Category: Blog

Categories
New Album Review

Unsigned artist makes it on his own

88.1 WKNC’s Pick of the Week 3/23
By John O’Neal, WKNC DJ Buck Nasty

There’s a lot of hip-hop knocking on people’s doors nowadays, from little-known artists like Yelawolf to full blown show-stoppers like Nas. But nothing draws attention like having a lyricist who can wow you with his smooth flow while also injecting heartfelt emotions that leave you wanting more.

That person is Shawn Chrystopher, who hails from Inglewood, California. His latest album, You and Only You, is available free for download on www.youandonlyyou.com and features more hits than any album you would buy.

Shawn Chrystopher starts by using his real name as his rap label, which is surprising. He also sports no label, so he has the creative authority over all his own sounds.

It’s OK if you haven’t heard of him after three mixtapes, three albums and two singles. I first heard of him after watching The Reason’s music video on YouTube, which is a dry showcase of what hip-hop should be.

What you don’t expect is for his main song to be so raw. “You and Only You,” the first song on the album, is spoken word. It reminds you that rap is only poetry over a beat, which a lot of artists forget. He talks about the material wants his girlfriend wants, and how he wants to make it big in the business for his mother.

I give a quick listen to songs on little-known rapper’s albums, not because I don’t think they don’t have anything to say, but because the first 20 seconds make or break a song to me.

“Emergency Broadcast” will have you still listening for all one minute and two seconds of it, with your head bobbing. With the ripe trumpets and the melodic voice he presents, you wonder why rappers don’t stay this fresh.

Another song that had me pressing repeat was “The Hangover.” Many movies and songs have tried to embody this feeling, but Chrystopher captures it with ease. You can visualize the scene he is painting, and the beat’s feel complements the message very well.

The image that a rapper is living well is a message that’s put out too much. I thought Shawn Chyrstopher’s “Sold Out Shows” featuring Cameron Wallace was another song like this. But his verses embody what he actually feels and how he puts so much effort behind making it.

You may not love hip-hop for whatever reason, but Shawn Chyrstopher’s self-made sound is refreshing and worth the download, especially because it’s free. He’s at the South by Southwest festival right now without any label backing promoting his music, and I wish him the best for it.

88.1 WKNC Pick of the Week is published every Wednesday in the print edition of Technician, as well as online at technicianonline.com and wknc.org.

Categories
New Album Review

Alex Winston delivers charming sound

88.1 WKNC’s Pick of the Week 3/16
By Alexandra Adams, WKNC DJ Alex

Alex Winston’s new album, Sister Wife, is characterized by Winston’s fresh pop sound, clever lyrics and unbeatable hooks that you’ll be humming after the first listen.

In 2009, she released Basement Covers, an album featuring covers of Mumford & Sons, The Rolling Stones and three others. It was literally recorded in her basement with Winston playing every instrument, and caused record labels to start paying attention. Her latest, Sister Wife, at just over 21 minutes long, is a perfect primer in Winston’s unique style that has her poised to become an indie darling.

The 23-year-old Detroit native and classically trained opera singer wrote all of the album’s songs, in addition to playing all of the instruments on the recordings.

Most of Winston’s songs stay in her signature high-pitched, almost girlish tone. Her Joanna Newsome-esque sound may seem like it could be unappealing to some, but she does it all so well that it’s incredibly charming and highly addictive.

“Locomotive” starts off the album with a driving beat and Winston’s characteristic undeniable hook that gets in your head and stays there. It features a slight twinge of electro-pop while still avoiding an over-produced sound.

Next, the title track, “Sister Wife,” is an irresistibly catchy song and a twist from the usual “love gone wrong” theme of many songs. Her play on the term “sister wife” is  easily understood by the listener and is like a cultural time capsule of America’s current fascination with the members of the Fundamentalist Church of Jesus Christ of Latter Day Saints who have a bunch of wives.

She hilariously declares with gumption, “Hey there, Sister Wife / Get the Hell out, it’s my night / You don’t know the way to his heart like I do.” The song shines as one of Winston’s best.

“Sweet James” is reminiscent of She & Him’s 60s girl group-influenced love songs. It’s a bouncy tune similar to Zooey Deschanel’s cheery, clever songwriting.

“Sweet James” is a modern cousin to the Motown-style tunes about innocent affection between girl and boy, complete with Winston’s endearing “ooh oohs” and loving declarations that this James fellow is “nice as nice can be” and “true blue.”

