Categories
DJ Highlights

The Seven Year DJ, Spaceman Spiff

I had the wonderful opportunity to interview Jeremy Leonard, also known as DJ Spaceman Spiff, who was a WKNC DJ for seven years between 2008 and 2015. Jeremy fulfilled a variety of roles within his time at WKNC including Station Librarian and Daytime Assistant Music Director. 

Within his time at NC State, he received his Bachelor of Architecture within the College of Design, receiving numerous awards and recognition. Jeremy later went on to receive his Master of Architecture from Yale University.

 I met Jeremy last semester, who at the time was my architecture studio professor. Upon learning of his involvement with WKNC earlier this semester, it was only fitting to set up an interview.

I would like to highlight, there are very few students that have the opportunity to be involved with WKNC for such a long period of time, let alone the sheer drive and love for it.

It was clear in our interview that Jeremy has a profound passion for local and underexposed music, a love that was curated throughout his life and prospered within WKNC. 

My discussion with him really opened my eyes to how passionate DJs can be about the music they put on the air. Radio is so much more than music– it is an outreach, a platform for underexposed music and a powerful form of self expression. 

Our discussion also introduced me to some absolutely phenomenal bands. If you are interested in hearing some of DJ Spaceman Spiff’s picks, he created a playlist of some of his favorite and nostalgic tracks from his time at WKNC. You can find his playlist on Spotify.

Below are some of the highlights from our discussion.

Read more: The Seven Year DJ, Spaceman Spiff

How did you get involved with WKNC?

I grew up in Raleigh and went to high school in Garner. I used to listen to WKNC in high school and my older sister listened to it too. I very much looked up to my sister so I gravitated towards WKNC to be more like her in a way…. also the show The OC. My sister bought the show soundtrack which had some awesome indie rock songs featured on the show, and I was craving more of that style. I started listening to WKNC to find more bands that had that sound.  I used to listen to WKNC on the way to my high school. My favorite DJ was Rochester, who had a show called “Carpooling with Rochester”.  He had a great personality and played killer music. 

I knew as soon as I became a NC State student I wanted to be a DJ. In my first week of school, I attended Welcome Week and signed up for a training session… DJ Sweet Annie Rich was my trainer. She had an Americana show but I ended up going the  daytime rock route. 

The coolest thing about WKNC is that they play everything.  I’m not into Chainsaw Rock, but I love that they play metal and have a devoted audience.  I wouldn’t have heard great electronic music if not for Afterhours.

Can you describe your involvement with WKNC? What year did you start and what roles did you fulfill in your time at the station?

I started in 2008 when I was a freshman. I graduated in 2013, but Jamie let me continue my show into 2015.

During my freshman year, I was the librarian and I helped organize the CD collection.  I was also an assistant daytime music director for my first couple years at the station.  In that role, I would review five to ten albums a week.

There is an unbelievable amount of music released every month.I had to open my mind and expand my taste so that I could be better at my job.  Between me and the other music directors, we would select the songs that would be put into rotation–I wanted to make sure that our selections were catchy but also boundary-pushing. By reviewing so much music, I listened to albums I wouldn’t have otherwise.

Are there any artists or albums that you found during your time at WKNC that you still listen to? If not, what do you find yourself gravitating toward today?

I still listen to many of the albums I discovered at WKNC. There is this band called Royal Bangs, whose music is unbelievably rambunctious and infectious.  Their second album, called “Let It Beep“, I thought was just f—ing awesome.

Another was Casiotone For The Painfully Alone. He makes these melancholy, two-minute pop songs built around warbly synths and lo-fi percussion.  Throw Me The Statue and Portland Cello Project are two others that I particularly liked from my time reviewing albums. 

All just really good music that I wouldn’t have been exposed to otherwise.

My musical interests are still focused around sad people with guitars, but  I’m a musical omnivore, and listen to a little of everything. I listen to bluegrass and Robyn… I still love indie music and I love a good pop song. 

What was the origin of your DJ name?

My DJ name was Spaceman Spiff, which is an alter-ego of Calvin from the comic Calvin and Hobbes.  He would daydream being a lonely space explorer when he was supposed to be paying attention at school. I’d like to think my time as a DJ was my escape from the intensity of my college classes.

Are there any particular artists or songs that motivated you to join WKNC?

The station’s support of the Triangle’s music scene is what I found most appealing.

I remember being blown away when I heard Hammer No More The Fingers song “Vodka Grasshopper” on the airwaves.  This was music you could only hear on WKNC–no one else was covering it, except for the Independent. 

I also love Double Barrel Benefit. Max Indian’s set in 2010 was a major highlight for me.  On their album, their songs sound lo-fi, but on stage, it sounded like blistering, stone cold classic rock.  They’re a band that I think should have been huge.  

