successful R&B crooner with Grammy-nominated act The Foreign Exchange, with all thoughts of rapping in the back of his mind, appearing once in a blue moon. So when it was mentioned that Phonte was set to finally release his debut solo album, anticipation hit the roof. And when it was revealed that Phonte and 9th Wonder, the producer of Little Brother fame, had reunited earlier this year, Little Brother fans rejoiced. Everything seemed ready for the debut of Phonte Coleman. The question was who would take front and center: “rapping Tay, four-and-half-mic honoree/Or singing Tay, first-time Grammy nominee”?
While each side of Phonte appears on the album, it’s the rapper that takes center stage here, tackling themes that don’t stray far from the material he has been putting out over his career. The themes of the common man are heard, stories of ourselves at our worst and best. “The Good Fight” is a song about money woes, uncertainty of keeping the job and all the frustrations of a 9-5 that the majority of Americans face, especially in the midst of an economic downturn. “Ball and Chain” weighs the pros and cons of marriage, specifically the suffocation that occurs when love dies out in the house. And of course the album has its fair share of lyrical wizardry, such as the back and forth wordplay of Phonte and Pharoahe Monch on “We Go Off” and the opening track “Dance in the Reign.”
Lyrically, Phonte is better than ever. His album combines the rawness and honesty of his Little Brother persona with the maturation he achieved with his recent work as singer of The Foreign Exchange. Having written for himself and other artists since starting his adventures with The Foreign Exchange, Phonte has clearly polished his skills as a lyricist and now, on this debut album, he brings that experience and writes verses like a “pro with the prose/what a concept.” Even with his weaker punchlines, Phonte’s wit and charisma pulls him through, making the lines seem as if he’s delivering them with a wink and a sly smirk.
The production, for the most part, is solid. Nothing stands out, however, and it serves more as backdrop for the lyrical wordsmith to pick up his mic and paint images with words. 9th Wonder provides the same repetitive drum patterns and looped samples that he has become well-known for (whether that is for better or worse). Swiff D introduces the album on “Dance in the Reign” with a church organ and takes it to the church with a synth and Phonte preaching to the congregation. S-1 and Caleb bring a modern production to the quiet-storm sound with hard-hitting drums and an atmospheric sound that allows Phonte and Carlitta Durand to get musically romantic on “Gonna Be A Beautiful Night.”
Overall, Charity Starts At Home features mature, honest, and raw songs from N.C.’s top-notch spitter and crooner Phonte Coleman. It may not feature a breakout song, hold mind-blowing production, but it holds plenty of love and humility that hip-hop seems to have lost in recent years. The last line of the song “Who Loves You More” sums up the album perfectly: “I got a room and a microphone and a family I ain’t seen in months. And I played this record a million times just hoping you would play it once.” Phonte is one of us. He works hard at his job and goes through the struggles in life and love, just like any of us, hoping that someone will take notice at least once. “Let that boy saute!”
by jdlanglo on Nov.24, 2011, under Eye on the Triangle
Class may be out for Thanksgiving break, but we’ve got one more show for you before we go!
This week, Chris Cioffi visited a local brewery started by a couple of N.C. State graduates and took a behind the scenes peek at what it takes to run a brewery. Jake Langlois spoke with a member of the Adventist Christian Fellowship to find out a little more about who they are and what they stand for, and Jay Tomblin interviewed two members of the Students for Concealed Carry on Campus group to discuss the recent gun-related incidents on campuses around North Carolina, as well as why concealed weapons should be allowed on school campuses.
As always, Nick and Dave return with This Week in History, and Jake reviews another bad movie. Be sure to tune in; it’s going to be a great show!
by DJ Ones on Nov.23, 2011, under Underground
Azealia Banks may be a name unfamiliar to most listeners out there, and that’s because she hasn’t recorded her debut yet and her touring history has been rather scarce compared to most artists. But this isn’t stopping Banks from being one of the most heralded up and coming artists; among those singing her praises, NME decided to put her atop their Cool List for 2011.
The list itself seeks each year to organize a handful of artists that NME has deemed cool for that year. What exactly that means is still quite vague. Regardless, NME has the task each year of sorting out which music makers go where, and each year it seems as if NME has to dip into a pool of artists that don’t seem as repetitive. However, this year features the return of several artists who seem to garner a large amount of NME press as it is.
With all this in mind it doesn’t surprise me that NME would change their focus in terms of who makes the list. Although they seem to regurgitate a lot of individuals each year (Jarvis Cocker, Arctic Monkeys, Kasabian, and so on to a ridiculous extent), this year seems to highlight some of the biggest up and comers. This includes the likes of Lana Del Rey, and Ellery Roberts (of Wu Lyf). With the desire not to keep chucking out the same handful of artists each year it makes sense that Banks would reach the top. This is not to say that NME has forgotten their old favorites as they still dominate the list. They are back and in great force as expected, but I digress.