The one blunder of the album is “Don’t Care About Anything.” It seems to be meant as an emotional, stripped-down change of pace from the rest of the album. However, the track mostly comes off as strangely saccharine wailing until the relief of a somewhat redeeming chorus and violin solo.

“Choice Notes” is the album’s second single and is upbeat with great production that isn’t too over-the-top. Its fresh sound and happy beat has helped the track get grabbed up for some commercials in the UK, where Winston already has a dedicated following.

Sister Wife is a strong release full of charm, originality and authentic talent. From the strong songwriting and the fact that she plays every instrument on the album herself, Winston has quickly proven that she is a talent to look out for.

It is obvious that as she heads this week to perform at the South By Southwest (SXSW) Festival in the music mecca of Austin, Sister Wife is only the beginning for Alex Winston.

88.1 WKNC Pick of the Week is published every Wednesday in the print edition of Technician, as well as online at technicianonline.com and wknc.org.

Categories
New Album Review

“Dye It Blonde” both familiar and new

88.1 WKNC’s Pick of the Week 3/2
By WKNC DJ Margot

Musically, my parents and I do not agree on much. They raised me on ABBA, Moody Blues and everything 70s. By high school, I had dropped everything oldies for the indie music that is so prevalent in our generation.

But, after giving them a good listen of the Smith Westerns new album, Dye It Blonde, I had the whole family agree on a band that didn’t hit their peak in 1978. And if you haven’t been listening to indie music, the Smith Westerns provide a great starting point.

The band doesn’t throw you through the hoops of obscurity that many people feel indie music is, but reminds fans of the early rock they grew up listening to as kids.

Dye It Blonde is the second album that the band has produced and was just released in mid-January. Their 60s-inspired Beatlesque sound is both familiar and new, compelling listeners to keep listening through the end of the album.

Their lyrics are honest and simple, and complement  their traditional yet somehow experimental instrumentation well. Expect strong electric guitar, pop keys and soft vocals that are oddly mesmerizing. Also expect a lot – and I mean a lot – of electric guitar solos.

The band hails from the Windy City and consists of vocalist Cullen Omori, guitarist Max Kakacek and bassist Cameron Omori. Before this album release, they toured with some of the big names in the business – MGMT, Florence and the Machine, Belle and Sebastian and Passion Pit. The band was named band of the week by Rolling Stone Magazine after their release of Dye it Blonde on Jan. 18.

For a first listen, check out the tracks “Fallen In Love” and “Only One.” These two songs are both different, but are connected by minor chords and melancholy rock that makes you want to take a road trip – just in time for Spring Break. So, grab a copy of Dye It Blonde, get in the car with some friends and book it.

If you are already a fan of the Smith Westerns or didn’t like them the first time you heard them, expect cleaner, softer sounds and clearer vocals – an overall improvement from their self-titled first album in 2009.

Dye It Blonde is the band’s graduation album, from teenage garage sound to a more polished, grown-up sound. The band leaves behind the harsh, quick vocals for slow melodic echoes.

Check out the song “Smile” for something clearer and dreamier than their original sound. The song features a chorus that is unexpected compared to the rest of the album, making the song stand out compared to the rest of the tracks.

Dye It Blonde provides a great transition, both for the band and for the 60s sound that seems to be coming back in great demand. I would recommend the album to anyone who’s been looking for a Beatles rebirth or is a fan of the Dum Dum Girls. Imagine a masculine, louder Dum Dum Girls and you have the Smith Westerns.

88.1 WKNC Pick of the Week is published every Wednesday in the print edition of Technician, as well as online at technicianonline.com and wknc.org.

Categories
New Album Review

‘Limbs’ starts off slow, makes a promising finish

88.1 WKNC’s Pick of the Week 2/23
By Seth White, WKNC DJ Goof

Since their  2003 release Hail to the Thief and their departure from Capitol Records, Radiohead has broken away from the typical formalities of releasing an album.

Radiohead doesn’t release singles, and rarely mention that they have anything near completion. Then one day they say they have a new album coming out, and four days later you have it in your lap.

The King of Limbs is Radiohead’s eighth full-length album, and finds them once again polishing off the direction they have been heading in since the release of 2000’s Kid A.

In Kid A, they wiped away the guitar-driven rock band persona they developed in their first two albums for something much more abstract. They experimented with scattered percussion segments, looped vocals and ambient noises that can easily leave the listener lost at first, but rewarded in the long run.