Without WKNC’s guiding light,  I never would have heard the album  “Antarctica” by The Never.  Their lush pop-rock soundtracked an exquisitely illustrated storybook by singer Noah Smith.    WKNC is so important in my life for introducing me to this music and a multitude of phenomenal NC-based artists.

Given your experience as an Assistant Music Director and DJ, where do you recommend finding artists that don’t get a lot of exposure?

The radio, of course!  I’m always jotting down songs that I liked on WKNC.  I used to have a piece of paper in my car where I would log the times to look up when I got back to my computer, but now the station provides scrolling text that displays directly on my dashboard!  . 

When I was in high school my options to discover music were the radio or I would go to amazon.com and listen to 30 second clips of songs. This around 2004 to 2006 when I was first finding music on my own and platforms like Spotify were not around.

These days, YouTube and Spotify have good algorithms. If you listen to things a little off the radar they will feed you things similar to that. I know I’m praising the dark side.  Although these platforms can be the enemies of smaller artists, they also provide a good platform to discover them.

In my experience, Bandcamp is the best platform for discovery.  I’ll click around on people’s pages and find what they’re enthusiastic about. 

One band that I found this way is default genders.  They make really emotional  synth pop music.  Their album “Main Pop Girl 2019” is jaw-dropping.  It was only after I heard that album that I realized  I heard of them originally on WKNC, back when they made music as Elite Gymnastics Bandcamp + WKNC for the win.

How did WKNC benefit or influence your college career?

Finding all this new music was incredible, but I also became really good friends with my co-DJs. I had a show with my friend Kirsten (DJ Vice) and Justin (J Town) for a couple years called the “After School Special”, which usually was Wednesdays from 5 to 7pm. The three of us would push each other really well. We would bring in music the others didn’t know, and we would all bring different music together and suggest things that the others would like. 

It was also nice to get out of the College of Design for a bit. I would  go to the literal opposite side of campus and engage with the broader college. WKNC allowed me to get outside of the bubble. I love architecture but I love music just as much if not more. I would say more.

Concluding Thoughts

If you are interested in reading up more on Jeremy and his architectural work, you can explore his online portfolio. Beyond having a large array of musical knowledge and DJ experience, he has a stunning array of architectural work.

It was a treat to interview DJ Spaceman Spiff and get another perspective into the WKNC experience.

Stay tuned for more DJ interviews in the near future.

Categories
Weekly Charts

Chainsaw Charts 10/25

#ArtistRecordLabel
1BOUNDARIESBurying Brightness3DOT
2SLIPKNOTThe End, So FarRoadrunner
3BLACK ROYAL“Earthbound” [Single]M-Theory
4GAEREAMirageSeason of Mist
5FROMJOYit lingersSelf-Released
6BLACK ROYAL“13th Moon” [Single]M-Theory
7IRON KINGDOM“In The Grip Of Nightmares” [Single]Self-Released
8CASKET ROBBERY“Worm Food” [Single]Blood Blast
9CABALExit Wound [EP]Nuclear Blast
10OBSIDIAN SKIESSaturnian [EP]Self-Released

Chainsaw Adds

#ArtistRecordLabel
1CABAL“Exsaguination” [Single]Nuclear Blast
2HAMMERHEDD“Tunnel” [Single]Self-Released
3AITTALA“Collateral Damage” [Single]Exitus Stratagem
4STORMRULERSacred Rites & Black MagickNapalm
5THE CONVALESCENCE“79 Years” [Single]Blood Blast
Categories
Weekly Charts

Top Charts 10/25

#ArtistRecordLabel
1JPEGMAFIALP!EQT
2FLY ANAKINFrankLex
3LAVA LA RUEHi-Fidelity [EP]Marathon
4LITTLE SIMZSometimes I Might Be IntrovertAWAL Recordings
5MAMALARKYPocket FantasyFire Talk
6MIKEDiscoSelf-Released
7SHYGIRLNymphBecause
8070 SHAKEYou Can’t Kill MeG.O.O.D./Def Jam
9ARMAND HAMMERHaramBackwoodz Studioz
10AUDREY NUNAa liquid breakfast DELUXEArista
11BUILT TO SPILLWhen The Wind Forgets Your NameSub Pop
12EVIDENCE“Delay The Issue” [Single]Self-Released
13KWAMZAYMountain [EP]Off-Center
14SCUBADIVERGodspeed ToSelf-Released
15SHY HIGHGoodbye Delicious [EP]Self-Released
16PARANOYDS, THETalk, Talk, TalkThird Man
17ALEX GGod Save The AnimalsDomino
18DENZEL CURRYMelt My Eyez See Your FutureLoma Vista/Concord
19FKA TWIGSCAPRISONGSYoung/Atlantic
20MCKINLEY DIXONFor My Mama And Anyone Who Look Like HerSelf-Released
21PARANNOUL AND ASIAN GLOWParaglow [EP]Poclands
22PIXIESDoggerelBMG
23PRETTY SICKMakes Me Sick Makes Me SmileDirty Hit
24QUELLE CHRISDEATHFAMEMello
25SAMM HENSHAWUntidy SoulDorm Seven/AWAL
26SEEYOUSOONVIDÉSelf-Released
27THEY HATE CHANGEFinally, NewJagjaguwar/Secretly Group
28MAGDALENA BAYMercurial World DeluxeLuminelle
29ACTION BRONSONCocodrillo TurboLoma Vista/Concord
30ALVVAYSBlue RevPolyvinyl

