Category: Features
A Shout-Out to the Types of Dancers at Concerts
Oh those who dance at concerts, no matter what way you move and groove at a live show, this one’s for you.
There’s so many different kinds of dancers that deserve praise but today I’ll just be shouting out a few.
Here’s to you, Head-Bobber.
Your ability to retain the same dance move no matter the mood or feel of a song is uncanny. Sure, there’s other people in the crowd who express their love for a song with shouts, jumps, and full-on head banging but you don’t feel the need to do that. Your level of chill in the crowd beats that of a “Chill Vibes” playlist on Spotify. It even beats that of a Jimmy Buffet concert on the beach in the summer. The lead singer could be performing two inches from your face and you would still maintain the same steady rhythm. Your lack of crazy dance moves and passionate expressions doesn’t mean that you aren’t enjoying the music but rather that you simply don’t feel the need to express your love for the music very publicly. Keep on bobbin’.
Here’s to you, Interpretive Dancer.
When you’re at a concert, the music drifts you off into another universe altogether, into one that transcends this Earth and causes you to move your body freely without a care in the world. You sway and at times even seem to act out the lyrics. You have an unrivaled ability to feel the full spectrum of emotions in the songs and convey that through your body language. The space in the room is the canvas and your body the paintbrush, painting the air with the emotions behind the music. The space is caressed with a gentle sway as the band croons about the meeting of a new lover in the springtime. The space is slashed and cut as the band roars about seeking revenge on a friend who did them wrong. The space becomes steamy and thick as you swing your hips and slide your body around with a sultry confidence. Some people might write off your dancing as weird or bizarre but I think your confidence to dance freely without a care about being judged as well as your ability to publicly show how deeply your feel the music in your soul is admirable.
Here’s to you, Mosher.
Drinks might be spilled in the wake of your wave of energy but that doesn’t stop you. As soon as there’s a build-up in the intensity of the song or the lead guitarist launches into a heavy solo, you can be counted on first to transform into a flurry of jumps, yells, head-banging, and fist pumps. You live for adrenaline rushes and build-ups in songs are where you thrive. You could probably be convinced to crowd-surf. You don’t even need to workout for a few days after a concert because you burned so many calories dancing while you were there. You believe that those who sit up in the balconies at concerts and everyone else who isn’t in the pit are missing out on the fun.
Finally, here’s to you, Hype Man.
You arguably have more energy in you than the rest of the room combined. This is because you have to have enough energy to dance crazily while also hyping up everyone in the crowd around you to dance. When you’re in the crowd and your favorite songs come on, you’ve been known to hold your hand like a microphone and lean in to others around you to get them to sing lyrics with you. You’re the Richard Simmons of concerts, motivating everyone around you with your endless energy. It doesn’t matter if there’s an 80-year-old woman or a young teenager next to you- your friendly personality enables you to make friends with anyone in the crowd and persuade them to shake off any self-consciousness about dancing in order to have a good time. You rival Chik-Fil-A customer service with your friendliness. You could go to a concert alone and walk out at the end of the night having made ten new friends. You’ll be walking out in comfortable shoes though, because you know you go hard in the crowd and don’t have time to worry about blisters.
It doesn’t matter if you’re the Head-Bobber, the Interpretative Dancer, the Mosher, the Hype Man, or some other kind of dancer- keep doing your thing and don’t worry about what anyone else thinks. Concerts should be a judgment-free place where we can all collectively bond over our shared love of the artist performing on stage.
Meet The Next Generation of Athens, GA Music Scene
Boasting R.E.M., the B-52’s, and the Drive-By Truckers, it’s no secret that the Athens, GA music scene has a rich history. The Music Business Program housed within the University of Georgia—just steps from downtown Athens—is continuing this tradition, now raising much of the next generation of this local scene.
“We try to take people from a standpoint from ‘Who am I?’ to ‘Who I am,'” said David Barbe, director of the program and successful musician in his own right. Much of this development culminates in the final project of the program, a music business microcosm in which each student assumes a role in music business such as artist manager or publicist.
Many students choose to take on the role of artist, and thus are required to release music—with cover art—and promote the release. This year’s projects paint a hopeful picture for the already well-established Athens scene, with 17 new releases from local bands and artists.