There is a lot more to Banks’ topping of the 2011 NME Cool List. Her initial touchdown as a proper recording artist is based heavily in England. Banks recently finished up one of her first small tours in the United Kingdom with dates earlier in November in Glasgow and London. Banks will also be soon moving to London to record her debut alongside Paul Epworth.
With this type of visibility and promise, alongside the growing need for NME to introduce some new artists to their list and Banks’ critical start within the UK, it makes sense that the magazine would put her atop their list this year.
Top 10 2011 NME Cool List:
1. Azealia Banks
2. Jarvis Cocker (Pulp)
3. Honor Titus (Cerebral Ballzy)
4.+5. Tom Meighan and Serge Pizzorno (Kasabian)
6. Lana Del Rey
7. Rhys Webb (The Horrors)
8. Theo Hutchcraft (Hurts)
9. Matt Helders (Arctic Monkeys)
10. Ellery Roberts (WU LYF)
1. Gloominous Doom - Cosmic Superghoul (DRP)
2. Megadeth - Th1rt3en (Roadrunner)
3. Isole - Born From Shadows (Napalm)
4. Cradle of Filth - Evermore Darkly (Nuclear Blast)
5. Machine Head - Unto The Locust (Roadrunner)
6. Iced Earth - Dystopia (Century Media)
7. Ashes Of Your Enemy – Anthem (Zenergy)
8. Animals As Leaders - Weightless (Prosthetic)
9. Generation Kill - Red White And Blood (Season Of Mist)
10. Dub Trio – IV (ROIR)
by DJ Ones on Nov.22, 2011, under Daytime
Let me start by saying I had no intention of creating a definitive, all-encompassing Winter 2011 playlist. A feat like that should be left only to the people who can spend all of their hours sorting through thousands of albums, identifying the standouts, and only then would they be able to define what they believe a Winter 2011 playlist should consist of.
Knowing that my capacity as a human to waste away my days listening to music is limited, I instead turned to a modest sum of tracks that embody what I would describe as making for a pretty good Winter playlist that consist of songs released in 2011.
The problem for every individual’s list is that it means something unique or holds a special attribute to them, and I am no different when it came to my formula for selecting songs. For me it meant that this playlist would encapsulate a few things: some of the best tracks of the year, and those that would send off vibes for what I would describe as being that of a “winter nature.”
What exactly do I mean by something having a winter nature? It’s pretty simple. I looked for tracks that would be incredibly rewarding to listen to while trudging through the rough winter weather or those which would be pleasant to warm up to after a day filled with having to deal with the growing loss of daylight.
Either way, after limiting myself to only tracks that came out this year, I think I came up with a pretty decent set of songs to listen to for the next couple of months on those days where you feel as if the season may have gotten the best or worst of you. Is it subject to change? Absolutely, and your feedback is always welcome as to what should be added to the playlist. And I have a way to share it with everyone that has Spotify; you can open it up here and listen to the playlist.
For everyone else the current tracklist is below:
01 The Dodos- Companions
02 Chad VanGaalen- Do Not Fear
03 Future Islands- On the Water
04 The Drums- Days
05 Youth Lagoon- July
06 Bon Iver- Wash.
07 The Antlers- I Don’t Want Love
08 Atlas Sound- Te Amo
09 I Break Horses- Winter Beats
10 The Raveonettes- Recharge & Revolt
11 Deleted Scenes- Bedbedbedbedbed
12 Wye Oak- Fish
13 Wild Beasts- Deeper
14 Bombadil- Short Side of the Wall
15 Megafaun- Hope You Know
16 Fleet Foxes- Bedouin Dress
17 Real Estate- All the Same
What do you want to see on the Winter 2011 playlist? Leave your suggestions below.
by John on Nov.20, 2011, under Pick of the Week
Real Estate has fallen into somewhat of a song-writing algorithm. I’m assuming their music making process works something like this:
- Lead Singer, Martin Courtney puts together a few chords and some lyrics.
- Matt Monandile (who has also achieved some praise for his exploratory guitar project, Ducktails) adds a catchy and psychedelic guitar hook.
- Alex Bleeker follows the ideas with some bass, and a simple, rolling rhythm is added to finish it off.