Daytime Adds

#ArtistRecordLabel
1MAMALARKYPocket FantasyFire Talk
2ALEX GGod Save The AnimalsDomino
3PARANNOUL AND ASIAN GLOWParaglow [EP]Poclands
4SOFIE ROYERHarlequinStones Throw
5ALVVAYSBlue RevPolyvinyl
6SKULLCRUSHERQuiet The RoomSecretly Canadian/Secretly Group
7GINGER ROOTNisemono [EP]Acrophase
8LERA LYNNSomething More Than LoveRuby Range/InGrooves
9GARDEN, THEHorseshit On Route 66Self-Released
Categories
Weekly Charts

Underground Charts 10/25

#ArtistRecordLabel
1JEAN DAWSONCHAOS NOWHandwritten
2KENNY MASONPUP PACK [EP]2022
3MAVILaughing so had it hurtsSelf-Released
4KWAMZAYMountain [EP]Off-Center
5SIDESHOWWEGAHTA TAPES VOL. 110k
6AKAI SOLOBody Feeling [EP]Backwoodz
7DIZUltra.VioletSelf-Released
8DENZEL CURRYMelt My Eyez See Your FutureLoma Vista/Concord
9REDVEILlearn 2 swimSelf-Released
10AVIADBelieve [EP]Self-Released

Underground Adds

#ArtistRecordLabel
1MIKEDisco!10k
2GAO THE ARSONISTOur bones are artifactsGood Problem
3OVERPADEAge of AquariusGORECORPS & Once upon a time
4KENNY MASONPUP PACK [EP]2022
Categories
Weekly Charts

Afterhours Charts 10/25

#ArtistRecordLabel
1MAGDALENA BAYMercurial World DeluxeLuminelle
2SEGA BODEGARomeoSupernature
3DIVINO NINOLast Spa On EarthWinspear
4DE LUXDo You Need A Release?Innovative Leisure
5ARCAKICK iiXL
6ALICE GLASSPREY//IVEating Glass
7HARD FEELINGSHARD FEELINGSDomino
8PENDANTHarpSaddle Creek
9CLUB ANGEL6AM [EP]Astral People/PIAS
10WHATEVER THE WEATHERWhatever The WeatherGhostly International
Categories
Festival Coverage

Shakori Hills Shook My Soul’s Core

By: Maha Syed

A woman playing with beaded lights caught on raw film.
A picture of a woman at Shakori playing with her beaded lights during Kaleta and Super Yamba’s performance on stage. This picture is a visual representation of how I felt post-Shakori.

“If you don’t know where you are going, any path will take you there.”

-Native American Sioux Proverb

Trust me when I say that Shakori Hills is a sacred place. The magic and energy that I felt every moment I was there is not something that I can capture through words alone. Please understand that the Shakori Hills GrassRoots Festival is a really big deal. I was truly shook by my experiences to say the least.

First off, I wanted to say that I have never been camping, I have never been to a music festival and that I have never even been to Pittsboro. However, taking in all of these new experiences was exactly what I needed for my emotional and mental well being.

I stayed for 2 days out of the 4 days that the festival took place. My night started around 7 p.m. on Thursday evening when I arrived to the festival. Then, I met up with my friends at our camp site.

A cute picture of my friend Mary getting ready to go out for Shakori. She is brushing on her eyeshadow and holding a lightbulb and makeup palette in her other hand.
A cute picture of my friend Mary getting ready for a night out on the town.

After we all finished getting ready, we walked out of the tent and began to wander around the campgrounds. There was so much to take in. I can recall the sky, which was flooded with bright dancing stars. The sounds of laughter were almost as loud as the music. Everyone felt so comfortable dancing and expressing themselves. The music on stage was incredible and soulful. There were bursts of joy and peace streaming out of my body. I felt like my entire body was on vibrate.

Now I am going to share a series of images I captured on my first night.

A gorgeous shot of the tall trees during the full moon from Shakori Hills.
A man stepping out of his very beautifully decorated tent.
This man had a beautifully decorated unicorn RV in the spirit of Shakori.
A woman holding an engraved wand made entirely of wood.
This woman was holding a wooden wand that was engraved by a witch at Shakori.
Kaleta and Super Yamba Band jamming on stage.
Kaleta and Super Yamba Band jamming out on stage.
My sister and a girl posing for a picture during Kaleta and Super Yamba's stage performance.
Beautiful people that are vibing to music.