“So far, I would think that it’s arguably the best ones we’ve ever had. There are more of them, they are more varied in style, and the quality of the real standouts is really a level up. It’s been the most musically diverse,” said Barbe. “We expect rock bands and we expect rappers, but we’ve got Annie Leeth‘s tripped out electric violin project, we have Eric Dowler‘s album of World War I era songs, and there’s satirical rap… It’s been all over the map, which is great.”
Some of these artists, just weeks after release, are already clocking over a thousand streams and seeing revenue from downloads—an impressive feat for what started as a class project. Check out the following up-and-coming artists from the Athens scene:
Conner Brooke Dryden has the vocal chops to fit in the current country music scene without having to succumb to the over-produced country pop plague that seems to be overtaking the genre. Her single “Something Beautiful” is straightforward in instrumentation and honestly doesn’t need much else—Dryden’s clean vocals are the star of the show, as they should be. Check out the single on all major streaming platforms.
Logan Brammer’s “November Night” is a nice, nostalgic track. It’s kind of calming and seems to have some Beatles influence thrown in there. I will say, this is the only track that totally got stuck in my head for like, hours after that first listen—the chorus is that catchy. Definitely didn’t mind. You can find “November Night” on bandcamp.
If you’re not the electronic-instrumental-meditation-music type, Annie Leeth’s new EP “Heard” might just convert you. It’s super ambient and vibe-y, but what really shines is that Leeth seems to seriously know what she’s doing with a violin—both technically skilled and able to get the instrument to make sounds that I’d guess many haven’t heard it make before. This isn’t run of the mill, classical studying music… it’s a whole new beast. You can find “Heard” on the major streaming platforms.
Property of Bolton have taken the classic rock band setup and done it well, with a darker sound that’s simultaneously groovy and gritty. The group’s EP, “Epicycles,” is so well done that it’s hard to believe this was done for a school project. The separate pieces of each track flow so cohesively that everything feels intentional—like the group has a solid grasp on what they’re going for and are not afraid to go for it. Check out “No Faith,” not just for the ripping lead guitar but also the line “I ain’t got no faith in the government” because, relatable. Check out the EP on bandcamp.
Josie Smith’s “June” is short and sweet. Her vocals are sweet, the premise is sweet—and it shines in this simplicity. The track is a good example of how music doesn’t have to be so heart-wrenching, so complicated to still be great. The release seems to be just a taste of what’s to come from Josie, and you can check it out on bandcamp.
Eric Dowler’s “When The Boys Come Home” is cool in that it’s hard to find anyone else, let alone a 20-something student, doing this right now. It’s clear that Dowler is dedicated to his craft as well as doing his historical subject justice. The album definitely gives an interesting insight into World War I, giving a musical perspective that one might not get from a casual education in the subject. You can find “When The Boys Come Home” on bandcamp.
Darsana’s latest indie-pop EP “Heartless,” is pretty chill, to put it simply. Definitely recommend checking out the opening track “Callouseer” and the title track “Heartless,” both of which seem like great easy-listening, on say, a lazy weekend afternoon or something along those lines. You can find “Heartless” on bandcamp.
Guest House’s latest release, “Sleep,” is intriguing. It’s not quite something to study to, because it definitely draws you in and makes you want to listen, but it would fit in well in a coffee shop setting. For some reason this felt super visual—like, listening to it actually triggered my brain to put together a full indie-movie montage. Some music just does that, I guess. Guest house makes you think, in a good way. Check it out on bandcamp.
There is a line between experimental in a cool, enjoyable-to-the-ear way and experimental just for the sake of being weird, and Sephine has found the balance. “Computerforest,” Sephine’s latest release, sounds like the kind of music your cool (but not snooty) indie acquaintance would casually throw on, spurring you to spend weeks trying to figure out how to ask who the band is without sounding lame and uncultured. The release is almost ethereal at times, until that funky sax kicks in or Anderson starts chanting. A personal favorite would be “Discothèque,” because the track is just kind of funky and definitely unexpected. You can find Sephine on bandcamp.
Rebekah Martin’s piano track “Tightrope” makes for great study music in that it has a nice melody that’s not too overpowering. There’s this near-constant buzzing, which seems intentional but regardless of if not, the juxtaposition between that and the piano totally works—the roughness of the buzzing keeps the piano from being too buttoned-up. Again, being just one single, this seems to be just a taste of what’s to come from Martin. You can find the track on her bandcamp.