1. Widowspeak – Widowspeak (Captured Tracks)
2. Young Man – Ideas of Distance (Frenchkiss)
3. The Field – Looping State of Mind (Kompakt)
4. Class Actress - Rapproacher (Carpark)
5. Various Artists - GRPTPS Vs. PTLCK (Grip Tapes)
6. Memoryhouse – The Years (Sub Pop-Arcade Sound)
7. M83 – Hurry Up, We’re Dreaming (Mute)
8. Donora – Boyfriends, Girlfriends (Rostrum)
9. Icebird - The Abandoned Lullaby (RJ’s Electrical Connections)
10. Wavves – Life Sux (Ghost Ramp)
11. Real Estate – Days (Domino)
12. Gauntlet Hair – Gauntlet Hair (Dead Oceans)
13. Emika – Emika (Ninja Tune)
14. Bonnie Prince Billy - Wolfroy Goes To Town (Drag City)
15. Neon Indian – Era Extrana (Mom and Pop)
16. Future Islands – On The Water (Thrill Jockey)
17. Bleeding Knees Club – Virginity (Iamsound)
18. Mike Doughty – Yes And Also Yes (Megaforce-Snack Bar)
19. Viva Voce - The Future Will Destroy You (Vanguard)
20. Wilco – The Whole Love (Anti)
21. Marketa Irglova – Anar (Anti)
22. Pujol - Nasty, Brutish, And Short (Saddle Creek)
23. Hella – Tripper (Sargent House)
24. High Places – Original Colors (Thrill Jockey)
25. Wooden Shjips – West (Thrill Jockey)
26. Megafaun – Megafaun (Hometapes)
27. St. Vincent – Strange Mercy (4AD)
28. Ryan Adams – Ashes and Fire (Capitol)
29. Phantogram – Nightlife (Barsuk)
30. Body Language – Social Studies (Om)
I had the opportunity to see Phantogram at Cat’s Cradle last year, which ended up being a great show. I was really excited when I found out they were coming back around to the Triangle, but their performance this past Tuesday, Nov. 15, was not quite what I expected. I’ll get into this in more detail in a bit, but first I want to discuss EXITMUSIC’s opening performance.
EXITMUSIC was treated to a large crowd of fans, all pumped for the show that was about to ensue. Their set started out strong: the percussion was spot on and the lead singer had a very distinct, yet interesting voice; I instantly drew connections to the Zola Jesus performance I saw a couple of weeks before. Their style capitalized on the point at which a buzzy, guitar-driven band pushes into more intimate territory. Unfortunately, that became redundant after a while. It was as if every song was meant to build momentum, but the set never hit a climax (although, it would fit their name of “EXITMUSIC”: every song written like the last song of an album). The crowd was pretty stoical as well, presumably due to the fact they were just there to see Phantogram. Their recordings do not succumb to this issue, however, so I would recommend listening to this band.
The set change involved putting a ton of lights around the stage, which got me excited for what was to come. The projections during Phantogram’s last performance were spot on, so I was excited to see how all of these lights were going to be implemented into the show. After the stage had been filled with fog and all of the band’s equipment set up, the crowd was pumped for Phantogram to begin.
After getting over the initial shock of the amazing light setup that was taking place, I realized I wasn’t into the performance. Phantogram started by playing a lot of tracks from their new EP, Nightlife, and an irking rework of an older song from their debut, Eyelid Moves. The striking break-beat drums of that release had been replaced by a more rolling rhythm line, and the guitar had been pushed down in the mix to make room for heavily sequenced synthesizers. The dark and intimate emotion of their older work was being replaced by a sense of artificial happiness that did not go over well, in my opinion. The crowd, which was densely packed and composed of a lot of new faces, didn’t seem to mind, and the band trudged on.
This mood pervaded a good bit of the rest of the set. Things started to change as the aggressive drumming on “Futuristic Casket” began (break-beat intact). The performance of that song was a complete change-up for the set. It felt aggressive and dark, and I was very impressed with how the lights interacted with the music. They ended their main set appropriately with “When I’m Small,” which was also a very solid rendition that rang true with everything their fans love about the original.
As the band left the stage briefly, mountains of applause erupted. Phantogram came back for a two-song encore, which began with the uncharacteristically slow “Nightlife.” This song was probably the highlight of my night; instead of pushing in those aggressive synths like they had for much of the performance, they kept the song rather stripped-down, which was a great stylistic choice both as a performance progression and as a closer.
All in all, Cat’s Cradle put on a decent show, though there were some mixing kinks. In general, the vocals were fairly quiet, and the percussion during EXITMUSIC’s set was mic’d too high. I would most definitely go back to the venue and am still digging the changes they implemented earlier this year.
-John and Kenneth
by Caitlin on Nov.17, 2011, under Promotions
Support N.C. State and come to Homecoming events continuing through the weekend!