On the second day that I attended Shakori, I got to see the pace of the festival change.

I remember waking up to the sounds of nature and community stirring in the morning. The bright rays of sunshine woke me up before my alarm went off. It was a happy morning. I legitimately felt like Snow White.

Shakori during the day had more of a “family feel”. It was very wholesome to say the least.

The weather was gorgeous and the sky was clear.

A picture of a decorated golf cart and one of four performance stages.
A long shot that captures the “Shakoriness” of Shakori.
beautiful couple at shakori looking lovingly into one another's eyes.
A beautiful couple looking lovingly into one another’s eyes.
Mad element is pictured here. They are a vendor at Shakori that sells jewelry and crystals.
Mad Element is one of the vendors at the festival. They sell very cute jewelry and crystals.
SLC Dingles and Things is a windchime vendor at the festival.
A woman at the festival who runs and owns SLC Dingles and Things.

This festival changed my life. After digesting all of my experiences I realized that Shakori is the place to be. For me, Shakori is a place to escape the hustle and bustle of every day life and a safe space to explore my weird side. I had so much fun meeting new people, meeting farm animals, hugging trees and dancing with my friends. There was never a dull moment where I felt like my life was wasting away. I don’t even remember looking at my phone the entire time I was here. This is one of the best events I have ever attended in my life.

Categories
New Album Review

“Blue Rev” by Alvvays Album Review

After a long five years, Alvvays has returned with their long-awaited album, “Blue Rev.” Named after the Canadian alcoholic beverage, Rev, this album is bubbly and hard-hitting.

The band, based in Toronto, has been around for almost ten years. This album, their third, is the culmination of over half of their time together. A full profile on the band can be found here.

After many trials and tribulations (floods, thefts, the pandemic) getting in the way of this release, it centers itself around stasis and change. Antonymous as they are, stasis and change are often closely interwoven.

“Blue Rev” sees Alvvays pushing the boundaries of their sound while refining it like never before. They still have the heavy focus on melodies over genre shown consistently throughout their discography but it’s shown in new light on this album. That bittersweet sound I can instantly recognize Alvvays by has been bolstered by brilliant songwriting and guitarwork.

Album Highlights

My favorite thing about this album is how seamlessly it balances the faster, more energetic tracks with slower, more melancholic tracks. They add an element of abrasiveness to their sound on this album that is hard to miss.

Rankin and O’Haley’s songwriting is the best it’s ever been on this record. The “Blue Rev” track list focuses on events that are dramatically life-changing. Natural disasters are described to emphasize the catastrophe these changes can ensue. Rankin finds a perfect balance of reflection to learn from these moments but move on.

There are also moments in the track list that highlight all the good that can come from change. “Many Mirrors” is a love ballad in a sea of heartbreak and reflection that serves as a beacon of hope that good times are ahead.

“Now that we’ve passed through many mirrors / I can’t believe we’re still the same”

Alvvays, “Many Mirrors” Lyric

The guitarwork on this album is also the best it’s ever been for Alvvays. Each track builds beautifully throughout the song and from each song before it. The guitar and Rankin’s pristine vocals, like on previous Alvvays records, link this album together.

“Tile by Tile” followed by “Pomeranian Spinster” whiplash the listener from melancholy to euphoria in a fashion that is prevalent throughout the entire album. The band’s ability to switch between the soft, jangly and rocky, rough sounds make each song an exciting listening experience.

“After the Earthquake” starts with jangly guitars in the same vain as any other Alvvays song but before realizing it, the song has exploded with reverb and roughness. Only once the reverb comes in at full-blast into a pop-rock anthem, the song pauses for a moment, letting the listener savor the sound they just heard, before exploding again.

My only wish for the album is that it ended a song earlier. “Lottery Noises” would have been an conclusive, wipe-out finisher. The addition of “Fourth Figure” at the end makes the ending feel stagnated on, like there should be more to come.

Conclusion

This album took some time to grow on me fully, but each time I listen to it I find something new to connect with. Even though this is Alvvays’ longest record, I think it is their most consistent and fleshed-out project to date.

I am eager to see what Alvvay’s next project sounds like. Hopefully, they will continue to bolster their sound and will be able to release their project sooner rather than later. Alvvays is touring right now throughout the United States.

Categories
New Album Review

“Nicks and Grazes” by Palm Album Review

Palm is a garage psych band from Philadelphia who just released their third full album, “Nicks and Grazes” Oct. 14 of this year.

Palm is made of drummer Hugo Stanley, bassist Gerasimos Livitsanos and vocalists and guitarists Eve Alpert and Kasra Kurt.