Whether you’re a fan of “Xanax Culture” or seriously annoyed by it, you need Xanny P in your listening lineup. For satirical rap, it’s surprisingly well produced and the character that is “Xanny P” is hilarious (and cultured, apparently. Check out his ‘gram if you don’t believe me.) The guy is already packing out the Georgia Theatre rooftop and spreading like crazy via word of mouth. Plus, it’s #Dartyszn, ya’ll—never a better time to check him out on all major streaming platforms.
Punk rock fans, PNK is for you. I’d say he falls in more of an early Green Day vein than say, Blink, in a rip-roaring, high speed—and never slowing down—kind of way. His latest single, “Sitting on the Bathroom Floor” is gritty, high-energy, loud and a fun listen from the first note. (Also a fun fact—PNK’s Tyler Peters played a part in the production of quite a few of these releases. Three cheers for having multiple skills!) You can find PNK on all major streaming platforms.
Elrod’s self-titled EP has definite outlaw themes throughout, with an interesting mix of generally acoustic instrumentation and her almost-bluesy vocals. It’s cool in an imperfect, rock ‘n’ roll kind of way. All of the separate pieces are great, but there are definite shining points in her harmonies and the lead guitar. For some reason, I immediately thought of Cheyanne Kimball’s solo album while listening to this, but haven’t quite figured out why yet. Anyway, check Elrod’s self-titled, currently out on Soundcloud.
Friday Highway’s latest release “I Told You/Rearview” gives major early 2000s singer-songwriter throwback vibes… but at the same time, it’s also the teeny-tiniest bit reminiscent of popular Red Hot Chili Peppers hits. Anyway, it’s interesting, and definitely in a good way. I’d recommend checking out “Rearview,” as it’s well done and the bridge takes an unexpected twist that keeps you on your toes. You can find Friday Highway on most major streaming platforms.
Kaitlin Kimsey, Jake Mappes and Jesse Inglima
This trio released a killer studio series covering Elton John and Guns N’ Roses. Each of the three musicians involved are seriously talented, so it makes sense that putting them together would yield a couple of great tracks. Kimsey’s rocker belt pairs perfectly with Mappes’ keys, making me wish the group had a couple of originals to check out. You can find the studio series on Kimsey’s Youtube and Soundcloud, or check out all three musicians in local Athens band Fake Mister.
Alright, so Garet Skipper’s latest release “Lies!” does not sound like it was made by some college student for a school project. This is well done. The track almost falls in a dream-pop vein, but not in an over-hazy bad way. It’s upbeat, fun, and so perfect for summer nights. For fans of, say, LANY, this is a definite recommend—actually, this sounds on par with some of the music the aforementioned group was putting out when it first started successfully touring the country, so there’s that. It’s so… marketable. Check him out on all major streaming platforms.
Lapetz’s latest single, “Time Lines,” is super simple and straightforward in composition, but it works. The narrative he’s rapping is interesting, it flows well and the refrain is catchy—Lapetz doesn’t really need a bunch of bells and whistles to make the track interesting. In a landscape where over-produced, dolled-up tracks seem to reign supreme, this release is refreshing. To listen to the single, or his EP “Early Works,” find Lapetz on bandcamp.