On Friday, Nov. 18, Wear Red, Get Fed will be providing food once again in the Brickyard starting at 11 a.m. A blood drive will also be held all day in the Bragaw Activity Room and Carmichael Playzone.
That night will be the Homecoming Parade on Hillsborough Street starting at 6 p.m. And guess what? The parade will be emceed by your very own KNC DJs! Come join jose jose, Mollypop, Elly May and Jeff as they host the festivities.
Right after the parade at 7 p.m. will be the Homecoming Pep Rally: Packhowl presents The Wayans Brothers emceed by KNC’s DJ Carizmatic.
So come on out to the celebration and cheer on your Wolfpack as we try to Tame the Tigers!
Let me start by saying that on Wednesday, Nov. 16, a tiny woman in massive heels brought a packed venue to its knees. As one of my English pals so articulately put it, “She makes that guitar her bitch.”
St. Vincent brought out the largest crowd that I have seen at the Brudenell Social Club (although I haven’t been to that many), and rightly so. She has come off of one of her most successful and critically acclaimed releases, Strange Mercy. With anticipations high, the tension was palpable as the stage crew tuned the guitars, adjusted the lights, and kicked the fog machines into full gear, after a wait that seemed like an eternity.
When she did come out, the tiny Annie Clark in her high heels showed that big surprises come in small packages. Playing mostly off of the excellent Strange Mercy, the powerful sound of St. Vincent demonstrated the best of the recent album. Despite the amazingly forceful performance of many of her excellent new tracks, Clark came across as incredibly modest throughout those brief moments in between songs where she gave the audience a brief glimpse into everything from her music video for “Cruel” to her recent cover of The Pop Group’s “She Is Beyond Good and Evil.”
It wasn’t all constrained to the new work, as Clark and company provided some of the greatest moments performing older hits, including an excellent cover of “She Is Beyond Good and Evil.” It was St. Vincent’s performance of “Marrow” that they were able to give a much more intense life to, which cannot be given complete justice when listened to recorded. It was the encore that stole the show with an amazing rendition of “Your Lips Are Red.” It featured Clark jumping into the audience at the most intense moments of the track, and within seconds doing a complete turnaround and calming down the song to what was the end of one of the greatest performances I have seen in recent memory.
And on that night Clark certainly made that guitar her bitch.
Tune in to Mystery Roach this coming Saturday, Nov. 19, from 8-10 a.m. for a discussion about oysters. The conversation will cover their biological history and underwater soundscapes with MEAS graduate student Ashlee Lillis, and their cultural/economic history with historian Matthew Booker (Both from NC State). I will add cooking tips throughout the show and playing songs loosely based on an ocean theme. (Still up in the air about Octopus’s Garden. Sorry, Ringo.)
Talk to you then.
We arrived at Cat’s Cradle right in the middle of Dom’s set. The band resembled an Urban Outfitters catalog while playing the hazy pop tunes that we all fell in love with at the beginning of this year. Dom played a good portion of music from their first EP and ended with “Living In America,” by far their #1 single. The only thing lacking from Dom’s performance on Monday night was…well, energy. I wanted more excitement during “Living In America.” Instead, the band looked like they were bored and ready to get off stage. It was hard to tell through his thick mass of red hair, but it seemed Dom made eyes with us a few times. It wasn’t clear if this was intentional or if his head had just rolled to the side awkwardly, and that’s a problem. When they did leave the stage, we worried that this would be a theme of the rest of the night. Fantastic tunes, a great sound, but if I wanted those, I’d listen on iTunes. We couldn’t imagine Architecture in Helsinki being so boring. Thankfully, we were right.
Architecture in Helsinki hails from the distant land of Australia; they came to North Carolina in search of Cheerwine, which they nostalgically spoke of on stage. They complimented us on our warm November weather. The band walked onto the stage void of emotion, stood there, and then jumped into a high energy, fun series of songs that had the audience dancing and smiling at the stage. Seeing Architecture in Helsinki live reminded Nicole of what an ‘80s new wave style concert would have been like two decades ago: a mix of B-52s, Talking Heads, and energy. The members all had their own distinct dance moves that were used throughout the show. The one woman in the band, Kellie Sutherland, was one of Nicole’s favorites to watch throughout the show. She wore an amazing jumpsuit and just gave her all on stage, creating dance moves and driving the energy through the roof.
Two favorites for the night were the band’s newer single “Contact High” and of course “Heart It Races,” their last song of the encore. You know you’ve hooked an audience when you come out for an encore and they begin chanting for a specific song. “Like It Or Not” and “Do The Whirlwind” brought some crazy dance moves on the dance floor as well. Overall, the show was a fantastic break from homework and gave us a second wave of energy that lasted until we got back to campus and decided to call it a night.