I am happy to say this was my first experience listening to this band, and I am glad to have discovered them when I did. “Nicks and Grazes” has so many great highlights, and could absolutely be the project that results in a major breakthrough for this band.

It is clear this band is pulling from many influences to mold their album into what is is. There are elements of rhythmic electronic, free spirited rock and sheer aggressive noise. This album is transparent in its exploratory nature. It does not belong to one genre, instead seamlessly dips into multiple.

To jump right into the individuals tracks, “Touch and Go’ and “Feathers” are bold intros to the album. This band does such an excellent job of integrating the pure sounds of guitars, drums and vocals with a jarring collage of electronica.

Most notably in “Feathers”, they channel the same energy as fellow garage psych band Spirit of the Beehive. I really love Eve Alpert’s voice in this track. Her voice is extremely clear and their lyrics are clean and concise:

“Make it up / Like a performer / I’m gonna make it up / Like I’m devout”

As the album progresses, her voice slowly begins to dissolve into the music and comes the rhythm itself. This is very prominent in “Eager Copy”. The mystic vocal and heavy keys almost dance throughout the track, both empowering and dissolving each other.

Perhaps my favorite moment of the album proceeds after the vocal and elerontic struggle within “Eager Copy”.

Following track, “Brille” is almost like waiting room music– as if it is waiting for something to load. This non-vocal track is airy and light, with sudden moments of harsh clangs and aystemmical rythym.

The track opens up to “On The Sly”, one of the most vocal dominate songs on the album. It taps into the roots of garage psych, really focusing on pure guitar, drums and distant lyrics. They really tone down the use of electronic elements in this song to bright light to their unity as a band. They achieve such a confident sound here.

A little further into the album they dive completely into noise and electronic genres. “Suffer Dragon” is almost beyond description. If you enjoy pure noise, this is the highlight for you. It is chaotic yet calm, dismantled yet unified. It brought a very uneasy feeling to the album. Although the beginning is a simply so much noice, it quickly mellows into a tune reminiscent of music by C418.

“Mirror Mirror” follows, and may be my favorite highlight of the album. This track does a great job of unifying many of the explorations within the entire project. I really enjoy the electronic quality achieved at the end of this track.

The final two tracks “Tumbleboy” and “Nicks and Grazes” deserve much praise. This entire album is very bold, these tracks do a great job of tying it all together and lifting the listener out of the composition. They are a fitting end to such a varied album.

This album was a treat a listen to. It is a great example of orderly chaos in music. The noise they are able to achieve here is destined for growth.

I’ll be keeping an ear out for anything new from Palm. If you are interested in seeing them live, they have a show in Durham, NC on Nov. 18. For tickets and information you can visit the venue website.

Categories
Blog Miscellaneous Non-Music News

North Carolina Renaissance Festival

The North Carolina Renaissance Festival is an annual event located near Charlotte that is open every weekend through October and November.

The festival features elaborate costumes, acrobatic performances, jousting, immersive scenery, fortune telling, fall foods and treats, along with handcrafted art and goods. The event provides a great fall atmosphere and lovely little escape from daily life.

In my experience, Renaissance Festival has something for everyone. It is extremely family friendly while appealing to more mature audiences with a large variety of shows and activities.

For the past few years, Renaissance Festival has been such a staple fall activity. I have been attending Ren Fest since 2016 and I was happy to be in attendance again this past weekend.

To summarize my experience and highlight my favorite events, I have outlined my three favorite things about Renaissance Festival. If you want to find more that the festival has to offer or want to purchase tickets you can do so at the Carolina Renaissance Festival website.

Renaissance Garb

If you enjoy or have an interest in costuming, this is the event for you. It is amazing to see the large variety of costumes and outfits at the Faire. I have seen pirates, knights, fairies, steampunk outfits, dungeon and dragon characters, jesters, vikings, beautiful dresses and the list can go on.

Every year I look forward to making a new outfit, and each year I try to do something drastically different from the year before.

Costumes are a great way to both express yourself and step out of your normal persona. I find a lot of joy in wearing clothes that are typically out of the norm– but at Ren Fest the abnormality is encouraged. The sense of community surrounding costuming at the festival is contagious.

As an example, one of my friends decided to dress up as a jester this year. He had a vibrant, jingling jester hat and neon green garb. His costume instantly brought him into the environment. Shopkeepers and complete strangers at the festival would put on a character and ask him to tell a joke — he would do so.

The power connectivity of costumes at this event is magical. Although, there are plenty of people who choose not to dress up too. Admiring the neat costumes around the festival is magical within itself.

Barely Balanced

A large attraction to Ren Fest is the sheer amount of shows they have each and every weekend. By shows I mean various performances from acting, to comedy, to dangerous stunts, to soothing music and daring acrobatics.

One of my favorite performances from all the years I have been is a trio of acrobats by the name of Barely Balanced.