Staff Picks: Record Store Day 2018
Record Store Day is coming up on April 21st, and we here at Vinyl Mag are very excited! In an effort to convey our joy, we got the staff together to list their most anticipated RSD exclusive releases for your reading pleasure! We’ve got something for everyone here, from booming ambient shoegaze (Brian Eno + Kevin Shields) t0 Mac Demarco‘s demo tapes for This Old Dog and obscure Swans deep cuts! Make sure to check with your local record store for availability! Now without further ado, here are our staff picks:
Brian Eno with Kevin Shields
The Weight of History + Only Once Away My Son
Like chocolate and peanut butter, Kevin Shields and Brian Eno make perfect sense together. Both have discographies that explore outer reaches of sound either through dense noise or sparce, barely there ambience. Listening to them together on a release will make this record store day like Christmas to hardcore audiophiles and fans of wonderful ambient music. Expect it to get loud. Very loud. — Sebastian Marquez, Managing Editor
Sun Ra
Standards
Sun Ra is an interglactic ambassador, genius and prolific mastermind, but for the uninitiated his vast discography can be quite intimidating. Obelisks of noise and improvisational freakouts pepper his compositions, and those who aren’t accustomed to his brand of experimental Jazz will have a hard time finding an easy entry point unless they check out this album. Sun Ra’s interpretations of Jazz standards like “Easy to Love” and “Time after Time” make for a wonderful middle ground for new fans to get acclimated before taking Rocket Number Nine to Venus with the rest of his discography. — Sebastian Marquez
Car Seat Headrest
Twin Fantasy (Mirror to Mirror)
Twin Fantasy is considered to be Car Seat Headrest’s bandcamp opus, the defining moment in his pre-matador career. Having just released a full rework of the album as the Face to Face edition, the original bandcamp version of Twin Fantasy is getting pressed to vinyl in what sure must be a dream come true for Will Toledo. While the album was downloaded over thirty three thousand(!!!) times on Bandcamp, only four thousand copies of Mirror to Mirror will be available. — Sebastian Marquez
Johnny Cash
At Folsom Prison: 50th Anniversary Elegacy Edition
Let’s talk about one of the most prolific country artists of all time and one of his most legendary albums. At Folsom Prison, when released in 1968, fostered excited chatter around the nation – acclaimed by music critics, revered by music fans, and monumentally important to Cash’s prison reform campaign, it rose to number one on the Top Country Albums chart and established itself as one of the defining albums of the 60s. 50 years later there is still nothing that compares, and you can buy the Anniversary Elegacy Edition at participating record stores, which includes both full concerts and “a bonus 12” single featuring previously unreleased audio of Cash and friends rehearsing at the El Rancho Motel in Sacramento, CA the night before. — Harper Bridges, Staff Writer
Florian Fricke
Spielt Mozart
Those who know of Florian Fricke probably aren’t half-hearted fans; an indelible legend in Germany, Fricke commanded the krautrock group Popol Vuh, pioneered the use of the Moog synthesizer, and cemented a rich bond with Werner Herzog, scoring several of his films. Once a spacey electronic figurehead, Fricke ultimately settled into the world of euphonic composing, and Spielt Mozart (Plays Mozart) might be the fastest track to a glimpse into his profoundly enchanting soul. Being released for the first time on vinyl, you can hear Fricke’s captivating tributes to his favorite Mozart Allegro’s and Adagio’s – if you can snag one of 1000 copies. — Harper Bridges
Swans
Die Tur ist zü
An obscure gem for hardcore Swans fans, the Die Tur ist zü (The Door is Closed) EP was released in 1996 as a bizarre amalgamation of studio and live recordings of then-unreleased songs and outtakes, and oh yeah, was only available in Germany. Now you can buy it for the first time on vinyl and in your home country, and the word on the block is that it will even include art by Swans mastermind Michael Gira. Buckle up, because one of the most experimental releases by an oft-aggressively experimental band is guarenteed to be a wild ride. — Harper Bridges
Flume
Flume
Flume’s self-titled debut album helped to cement him as a mainstay in the EDM scene. While the album is full of classics like “Holdin’ On” and “Sleepless”, there are other experimental gems hidden throughout. Solid collaborations with artists like Chet Faker peppered throughout the album add to the richness of the songs. Flume shows how well the artist tells stories and sets moods in his songs with the usage of little to no lyrics, which in my opinion is an arguably impressive feat. If one reads the title to a song on the album before hearing it, one can immediately understand the title and how it fits into the song. For fans of electro-pop, this album is a must-listen. — Erica Kastner, Staff Writer
AC/DC
Back in Black
One would be hard-pressed to compile a list of some of the best albums without at least a nod to one of the highest-grossing albums ever – AC/DC’s album Back in Black. While this album was the first time the band used a new lead singer, Brian Johnson, after the death of previous lead singer Bon Scott, Johnson surely doesn’t disappoint. Johnson’s distinctive voice gifts him the ability to simultaneously sing with grit as well as scream high notes that leave fans coming back for more. The album contains hits that even a modest fan would know, like “Hell’s Bells” and “Back in Black” but also contains addictive tracks like “What Do You Do for Money Honey” that pay homage to the band’s uncanny ability to deliver in-your-face lyrics while drawing the listener in with powerful guitar parts. — Erica Kastner
