Category: Blog

Categories
Classic Album Review

Album Review: Punisher – Phoebe Bridgers

Alt text: Punisher’s album cover depicts Phoebe Bridgers standing alone in the middle of the desert at night. The desert ground is covered in rocks and lit by bright red lighting. The rest of the landscape is dominated by dark mountain rocks and a dark blue night sky. Phoebe appears very small among the rocks at the bottom-center of the cover: she’s standing straight, and you can see her from her right profile looking at the sky while her shadow is reflected on the ground.

ALBUM: “Punisher” by Phoebe Bridgers

RELEASE YEAR: 2020

LABEL: Dead Oceans

RATING /10: 10 – an emo-folk masterpiece

BEST TRACKS: “Moon Song”, “Halloween” and “ICU”

FCC: (none)

Phoebe Bridgers got nominated in March 2021 in the Spotify Awards as “Best New Artist of 2021”, and as someone who’s been a fan of her music ever since her first album came out, I thought I’d write something about her second album “Punisher”, which led her to slowly but surely rise to the success she’s always deserved. If I had one dollar for every time I’ve cried listening to Phoebe Bridgers, I’d be filthy rich by now. If you’re not familiar with her music, let me try to describe it metaphorically for you. While Phoebe’s first album “Stranger In The Alps” sounded like a quiet whisper coming from the French mountains, “Punisher” sounds like a mellow cry for help coming from the nocturnal abyss of the desert. That’s the closest I can get to describing her style, which fits into the folk, indie and emo genres all at the same time. Each song off the album perfectly renders her emo-folk apocalyptic universe: low reverbed notes, a slow strumming of the guitar and Phoebe’s soft voice as an echo — that’s how “Punisher” sounds like as a whole. The only songs that are not quite like the others are surprisingly “Kyoto”, which has been her most famous single off the album, and “Graceland Too”. While every other song makes me want to curl up under a blanket and stare endlessly at the ceiling, “Kyoto” is more on the upbeat and fast-paced side, and the banjo in “Graceland Too” makes for a really great country-folk ballad.

That being said, if you really want to appreciate Phoebe’s music, pay attention to the lyrics. As far as I’m concerned, I could spend hours reading about “Punisher”’s lyrics on Genius. If you look into it, you’ll quickly realize that what sounds like your regular sad folk song actually depicts obscure stories about drugs, death, dead relationships and Phoebe’s existential crisis – all at the same time. The album cover matches perfectly what she writes about: Phoebe is standing alone in the desert in a skeleton suit, bathing in bright red light, while the world around her is engulfed in dark blue.  In an interview with “Our Culture Mag”, Olof Grind, the Swedish photographer behind the cover, describes Phoebe as “standing completely still, waiting to be beamed up by aliens” and it reminded me instantly of “Chinese Satellite” where she mentions wanting to believe in extraterrestrial life: “I look at the sky and I feel nothing / You know I hate to be alone / I want to be wrong”. Phoebe is desperately looking for “a new place to be from” (“I Know The End”) by staring at the stars in the sky, but can hardly bring herself to believe in anything supernatural.

What fascinates me most about Phoebe is her ability to incorporate contemporary poetry techniques into her songwriting, by bringing together completely unrelated themes in a way that feels oddly normal. “Always surprised by what I do for love / Some things I never expect / They killed a fan down by the stadium / Was only visiting and they beat him to death”. These lines from “Halloween” correlates codependent tendencies with the literal murder of a hooligan after a game, and while it doesn’t really make sense, it somehow does. Passion and death always seem to find their way back to each other in Phoebe’s universe.

I firmly believe you have to listen to “Punisher” as one long poem to truly get its essence. If this is your first time listening to this album, I would recommend playing the songs in order and listen to each one of them until the very end. It’s the only way you’ll be able to fully indulge in their melancholy. However, if you’re looking for a specific song to drown your sadness in, “Moon Song” struck me as one of the most heartbreaking song on the album. “You couldn’t have / Stuck your tongue down the throat of somebody / Who loves you more / So I will wait for the next time you want me / Like a dog with a bird at your door” – these lines crushed me instantly when I heard them for the first time, and they still do even after my 100000th time listening.