This performance has equal parts silliness and skill. I was absolutely amazed by their tricks when I first saw them. Their name speaks truth.

I also want to note how great of a stage presence they have. This trio is extremely charismatic. After and before performances they walk around on stilts and chat to families and individuals enjoying the festival. They radiate a lot of positivity and love for what they do.

They will be performing every weekend at Carolina Renaissance Festival.

Artisans

There are so many vendors and artisans at Renaissance Festival. The goods at the event range so much; from delicate glass blowing to stunning jewelry to handcrafted swords.

In big events or conventions like this sometimes all the goods can blend together– this is not the case at Ren Fest.

Each shop has such character and charm. There is truly something for everyone here. It is also a great place to buy unique gifts for family and friends before the holiday season arrives.

I have bought some of my favorite pieces of jewelry here and always look forward to what new things they will have.

Tips and Tricks

Renaissance Festival is a great place to escape reality for a little quiet. If you are planning on attending this year or next, here are a few tips and tricks to improve your time there:

The hours of the festival are 9:30am to 5:30pm. Be sure to leave before or around 5:00pm to beat the traffic out of the festival. There can also be a long line to get into the festival in the morning, I found arriving around 11am typically avoids the traffic.

Time goes by very quickly, be sure you plan the shows you want to see as soon as you get there. I found that I can fit two to three shows maximum in a day. I recommend minimizing the shows you see the first time you go to Renaissance Festival so you have a chance to see all the shops and sights throughout the entire festival.

Due to the time of year, it can often be quite chilly. When planning a costume or picking out your outfit be sure to check the weather beforehand. North Carolina weather can be dramatic, so have some flexible layers to your outfit.

Lastly, bring cash. Many food vendors do not accept card and the lines to the atm can get long. I recommend bringing some cash with you if you plan on partaking in the food or drinks at the festival. Also, the caramel apples are very good.

Closing Thoughts

The Carolina Renissance Festival has a lot to offer. I was really amazed by the wide variety of people and personalities at the event. There is a charm to the event that is difficult to find elsewhere.

This event brings me a lot of happiness, and I hope it has the same effect on you.

The festival will be open every weekend until Nov. 20.

I hope you all have a wonderful time if you attend. Have a excellent fall and renaissance season.

Categories
Miscellaneous

Every ULTRAKILL Level Ranked By Music

The ULTRAKILL soundtrack by Heaven Pierce Her is awesome. It’s fast, it’s hard, and it pushes you to go absolutely nuts with the game. Here is my ranking of every level based on their music. I will not be covering any secret levels or Prime Sanctums, but all other levels are here. Also, if you haven’t played ULTRAKILL yet, there will be minor spoilers in this blog.

Read more: Every ULTRAKILL Level Ranked By Music

25. Court of The Corpse King

Title image for the Court of the Corpse King. Features the giant boss, King Minos, peering down at you.

The only real music in this level is the ambience leading up to the boss fight, which sets the tone well, but once the boss fight starts, there is only more ambient noise. Maybe if there was some more substance, I would rank it higher, but there isn’t enough music in this music.

24. Cerberus

Cover image for the level: Cerberus. Features a hallway with a pool of lava.

The first major boss fight of the game has a disappointing score. There is a nice rumbling ambient buildup leading up to it, but the music during the fight itself is a bombastic intro set on a roughly 30 second loop. It sounds cool the first time, but it gets old very fast.

23. Waves of The Starless Sea

Cover image for the level: Waves of the Starless Sea. Features a boardwalk with a storming sea around it.

Despite being one of my favorite levels, I have to rank it low on this list due to a complete absence of music for the first half of the level. Even as the level progresses, the music is kept to a minimum, with a single violin accompanying the sound of rain and crashing water. As the Ferryman boss fight at the end of the level unfolds, it’s too little too late. The Ferryman’s theme gets too repetitive, even for the short time it’s there.

22. Sheer Heart Attack

Cover image for the level: Sheer Heart Attack. Features a heart shaped pool of water.

This level is fast and confusing and stressful, and the music perfectly reflects this. The main melody is harsh, but not in a particularly interesting way. There are some great guitar riffs sprinkled in here, but it is mostly forgettable among the better parts of ULTRAKILL’s soundtrack.

21. Bridgeburner

Cover image for the level: Bridgeburner. Features a dark pink sky with a tower looming in the distance.

The best quality of this track is the layering of synths that ease you into the digital lust realm of Layer 2. The first thirty seconds or so of the song meshes well with the gritty dystopian cityscape. After that though, the music becomes pretty forgettable, as you move on to something a little more intense.

20. Death At 20000 Volts

Cover image for the level: Death at 20000 volts. Features a city courtyard at night.

This level adapts the melodies of Bridgeburner and gives them a stronger backbone. The music feels sleazy, as a realm of lust should be, but again, compared to most of the music in this game, it becomes fairly forgettable.