Sublime
Sublime
Sublime is the final studio album by the genre-blending band whose sound has been described as both “ska-punk and reggae-rock”. The album contains popular hits like “Santeria” and “What I Got”. The album was recorded while the band was under the influence of heavy drug and alcohol usage. This could have influenced some of the lyrical themes and ideas in the album, which vary to everything from prostitution to addiction. While songs like “Burritos” have a light-hearted theme to match the relaxed reggae tone that makes its way into various songs, other songs like “The Ballad of Johnny Butt” create an ironic tension between the song’s chill sound and dark lyrical themes that is worth listening to. — Erica Kastner
Jeff Buckley
Live at Sin-é
Jeff Buckley’s soulful crooning and heartbreaking ballads, paired with his out-of-nowhere death at such a young age, cemented his status as one of music’s great enigmas. Live at Sin-é was Buckley’s four-track debut with Columbia records in 1993 and will be a limited edition release (only 2,500 copies) for RSD 2018. The “legacy” release will be expanded to a 34-track, four-LP set, and will include extended content such as monologues and an eight-page booklet of liner notes and photos. — Emma Korstanje, Staff Writer
Soundgarden
A-Sides
As one of the establishing bands of the late 1990’s grunge movement, Soundgarden’s generation-defining sound has lasted long after the band’s end. Available on vinyl for the first time ever, this compilation album is a chronological breakdown of the band’s prime—its first 13 years. First released in 1997, the album contains most of the group’s most famous singles as well as a few extras such as “Bleed Together,” a track not available on previous albums. — Emma Korstanje
Wu-Tang Clan
Enter the Wu-Tang (36 Chambers) [cassette]
Considered one of the greatest hip-hop albums ever, Enter The Wu-Tang (36 Chambers) is the debut album that introduced the world to Wu-Tang Clan. The album and group then went on to be a staple of the East Coast Renaissance era, influencing artists like NAS, The Notorious B.I.G. and Jay-Z. For the first time, the album will be released in a limited edition (2,500 copies) run of cassette tapes in honor of RSD 2018. — Emma Korstanje
Courtney Barnett
City Looks Pretty/ Sunday Roast
Australian indie rocker Courtney Barnett is one of the most refreshing and exciting names in music today. With the combination of breezy guitar rock and brilliant story-telling lyrics, Barnett fully hit the scene with the success of her 2015 album “Sometimes I Sit and Think, and Sometimes I Just Sit.” Her new full length “Tell Me How You Really Feel,” is out May 18th, but she is releasing a limited 12″ of two new tracks off of the upcoming album. — Nate Bramel, Staff Writer
Miles Davis
Rubberband EP
In 1985, one of jazz’s greatest legends, Miles Davis, made the switch from Columbia Records to Warner. He began recording a new album “Rubberband,” that featered a new emphasis on funk and soul. Miles Davis never finished “Rubberband” and the record was never released. Four tracks off of the album as well as a re-recorded version of the title track will see a 12″ release. — Nate Bramel
Mac DeMarco
Old Dog Demos
A recent Record Store Day tradition for indie rock’s favorite slacker Mac DeMarco is to release the demos for his full-length records. He will maintain this tradition with “Old Dog Demos,” containing the preliminary cuts off of his terrific 2017 album This Old Dog. This album will feature unreleased tracks from the This Old Dog sessions. — Nate Bramel
Phish
Billy Breathes
It’d be tough to find a Phish fan who’s not completely over the moon about Phish. “Billy Breathes” is widely considered to be one of the albums that really established Phish’s extremely dedicated fanbase, and with the impressive tracklist the album contains, it’s hard to argue with that logic. This record store day, “Billy Breathes” will finally be released on vinyl as a triple-sided LP in a numbered limited edition package. — Anna Lee, Staff Writer
Neil Young
Live at the Roxy
There’s something about Neil Young’s unique, crooning voice that sounds like home, which is largely what made him so popular in the first place. This double-sided LP will feature Neil Young’s first performance of Tonight’s the Night at the Roxy in Los Angeles. The show, performed in 1973, quickly came to be considered one of Young’s most legendary performances. — Anna Lee
Van Morrison
Alternative Moondance
Van Morrison’s iconic album is being released yet again, but this time with two never before released alternative versions of “And It Stoned Me” and “Crazy Love.” Morrison’s classic tracks exemplify his ability to blend soul, rock, R&B and folk to create a timeless sound like no other. Van Morrison’s award-winning, classic tunes have been enjoyed for generations now, and that doesn’t seem to be changing anytime soon. — Anna Lee
For Fans of Pat Benatar? Check Out Bat Fangs
This edition of FFO is for fans of 80s rock, in all of its heavy eyeliner and spandex glory. For those who truly believe that love is a battlefield, but one that’s worth it because sometimes two people just belong together. For those who sang into hair brushes, possibly rocking a feather boa, and eventually running late for the day—you know who you are. Embrace it.