Limbs starts out much the same way with “Bloom.” The song skips and buckles with spattered drum beats and an off-kilter bass line that slowly grows. Finally, Thom’s reverberating vocals reel you into the bigger picture.

Although “Bloom” is entertaining, it is nothing the band has not tried before on Kid A or Amnesiac, and is probably the lowlight of the album. “Morning Mr. Magpie” is the same. It’s better than the first track, but lacks the excitement expected when one hears Radiohead.

Limbs really starts to pick up speed in the third track. “Little by Little” is an energetic number that recovers from the dullness of its predecessors.

“Feral” is the most outlandish track on the album. It is an instrumental piece comprised of fast-paced, high-pitched drums, consumed by overwhelming bass and synth notes. Much like the rest of the album, it has a constrained, claustrophobic sense of urgency.

“Lotus Flower” is the album’s dominant force. It is catchy, beautiful and reminiscent of the 90s band Massive Attack. “Codex,” the following song on the album, is an elegant slow-burner that  quickly diminishes this excitement. The band seems to take a page out of Bon Iver’s playbook for “Give Up The Ghost”. Thom’s vocals are at their prime here. They are haunting and calm, soothing and fearful – a brilliant dichotomy that truly makes Radiohead the world-renowned band they are.

The album ends on a high note with “Separator.” This song is much less controlled than the rest of the tracks and is riddled with perfectly-placed overlapping vocals. Unlike the restless feeling given off by most of the previous tracks, “Separator” comes across as much more optimistic.

Although Limbs starts off slow, it gains speed and makes a promising finish. As with most Radiohead albums, it needs countless listens to be fully understood. It takes time to appreciate it for what it is.

88.1 WKNC Pick of the Week is published every Wednesday in the print edition of Technician, as well as online at technicianonline.com and wknc.org.

Categories
New Album Review

Self-titled debut shows heart and determination

88.1 WKNC’s Pick of the Week 1/31

The world of distorted rock is one that many bands dare to succeed at doing well, but ultimately fail at when it comes to executing at an album level.

It is a highly fickle sound that some attempt to manage, but fail to pick up an audience that becomes significant at a larger level. Even with all the disadvantages of taking a path that does not frequently lead to success, Yuck has embarked on this task.

As their debut album proves, they have all the potential of being a band that proves to be at the front of rock fans. Receiving accolades from the likes of the BBC Sound of 2011, Yuck had a lot to live up to, and their debut holds up astoundingly.

Yuck wastes no time when giving the audience a direct message about what they have come to accomplish. The first track, “Get Away,” kicks into gear with little hesitation. The punch from the guitars has a raw and rhythmic tone with a subtle screech that makes the track accessible and instantly likeable.

Starting off on a good foot, Yuck follows one of the best tracks on the album with another that tops the list. Changing up the overall feel of their lo-fi sound, Yuck shows a lot of heart and determination. Their guitar riffs are soaring and contribute to the momentum of the tracks rather than serving primarily as a placeholder.

The brilliant thing about the young group’s album is not that they deliver one hard-nosed track after another, but that they have a precise understanding of pacing and are willing to venture outside of their comfort zone.

Instead of over-saturating the listener with several songs in succession with the same tone and grittiness, Yuck strategically places tracks that are much slower, easier on the listener and expose an additional depth to the band not previously seen.

Pacing and changing up the tone of songs come to a pinnacle when placed perfectly into the middle of the album with the track “Georgia.” Nostalgic, poppy and high-energy, “Georgia” becomes a standout that demonstrates the raw talent of such a young group. Adding their female member’s vocal talent to the track demonstrate how they are able to diversify their overall sound.

For the lovers of 90s rock of a similar likeness, it is hard not to pin down the influences of 90s lo-fi acts within many of the songs. “Operation” quickly becomes one of those tracks that highlight the magnificence of artists before them, while demonstrating the band’s enormous amount of heart.

Yuck provides for a sound that is easy to compare to other lo-fi artists, yet unique overall. It’s simple, direct, distorted rock at its finest.

Ending off a fantastic album the right way, Yuck delivers the spectacular seven-minute journey “Rubber.” Full of anxiety and the scruff that overwhelmingly defines their sound, “Rubber” becomes an excellent finale to what is a magnificent debut. If anything, Yuck is supremely appetizing to anybody that wants to listen to rock as loudly as possible.