19. A One-Machine Army

Cover image for the level: One Machine Army. Features a hexagonal hallway.

By the time you get to this level, you will be sick of the song. It is used in the first four levels of the game, with this level being the last of them, thus its ranking below the others.

18. Double Down

Cover image for the level: Double Down. Features four orange pillars of light.

The music is a little more fresh on this level, as this is only the third time in a row that you’ve heard it.

17. The Meatgrinder

Cover image for the level: The Meatgrinder. Features a room with a statue in it.

The theme from Into The Fire continues onto this track with slight variations to keep it fresh. There’s an extra bassline or two, and the drum breaks are a bit different. Unfortunately, as the levels continue, that freshness starts to go away, but the track has enough substance to push the player forward through the mechanical halls of the prelude levels.

16. Into The Fire

Cover image for the level: Into the Fire. Features a room with two statues in it.

Here we are. The music from the very beginning of the game. Not only is this the first time you hear the breakcore take on DOOM-like music that ULTRAKILL is known for, but there is also a nice buildup, adding to the anticipation, before being thrust right into the action.

15. In The Flesh

Cover image for the level: In The Flesh. Features a room with a giant heart suspended in midair.

As you approach the end of Act I, an organ starts to ring out through the organs that surround you. As it turns out, this is actually a piece written by Johann Sebastian Bach called, “I Call To You, Lord Jesus Christ.” Tunneling through the fleshy walls of King Mino’s insides leads you to a giant open chamber where guitars ring out in epic baroque fashion. It’s very fitting for a boss fight, but it loops a touch too quickly.

14. God Damn The Sun

Cover image for the level: God damn the sun. Features Egyptian ruins covered in sand. In the background the Big Ben clock pokes out of the sand.

The heat of the desert sun beating down on you introduces a super heavy sludgy sound that fits the level well. There is more of a reliance on drum breaks to carry the intensity of the song forward than the other heavy desert level music, but the unique elements of this track still stand out.

13. Belly of The Beast

Cover image for the level: Belly of the Beast. Features twisting staircases.

The music on this level starts out slowed and disoriented as you try to gather your surroundings, but once it picks up, you can’t help but feel inspired by the violins and pianos doing runs up and down and the sick drum beats urging you on.

12. Leviathan

Cover image for the level: Leviathan. Featuring an underwater path of lamps.

Perhaps I may be a bit hypocritical here with my comments about ambient music in this game, because I adore the ambient beginning of this stage. There are chimes mixed with reversed chimes to create this super haunting effect as you bound across the bottom of the sea. It’s a warning. A premonition of things to come. The boss theme itself is pretty average. It has enough scope to make it work, but it’s definitely not a standout. The music in the beginning of this level though, makes it one of my favorite moments in the game.

11. Heart of The Sunrise

Cover image for the level: Heart of the sunrise. Features a small pavilion with a fountain in the middle.

After going through the intensity of the first major boss battle, you might be caught off guard by what comes next: sunny blue skies, a scattering of trees, and a cute little wishing well. With this confusing sight comes a relaxing piano tune that rings out with a harp-like cadence. But as you poke around, you start to realize that something is wrong. None of this is real. This is when the music ramps up and enemies start to appear. Fast drum breaks and tense melodies played on high pitched piano keys turn Limbo’s relaxing façade into an arena for battle.

10. Slaves To Power

Cover image for the level: Slave to power. Features a pyramid with a sun behind it.

Slaves to Power features a mix of a stereotypical videogame desert level sounds and sludgy metal riffs. Double kicks and grimy guitars will get your head banging while traversing the sands of greed. There is also a healthy does of drum breaks to keep the breakcore theme of the soundtrack tied together, with layered vocals also helping to widen out the track.

9. Hall Of Sacred Remains

Cover image for the level: Hall of sacred remains. Features a giant door with two statues on either side of it.

Who would have thought that harpsichord and guitar distortion would go so well together? This track moves at breakneck pace, introducing more harpsichord layers and guitar distortion as it progresses. The main melody has a nice chromatic decent making for a perfect cinematic backdrop to a level with lots to explore. It also helps that this tune is super catchy.

8. Aesthetics of Hate

Cover image for the level: Aesthetics of hate. Features the boss Gabriel playing at an organ.

Bach once again marks the beginning of the end. The final level of Act II opens with a different rendition of “I Call To You, Lord Jesus Christ,” but this time in a far more sinister tone, with some chimes ringing in first as a prelude. The archangel Gabriel turns to face you, and a beefier stronger theme from In The Flesh rings out over a pool of blood. A great way to end the current levels in the game and leave people waiting for what’s coming next.

7. Clair De Lune

Cover image for the level: Clair de lune. Features a room with stained glass windows.