 Saying that “Punisher” is one of my favorite albums of all time would be an understatement. Listening to Phoebe strumming the guitar and singing about dead relationships, supernatural entities and the end of the world strangely makes me feel safe, like I’ve found a home in her peaceful yet dark post-apocalyptic universe. If you haven’t listened to “Punisher” yet but plan to, let this be your final content warning: you can let Phoebe sing you to sleep, but you must expect her to come haunting your dreams afterwards.

  • Lise Nox

Categories
Miscellaneous

Why Does Everyone Cover Gloria?

“Gloria” is a 1965 garage rock song by Van Morrison originally recorded by his then-band Them. The song is extremely simple, basic even. It consists of three chords on a loop, multiple verse-like ramblings, and a chorus containing exactly one word. The song is amateurish even by 60s garage rock standards, and it’s not exactly high in the pantheon of British Invasion hits. However, there is one thing about the song that might grab your attention. It’s been covered by everyone, and I mean everyone.

Immediately after release, it was covered by a slew of nearly identical British bands with names so stupid I refuse to believe they’re real, including but not limited to: Shadows of Knight, The Boots, The Gantz, The Fruit Eating Bears, The Human Beingz, The Belles, The Other Half, The Wheels, The Deejays, Thee [sic] Midnighters, The Chellows, and my personal favorite King Beezz. This doesn’t even scratch the surface of cover versions by actual famous people including The Doors, The 13th Floor Elevators, Jimi Hendrix, multiple reworkings by Van the man himself, David Bowie, AC/DC, U2, John Cougar Mellencamp, Rick Springfield, The Tragically Hip, Tom Petty, Billie Joe Armstrong, Bill Murray feat. Eric Clapton (yes really), not to mention countless covers by the guy who insists on bringing his guitar to your party.

This rather impressive list of artists would make more sense if the Them version was, you know, good? Your mileage may vary as to how much you can enjoy the original song, but to me personally, it’s no “You Really Got Me.” It’s structureless, tuneless, and a little creepy. So, returning to the title of this article, why does Gloria persist in our cultural memory? The easy answer is that it’s Wonderwall-easy to play on guitar, and the singing features nothing resembling notes one might be expected to hit, but a more honest answer is harder to come by. Simplicity is certainly one aspect. Decades of prog bloat and studio recording have long severed Rock’s original tether to the blues, and Gloria is a fun throwback to those early days. Another is the versatility; the song can be adapted to almost any style as long as it’s energetic. The sing-along elements of the chorus certainly help as well. And then there is Patti Smith.

Patti Smith’s 1975 song “Gloria: In Excelsis Deo,” is a brilliant song. A heavily reworked cover version of the original Gloria, it’s so far removed from the original song that I hesitate to even call it a cover, it’s more of an adaptation. Smith stays true to the spirit of the original song, but mostly discards the body, and in doing so she reveals what really makes the song work, and why it endures. The song, ostensibly about sex, is given a greater sense of nuance by Smith’s alterations. The famous line “Jesus dies for somebody’s sins but not mine,” reveals the emotional core behind Rock’s macho posturing. The desire for freedom and empowerment, the spiritual tension, all conveyed in six letters,

“G-L-O-R-I-A.”

Categories
Classic Album Review

Classic Album Review: Sixtape

ALBUM: “Sixtape” by Bino Rideaux and Blxst

RELEASE YEAR: 2019

LABEL: Evgle/Out The Blue Records

RATING: 9/10

BEST TRACKS: “Bacc Home,” “Selfish” and “Savage”

FCC: Explicit Album

Imagine this scenario. You are driving down the street with your windows rolled down. The sun is out but a cool breeze creates the perfect temperature for outside. You cut the radio on and you are looking for an album that fits this feeling. Sixtape is the album that does just that.