88.1 WKNC Pick of the Week is published every Wednesday in the print edition of Technician, as well as online at technicianonline.com and wknc.org.

Categories
New Album Review

The Decemberists release “The King is Dead”

88.1 WKNC’s Pick of the Week 1/26
By Sarah Hager, WKNC DJ

The Decemberists celebrated their decade of making music together with the Jan. 18 release of their sixth full-length album, The King is Dead.

The Portland, Ore. natives are known for their mix of indie, folk and rock music all packaged under the chilling yet soothing voice of Colin Meloy. The new album offers another genre blend that wasn’t prominent on former albums. The influences of Americana and blues are unmistakable during each new track.

The six-piece band plays an array of over 14 instruments, including Hammond organ, piano, violin and harmonica. In addition to the band members, guests Peter Buck of R.E.M. and indie folk star Gillian Welch also appear on the new album. Despite the mass amount of instruments and bodies, each song has deep layers of music without any part of it sounding odd or random.

“Don’t Carry It All” starts off the album with a blast from Meloy’s harmonica to immediately set the mood of The King is Dead. All the instruments complement one another. Sara Watkins harmonizes with Meloy on the choruses, which turn out to be a common tool throughout the album.

The second track picks up the tempo and adds interesting lyrics, which are an aspect of The Decemberists that any fan immediately recognizes. Their lyrics consist of clever rhymes and vocabulary-building words virtually every time.

“Down By The Water” and “Rox in Box” are truer to older Decemberists music. The first features harder cymbals, harmonies in all the right places and musical build-ups to engage the listener. This is the one you’ll sing along to first. The latter is also catchy, but has an older feel to it, laced with sharp guitar licks and accordion.

“January Hymn” reminds me of Dave Matthews Band. It’s slower with heavy reliance on acoustic guitar and voice. Lyrics like “April, all an ocean away, is this the better way to spend the day/Keeping the winter at bay” paint a scene of someone deep in thought, retracing their choices. With a shaker acting as the only percussion, the listener focuses on the lyrics and gets lost in thought.

“This Is Why We Fight” is a track that has more rock than country. The lyrics are choppier and repetitive, making a point and getting straight to it. “Come the war/come hell” paired with a chorus containing “and when we die/we will die/with our arms unbound” has a political air to it. The last 45 seconds of the song feel like listening to someone playing guitar from another room.

Overall, this album was not what I was expecting, but I enjoyed it. They embrace their Americana roots and run with it. This is right up the alley of fans of Bob Dylan and Neil Young. The vocals, wide range of instrumentation, lyrics and genre variation will reach a wide listener range. Although it strays from the rockier center of traditional Decemberists music, The King is Dead is definitely worth a listen.

88.1 WKNC Pick of the Week is published every Wednesday in the print edition of Technician, as well as online at technicianonline.com and wknc.org.

Categories
Concert Review

Lost in the Trees, Lost in the Music

Friday, May 13th the crowd at Cat’s Cradle was anything but unlucky. The set was extended, putting in a second opener to Lost in the Trees. Due to the growling in my tummy I missed the first opener, The Towers. Instead, I ran over to Carrburrito for a bangin’ fish taco (and not the Urban Dictionary definition, so please don’t go there!) . Mmmmm. Oh, right, the show.

Upon my return, completely stuffed, the second opening band, The Toddlers, came on. This unsigned Chapel Hill band played loud rock music that was carried by the lead singer’s deep voice. I couldn’t quite put my finger on the depth of his voice; somewhere in-between Matt Berninger, of the National and Charlotte-based artist Benji Hughes.

By the time The Toddlers were halfway through their set, Cat’s Cradle was packed. Questions of “is this Lost in the Trees?,” were being answered with shouts and whispers from “This is the second band… I don’t think so” and “How could you think that?”, to “Hell yeah!”. Needless to say, there were some very new fans in the audience, and they were about to be blown away.

After two 45-minute opening sets, the long awaited Lost in the Trees made it to the stage. Ari Picker floated across the stage as he plucked at his guitar, while Emma Nadeu did her usual amazing thing playing about eleventy-billion instruments. Having seen Lost in the Trees about 5 times now, I can say that this show had a different feeling than others. It was more focused and less ethereal. The back-up instrumentals became harder, while Ari himself became more billowy. It was a difficult scenario to describe, but I have a feeling that their new record will have many of these elements. They played a few songs that will be on that new record; they display the same musical genius as in the other albums but the energy seems stronger. They played some Lost in the Trees staples like “Song for the Painter” and “Walk Around the Lake”, to which everyone sung along, even the people who in the beginning weren’t sure if they were The Toddlers.