This level starts fittingly with Debussy’s “Clair De Lune,” setting a romantic nighttime mood. Then the acoustic guitar comes in. An intense multi-part boss theme fills the room as you fight V2, a twin version of yourself. This fight is hard. You will hear this song over and over again. Unlike some other boss themes however, it’s hard to get tired of this one. The theme is diverse, which keeps things fresh dozens of deaths in.

6. Clair De Soleil

Cover image for the level: Clair de solil. Features the boss V2 sliding down a pyramid.

The V2 battle theme from Clair De Lune carries over to Clair De Soleil, but much like V2 itself, the soundtrack is stronger this time. It’s more intense and fits the faster pace of the boss battle. It also ranks higher than Clair De Lune due to the music leading up to the fight using the same motifs and contributing to the atmosphere of the pyramid, without relying on a preexisting song to build atmosphere.

5. The Burning World

Cover image for the level: The burning world. Features a stone tower surrounded by trees.

This level uses the same music as Heart of The Sunrise, building the expectation that this will be a nice tame level just like the last one. Then, everything is on fire. The pretty polygonal trees are burning to a crisp, the earth is scorching. Pained industrial squealing drowns out any sense of safety you thought you might have had, which is why it lands so high on this list. This is the level that says to you, “Be ready for anything in this game.”

4. In The Wake of Poseidon

Cover image for the level: In the wake of Poseidon. Features an underwater ruins.

They say that water levels always have the best music, and this level certainly makes a strong case. The music remains a sloshed haze while under the water, with percussive elements poking through. But where the music on this level really shines is when you’re out of the water. The tone is both tranquil and sinister, highlighted by a smooth saxophone section. The music takes the traditionally calm aesthetics of water music in other games and mixes them with intense drum breaks to make something truly unique.

3. A Shot In The Dark

Cover image for the level: A shot in the dark. Features a large dark room with green lights lighting up platforms.

The music in A Shot In The Dark is a perfect example of the music of the level evolving with the atmosphere of the level. It starts out with only a small vocal chorus and an eerie marimba. As you explore the pitch black insides of an ancient pyramid, the chorus slowly starts to expand. Percussive elements are introduced, adding to the intensity. Its reserved in its use of percussive elements, which makes it stand out in a soundtrack where fast drum breaks are common. Even a harpsichord joins in at one point. It all comes to a head in the final room, which is a huge disorienting arena with spinning merry-go-round lights. An organ cuts through the track, spinning a dizzying melody that perfectly fits with the grandiose nature of the surroundings.

2. Cry For The Weeper

Cover image for the level: Cry for the weeper. Features a headless corpse hanging upside down, dripping blood into a pool.

Cry For The Weeper starts out with super intense industrial noise that sounds absolutely crushing. It shifts and evolves, and if you listen to the music carefully, it sounds like it’s breathing. What makes this level special though isn’t the beginning. After the noise starts to fade away, you’re dropped into the rest of the stage, where a brand new version of the Belly of The Beast (#13) music starts to play. The instrumentation is turned up several notches, and there are motifs and nods to the music from the very beginning of the game as well! The shredding guitar and the double kick drum only make things more epic, and to top it off, the final battle on this stage is yet another remake of previous music, this time from Hall of Sacred Remains (#9). It’s a musical reminder of how far you’ve come while also being an epic musical peak. This is probably the single best song in the game, but there is one level that has this one beat for music.

Honorable Mention: Cybergrind

Cover image for the endless cybergrind mode. Features a giant floating cube.

The music for Cybergrind, ULTRAKILL’s endless arena mode, had to have been made in a government lab as an experiment to see how well a person could be kept in a flow state. It’s not technically a level, but you can’t talk about ULTRAKILL music without bringing up the Cybergrind music.

1. Ship of Fools

Cover image for the level: Ship of Fools. Features an upside down winding staircase.

Ship of Fools is a masterclass in how to build atmosphere with music. Right out of the gate, you’re met with a violin that immediately screams “pirate ship.” Before your eyes have even registered what you’re looking at, you already know from the swing of the tune, that this is a boat level. The main tune could easily be the theme of the deadliest pirate gang in the seven seas. The guitars and piano are intense, but accessible and catchy. There is also a neat horn section that appears from time to time to add an extra layer to the track that makes it less “pirate-y” and a bit more smooth. There’s even a bridge that features an accordion. What is more pirate ship than an accordion? The track is so much fun, and always feels fresh.

But then, the boat is flipped over. The level is upside down. Water floods the halls, and the lights are dim, and the music reflects this change perfectly. The track slows down, keeping the same melodies, but with an entirely different rhythm and instrumentation. The harp is really what shines on this track. It sent shivers down my spine when I first heard it. This track creates an eerie and somber mood, perfect for trekking back through the wreckage of a massive ship. The music in Ship of Fools is an excellent reminder of why video games have music in the first place: to make the places you explore feel alive.