Hailing from Los Angeles, California, Bino Rideaux and Blxst are two quickly emerging artists that are gaining a buzz for their alluring sound. Sixtape was an opportunity for these two seemingly different artists to come together and show how well their styles mix with ease. With all six songs from the project produced by Blxst himself, each song offers smooth rhodes chords coupled with hard hitting drums that create a euphoria similar to the first day of Summer. Stacked on top of this includes witty bars from Blxst and Bino’s butter smooth vocals and hooks. The album tempo even provides high energy and relaxing sonics that make it easy for someone in any mood to begin bobbing their head the moment the radio gets turned up.

This project can easily be considered a classic and is a great starting point for a listener who is trying to get more into either artists’ music. It certainly grows on you the more you listen and has definitely found its way into my daily soundtrack. A potential sequel has also been teased for fans who are watching these two artists grow to stardom. What is in store? We’ll have to stay tuned.

-Nate

Categories
Miscellaneous

Musicians and Their Pets

WKNC 88.1 blog

Written by Miranda

Everyone has a special relationship with their pets, and musicians are no exception. As fans it’s heartwarming to see our musical idols caring for and loving their pets. Check out these five musicians who adore their pets.

2 Chainz and Trappy

Trappy is a bulldog 2 Chainz adopted in 2015. Trappy and 2 Chainz together co-host “Most Expensivist” where the two try extremely rare and luxury items. 2 Chainz continuously spoils Trappy, including in 2017 when he ordered a $15,000 birthday cake for Trappy. See more pictures of Trappy and 2 Chainz on his Instagram, @trappygoyard.

Thundercat and Turbo Tron

Thundercat’s pet, a cute little cat, is named “Turbo Tron Over 9000 Baby Jesus Sally Uzi Clip.” Thundercat rescued Turbo Tron as a tiny kitten and immediately fell in love with her. In an interview with Pitchfork, Thundercat reminisced about bringing Turbo Tron to an Odd Future pop-up shop inside his hoodie pocket. 

Greta Kline and Joe 

Frankie Cosmos’ Greta Kline adored her dog Joe, who is featured on the “Zentropy” album cover. Kline said in an interview that many of her early songs featured Joe in the background. Sadly, Joe passed away, but Kline dedicated much of the “Zentropy” album to Joe. 

Mitski and Midori 

Mitski adopted her kitty Midori when she was in 7th grade. Her now-senior kitty is loved and spoiled by Mitski. She says Midori adores food and warmth, but that “there is no love in a cat’s heart.” 

Phantogram and Leroy Brown 

Currently the Phantogram duo is enjoying their quarantine by spending it with their puppy Leroy, who is a Yorkie/Maltese mix. Leroy is a rescue pup who often joins Phantogram on tour. You can see more cute pictures of Leroy on Instagram, @leroythegoodboy.

Categories
Classic Album Review

Album Review: 3.15.20 by Childish Gambino

ALBUM: “3.15.20” by Childish Gambino (Donald Glover)

RELEASE YEAR: 2020

LABEL: Sony Entertainment

RATING: 10/10

BEST TRACKS: “Algorythm,” “12.38” and “42.26”

FCC: Not Clean

This album was gifted to Childish Gambino fans when we needed it most. Released right at the start of quarantine, this album was largely forgotten because of the unfortunate timing. But as I mentioned before, it was a real treat for those of us craving some much-needed musical escapism.

“3.15.20” is largely comprised of a mish-mash of unofficially released singles, the most notable being “42.26,” otherwise known as “Feels Like Summer.” However, there are a handful of songs that were made specifically for “3.15.20.” “Algorhythm,” a terrifying electro-funk ballad, is my personal favorite. It really shows Glover’s tendency to manipulate sound in unique ways. On the more poppy side of things, “12.38” featuring 21 Savage and Kadhja Bonet is an absolute masterpiece. I am in love with 21’s part, with its hitting lyrics and striking snares. Kadhja’s interjecting vocals add an element of depth to the upbeat track too.