Lost in the Trees is up to great things, and always worth seeing!

Categories
Concert Preview Local Music

LBLB Metal Music Mayhem

Raleigh’s Mumu Tutu and Sex Panther will blow the doors of Tir Na nOg this Thursday for Local Beer Local Band night.

Promising to lead listeners into a “heavy metal time machine filled with big hair and spandex pants,” Sex Panther traditionally offers a set list peppered with Poison, AC/DC and Alice Cooper. Mumu Tutu, meanwhile, “is all about brain blisterin’, blood vessel bustin’ rock originals.”

The face melting starts at 10 p.m. and as always is FREE and 21+, with $5 cheeseburger specials.

Categories
Weekly Charts

5/10 Chainsaw Metal Weekly Top Ten Albums

 

Artist Album Label
#1 BETWEEN THE BURIED AND ME The Parallax: Hypersleep Dialogues Metal Blade
#2 SEPTICFLESH The Great Mass Season of Mist
#3 ANAAL NATHRAKH Passion Candlelight
#4 SYMFONIA In Paradisum Eagle Rock
#5 SCAR SYMMETRY The Unseen Empire Nuclear Blast
#6 HATE ETERNAL Phoenix Amongst the Ashes Metal Blade
#7 AMON AMARTH Surtur Rising Metal Blade
#8 KAMPFAR Mare Napalm
#9 CHILDREN OF BODOM Relentless Reckless Forever Metal Blade
#10 ZOMBI Escape Velocity Relapse
Categories
New Album Review

Folk group debuts sophomore album

4/26 WKNC Pick of the Week

written by DJ Ones, WKNC Daytime deejay

Following the immense success of 2008’s debut self-titled album, Fleet Foxes took three years of touring, recording and reflecting before their sophomore release, Helplessness Blues.

The delay, although difficult for early fans, may have done just what it needed to calm some of the hype for their second full-length. It also allowed time for Fleet Foxes to grow, experiment and hone their skills as proper folk artists.

Fleet Foxes, while holding onto their abilities to create folk tracks with large amounts of grandeur, allowed themselves to experiment, reflect and refresh what could have been an attempt to repeat the sounds present on their debut. Quite simply, Fleet Foxes did everything that was necessary for a proper sophomore album.

Getting an early insight into the majestic, nostalgic mind of lead singer Robin Pecknold, the album starts with an intimate beginnings as he reflects, “Oh man what I used to be!” As the harmonies of the band echo in the background, Pecknold carries along with hopeful yet observant sentiments on what could happen and what already has happened, a proper opening for an excellent second album.

Helplessness Blues keeps the audience captivated as they experiment with new techniques for song writing.

On two different occasions the band combines two songs, which create some of the most peculiar moments on the album. In “The Plains/Bitter Dancer,” Fleet Foxes start with a light, yet long instrumental opening that merges into a track that is less traditional Fleet Foxes, and instead calls back to the older folk generations that influenced their music.

Some of the most stripped down moments throughout the album allow for some of the most powerful moments.

In the title track, Fleet Foxes hone this surging folk sound dominated by multiple acoustic guitars, the range of Pecknold and the ability to progress tracks from within to climax.

Pecknold and company have the capability to bring in beautiful lullabies to calm down and change it up. In “Blue Spotted Tail” they utilize only the smooth harmonies of Pecknold’s voice and a guitar, which proves to be both soothing and dreamy.

However, Fleet Foxes is able to deliver one of their greatest tracks with the conclusion of Helplessness Blues.

“Grown Ocean,” a soaring dream of Pecknold’s creation, carries alongside an optimistic, grand collaboration of all elements, old and new.

Hearkening to some of the vast musical mixtures of their first album, Fleet Foxes is also able to create layers with incredible precision. As flutes penetrate the epic collision of instruments that guide us along the dreamy atmosphere of Pecknold’s lyrics, Fleet Foxes conclude their excellent album with one of the greatest folk tracks of the past decade.

Through a combination of experimenting with new musical elements, utilizing their previous combinations of folk music and writing meaningful lyrics, Fleet Foxes delivers one of the best albums of the year.

88.1 WKNC Pick of the Week is published every Friday in the print edition of Technician, as well as online at technicianonline.com and wknc.org.