This edition is, of course, for fans of the queen of 80s pop rock—none other than Pat Benatar.
After releasing her debut album In the Heat of the Night in 1979, Benatar went on to have two multi-platinum, and five platinum, albums. She put out single after single of musical gold, with hits like “Heartbreaker,” “Shadows of the Night,” and of course, “Love Is a Battlefield.” Much of her most recognizable work is from the early stages of her career, and though Benatar has released a handful of singles since the early 2000s, nothing compares to her releases of the 80s. Nothing, that was, until now.
You’re a fan of Pat Benatar? You should consider checking out upcoming dynamic duo, Bat Fangs.
The duo, composed of Ex Hex bassist Betsy Wright and drummer Laura King (Flesh Wounds/Cold Cream), formed in 2016 and released its debut self-titled album in 2018—a release that’s already making waves. Coming off a tour with Superchunk, these two already well-established musicians focus on what they describe as “acid-soaked 80s hard rock for the living and the dead.” But somehow, it sounds a whole lot like Pat Benatar.
First, to look at the songwriting.
Both have themes of love and heartbreak… as does basically every songwriter, ever. However, these two go about it in a really fun, girl-power kind of way. In a we’re-melodramatic-but-it’s-cool kind of way.
Benatar was the queen of employing incredibly cheesy lines that went over well due to her confident delivery—her way of really singing with conviction. Some lines from “Love Is a Battlefield” are downright embarrassing to speak aloud (see: “We are young/ Heartache to heartache we stand/ No promises, no demands/ Love is a battlefield”), but this 80s rocker had no problem bringing the track to a peak at number five on Billboard’s Hot 100 chart. She was able to make embarrassingly dramatic, over exaggerated depictions of relationships totally rock ‘n roll.
Bat Fangs—though maybe not quite as dramatic—have a similar style of delivery. In “Rock the Reaper,” lines like “Be the runaway/ Be the underdog/ Gonna sing about heartbreak, baby/ Gonna sing along?” totally embody the same crazy-kids-navigating-love theme. Further, the group’s fearlessly catchy delivery practically begs for a sing-along, just as their predecessor.
As far as actual vocal delivery, it can be a bit shocking to hear the similarities between the two vocalists—Wright and Benatar. Both pack a punch vocally, and employ a seriously theatrical tone. It’s hard to explain, but you know that thing that Benatar had going on where it kind of sounded like she was whining/groaning/about to cry basically all the time, but it was entirely on purpose? Wright has that figured out as well, and it’s awesome.
As far as instrumentation goes, Bat Fangs generally sticks to steady, driving percussion and is totally riff based. This is obvious in tracks like “Turn It Up” and “Rock the Reaper,” but the list goes on. Benatar, barring those times where she was more heavily pop-influenced, generally does the same. Further, when Benatar is more heavily riff-based… it sounds a lot like what Bat Fangs is putting out now.
For example, let’s look at one of the craziest comparisons I’ve found. Listen to Pat Benatar’s “Hit Me With Your Best Shot,” and then put on Bat Fangs’ “Boys of Summer.” Hear any similarities?
Something that might stick out is the tail end of the main riff in Benatar’s track—you know, that little riff that’s non-essential in the way that it’s one of the most recognizable riffs in her career? Yeah, that one. It’s one of those moments of guitar mastery that you just have to sing along to, as if somehow your vocals can imitate the six strings.
That riff is basically in Bat Fangs’ “Boys of Summer,” interspersed throughout the track. Listen to both once and it’s hard to miss. Now, I’m going to guess that’s an intentional throwback to the 80s rock goddess and not an unintentional slip up, and if so, it’s a clear indicator that the group is drawing influence from Benatar.
Lastly, it’s important to point out that while both teeter on the line between pop and hard rock, Bat Fangs are certainly not a carbon copy of Benatar. This comparison isn’t one of exact replication, but instead of taking the foundation laid by Benatar and building on that.