The sound that Childish Gambino creates in this album transcends anything he’s done before. His use of autotune and layering makes each song feel so atmospheric. Sometimes when artists rely on autotune it can feel forced and unoriginal, but the way Donald uses it only adds to the vocal talent he naturally has. For example, in “24.19,” his ability to switch seamlessly between his pure voice and a more synthesized sound is impeccable.

“3.15.20” has all of the soul that “Awaken, My Love!” does, but with a darker twist. It’s clear that Donald’s experimentation reached new levels in this album. If you haven’t heard it already, give it a listen!

– DJ Butter

Categories
Miscellaneous

Binaural Beats & Wellness

Do you ever find yourself listening to music while trying to study, and then realize you’re just jamming instead of actually paying attention?

Music can be beneficial in so many circumstances. If you’re like me, doing homework unfortunately isn’t one of them. I spend waaayyyyy too long trying to find the perfect playlist and switching back and forth between songs. However, I love the feeling of having background sounds to block out my noisy household.

Last year, I stumbled across this app called “Relax Melodies” that lets you create white noise mixes with jungle sounds, rain, and other calming tones. What I didn’t appreciate about the app until recently was their “brainwave” noise section. Filled with these magical sounds called binaural beats, they stimulate brain waves that help with creativity, sleeping, and meditation. When I tried adding the “focus” beat underneath some tranquil sounds of peeper frogs and crickets, I found that my productivity skyrocketed. I could concentrate for much longer and the distractions around me seemed to fade away. It was amazing!

This spontaneous success led me to wonder how binaural beats work in the first place. Basically, it’s like an optical illusion for your ears. A binaural beat is actually two beats operating at different frequencies. When your brain detects these frequencies, it naturally synchronizes to the two of them, which results in a singular tone.

For example, the “theta” brainwave would include one tone at 205 Hz and another at 200 Hz, leaving behind 5 Hz. This specific beat is supposed to help with deep sleep and relaxation. In total, there are five different waves that the brain detects, each with its own specific benefits: delta, theta, gamma, alpha, and beta.

Though there hasn’t been much research on binaural beats, the studies that have been completed are optimistic. If you’re interested in trying them out, there are tons of YouTube videos and apps that can help you out!

Here’s a link to the one I use. Happy listening!

– DJ Butter

Categories
Miscellaneous

The Saw’s Choice Cuts: Cannibal Corpse

Cannibal Corpse

Welcome to The Saw’s Butcher Shop. I am your host, your Master Butcher, The Saw. But you already knew that. I’m back with another installment of The Saw’s Choice Cuts, and this time we’re going to zero our sights on Cannibal Corpse, Butcher Crew!

You already know I love some Death Metal, and I’m sure you know I love some Cannibal Corpse, too! Now, in my opinion, one must divide Cannibal Corpse into (at least) two eras: The Chris Barnes era and the Corpsegrinder era. BTW, you should already know that Chris Barnes is my favorite Death Metal vocalist! So, we will divide my favorites list between the two eras – Barnes and Grinder. Here are my favorite Cannibal Corpse songs:

Chris Barnes:

The Bleeding

Force Fed Broken Glass

Staring Through the Eyes of the Dead

Scattered Remains, Splattered Brains

I Cum Blood

The Cryptic Stench

Hammer Smashed Face [one of the greatest songs ever! My favorite by Barnes.]

Favorite record of this era – Tomb of the Mutilated 

George “Corpsegrinder” Fischer:

Evisceration Plague [my favorite by Grinder.]

Skewered from Ear to Eye

Compelled to Lacerate

Five Nails Through the Neck

Death Walking Terror

Heads Shoveled Off

Hideous Ichor

High Velocity Impact Spatter

A Skeletal Domain

Scourge of Iron

Rabid 

Favorite record of this era – Evisceration Plague 

What are some of your favorite Cannibal Corpse songs? 

Stay Metal, 

THE SAW 

Categories
Classic Album Review

Album of the Week: Metallica – Metallica (1991)

Metallica - Metallica Cover

Metallica (aka “The Black Album”) was released by the metal giants, Metallica, on August 12, 1991 by Elektra Records. It was the band’s fifth studio album – Kill ‘Em All (’83), Ride the Lightning (’84), Master of Puppets (’86), and …And Justice for All (’88) – and the second in the series for Elektra Records (Justice). Of course James Hetfield mans the helm as singer and guitarist, Kirk Hammett plays lead guitar, Lars Ulrich is on drums, and the wildman Jason Newsted plays bass (he started with the band after the death of Cliff Burton, during the Master of Puppets tours). 

Metallica is fundamentally far removed from everything that came before it. The band, known for its speed and mastery of the Thrash Metal genre, began to separate from that era on Justice; but they came totally apart from it for this record. The incredible riff writings of Hetfield are definitely still here, and thrash has been replaced by bone crushing heavy metal of the highest order. The epics of the previous albums, with the multiple, twisting, layered riffs and extended length songs are replaced by quickly-to-the-point power chords and hooks. I think the most interesting development is (comparatively speaking) how slow the songs are on this record! I mean, they are certainly heavy, but far slower than the thrash of old. Though the band says it was never a goal for this album, the new direction was a HUGE commercial success. In my opinion, this record serves as a clear dividing line, that stands on its own, between the “old” Metallica and the “new.” 

Metallica is the band’s best-selling record. It debuted at #1 in ten countries, and spent four consecutive weeks at #1 on Billboards Top 200. The record is one of the best-selling albums worldwide, and one of the best selling in the United States. In December 2019, Metallica is the fourth album in American history to spend longer than 550 weeks on the Billboard Top 200. It is certified 16× Platinum by RIAA as of 2012, and has sold over 16 million copies in the US to date. 

Favorite songs: Sad But True (will bash your brains in) ; Don’t Tread on Me (is a bop) ; Enter Sandman ; My Friend of Misery

Rating: 10/10!! 

Stay Metal,

THE SAW

Categories
Concert Review

DJ Butter’s Favorite Concert Recordings

It doesn’t look like concerts are going to make a comeback any time soon, but why should that stop you from enjoying ones from the past? There are a million reasons to love concerts, but one of the best has to be when artists experiment and develop songs further than their studio recordings. There’s something so inexplicably powerful about hearing music live. It doesn’t seem like we’re going to be moshing in the near future, but here are some of my favorite concert recordings to get you through until we can.

1. Led Zeppelin – How Many More Times (Danmarks Radio 1969)

I don’t even want to admit how many times I’ve watched this video. Shot before Zeppelin became the rock superstars they’re known as today, it’s hilarious to see only about 100 confused teenagers sitting at their feet cross-legged. Nevertheless, it’s an otherworldly performance. Their extended solos and improvisations add so much depth to “How Many More Times,” the last song on the first album.

2. Thundercat – NPR Music Tiny Desk Concert (2017)

This was the first Tiny Desk performance I’ve ever seen, and it’s honestly been the best. Thundercat is an incredible performer, live and in the studio. Though this video doesn’t quite meet “concert” criteria, it’s great to see Thundercat and his band performing together. They’re so wonderfully in sync, which really highlights Thundercat’s talent as a vocalist and bassist.

3. Greta Van Fleet – Lover, Leaver (Taker, Believer) Live in LA (2018)

I have mixed feelings about the up-and-coming rock group, but this concert is fantastic. It was filmed shortly after the release of their first album, “From The Fires.” I love how they seamlessly transition into different songs, creating the effect of the concert being one long track. My absolute favorite part is when they cover Muddy Waters’ “Rollin’ and Tumblin.'” You can really tell how powerful their sound is, especially from their guitarist, Jake Kiska.

4. Erykah Badu – Planet Groove Live (1997)

Wow, wow, wow! Miss Badu really came through on this one. She always has had the most amazing energy to her performances. This live recording shot for Plant Groove in 1997 is filled with so much emotion and power. Her backup singers are amazing too! Even though this specific video cuts off at the end, my favorite part is when she performs “Other Side of the Game.”

https://www.youtube.com/watch?v=aNehylzLo-4&t=317s

Happy Listening!

– DJ Butter

Categories
Band/Artist Profile

Comparing Boygenius

The three members of Boygenius sit posed for a publicity image
(Left to Right) Lucy Dacus, Pheobe Bridgers, Julien Baker

Boygenius is probably the biggest thing in indie right now. Not the actual band, who only released one ep in 2018, but the members. Lucy Dacus, Phoebe Bridgers, and Julien Baker; these three 25-year-old queer white women from L.A. via the upper south have come to dominate indie rock in the waning days of the genre’s relevance. Thanks to the release of Baker’s “Little Oblivions,” in February, we now have one full studio album released by each of the band members after their collective breakthrough with Boygenius. The cultural influence of these women is only widening (a friend of a friend at UNC Ashville just got a Phoebe Bridgers tattoo…) so it’s worth looking at their music, how they are similar, and why they’re different.

Baker

Julien Baker was the most established of the group by far coming into the release of Boygenius. Having released two albums and been signed to Matador, she had several accolades under her belt. Her sophomore album “Turn Out the Lights” charted well, and received good reviews from most major publications. Her musical style has also seen the most change following her association with the other two artists. Initially, Baker’s music was strictly one woman and a guitar, but her latest work sees her working with a full studio baking band similar to her contemporaries. This was a great relief to me personally, as I found the stripped-back style of her early albums a little tiresome. In a probable effort to shed the persona of “Sober, queer, Christian,” her latest album has been characterized as a concept album about her struggles with faith. This conflicted spirituality and struggle with tradition is a consistent through-line to Baker’s work. She’s also the most, for lack of a better word, literate of her peers. She has been published in academic journals, literary magazines, and her backup career was becoming an English teacher. This background helps Baker’s more restrained and refined lyrics shine through with a kind of classical appeal. Her poetry aspires to the heights of the Bronte sisters, rather than rock stardom.

Bridgers

Phoebe Bridgers is, in many ways, Baker’s opposite. Where Baker was well established and restrained, Bridgers had just debuted the year prior and saw a meteoric rise in popularity after joining the group. Her 2020 album “Punisher” has racked up three Grammy nominations and ranked among the best albums of the year in many listings. Her lyrical style has been characterized as emo folk, both as a compliment and as an insult. The music is passionate, straightforward, and unapologetically personal, discussing her relationship with her family, friends, and romantic partners. This makes Bridgers’ music the most accessible, and she has a devoted fanbase of young women and queer people who look up to her. In cultivating this fanbase, Bridger’s has created a more public life than the other members, sharing deeply personal stories of family conflicts, sexual assault, and mental health struggles. If any one of these women is likely to make a break for mainstream stardom, it’s Bridgers.

Dacus

Lucy Dacus is somewhat more versatile than her peers. Unlike the contemporary indie-folk of Bridgers and Baker, she styles herself something of a rock star, and the aesthetic suits her well. Her voice is by far the most powerful of the three, capable of hitting meteoric highs and contralto lows with ease. She also plays electric guitar as her native instrument. Her lyrical range is large as well, hitting styles like badass dad rock, straightforward love songs, and even flirting with country music. This makes Dacus something of a wild card, as she’s capable of changing her entire energy mid-album or even mid-song. She’s also my personal favorite of Boygenius, so I may be a little biased, and yes, I have screamed “Night Shift” at the top of my lungs at the three in the morning… multiple times.