The duo adds an interesting layer to Benatar in that they’re really ripping, no holds barred, into a messier realm of rock ‘n roll. They have a garage-rock fuzz factor going on that wasn’t so present in their predecessor’s music (that was definitely more pop-leaning), giving the duo a grittier sound overall. Further, Bat Fangs music is generally simpler, and a bit less cinematic, than Benatar’s—further supporting the group’s heavier punk influence.
So for fans of Pat Benatar, looking for a natural progression building on the foundations already laid by the 80s rocker? It’s time to check out Bat Fangs.
Artist to Watch: Molly Burch
Like a well-maintained and beautifully hand carved wooden sculpture, Molly Burch’s music has a sort of softly natural, matte glow to it. Influenced by the music of her childhood spent growing up in LA, her early country influenced songwriting and equally paisley patterned arrangements have caught the ear of record labels, including Captured Tracks (who released her debut album Please Be Mine) and many publications, ourselves included.
Her voice, which some would compare to Angel Olsen, has a well-trained crushed velvety texture that sets it apart from many other vocalists in her field. Having gone to school for jazz singing, her emotive vocalizations lend itself to the cinematic or melodramatic nature of her band’s music. That being said, there’s a gentle sentiment of something that isn’t quite like full on naivety there, but more like a gentle innocence behind her croons.
Currently on the road supporting Alex Cameron on the tour for his new album, I got on the phone with Molly to have a quiet conversation to get to know her better both as a songwriter and as a person.
VM: After reading your bio, I saw that you did your growing up in LA, but then went to school in Asheville and then moved to Austin, correct?
MB: Yeah. I graduated High School in LA, was born and raised there, and then I spend one year in New York at Sarah Lawrence College and then decided to transfer to UNC Asheville, because my mom had moved to North Carolina, so that made the most sense at the time. I graduated there then spent a year out of college in Asheville feeling pretty lost, so I just moved to Austin on a whim.
VM: I can definitely relate to that. Would you ever move back to Asheville or NYC?
MB: Uh, I don’t know. No. I wouldn’t want to live in New York. I’ve actually just recently moved to an even smaller place in Austin. We live right outside of Austin. So I’m sure as I get older and also with playing music and touring I’ve been more attracted to like smaller cities, smaller towns. I guess I don’t know. We recently just went to Asheville on tour, and it was really lovely. I really do miss a lot of it, but I don’t know; I don’t think I would want to move back anytime soon.
VM: Austin is really cool. There are a lot of really cool weird places to go. Do you have any specific places you like to go to when you just want to chill out or have an escape within the city limits?
MB: Sure. Right now we live a little outside of Austin, so I feel like that, plus being on tour for more of this year makes me feel a little disconnected from Austin but let me try to think of where I’d go; I’m very much a homebody. A really nice bar to go get a drink is this place called Kinda Tropical. And there ‘s a little coffee shop on the east side called Bliss Coffee that one of my good friends runs, and the thing is a little Air Stream with a really nice outdoor patio. It’s really gorgeous.
So after taking a few listens to Please Be Mine, I immediately thought Nashville. There’s a very old school country vibe to it. Were there any artists from Nashville that you were listening to while you were writing those songs, or that you grew up listening to?
MB: Not really. These songs are like a collection of the first songs I’ve ever written, because that sort of just came later for me. I wasn’t comfortable writing before these songs. That style is just what comes natural to me. I went to school for jazz, and I would listen to older country music, but I don’t feel up to date on current country or Nashville music. Classic sounds for sure. And I wasn’t really listening to anything at the time, since I wrote the songs over a period of a couple of years.
VM: So it’s much more holistic. So, when you write songs, do you prefer to write alone, or do you have a favorite houseplant that you sit next to, or do you have a pet? Or do you like to write with your friends?
MB: I do have a cat, and I do have a lot of houseplants, but I feel like it’s different every time when I’ve been in different homes over the past couple of years. I definitely need to be fully alone. I don’t like to write anything if there are people at the house, or if my boyfriend is there. What I usually do is, I’ll write the song and get it fully done, and I’ll show it to Dailey—who’s my boyfriend and lead guitarist—and we try it together, and we figure out at that point if we like it or if I need to work on it more. Then we bring it to a band.
VM: So you’re signed to Captured Tracks records. What’s your experience being signed to a label like for your first record? Is it really laissez faire, or have they been very involved in the album process for you?
MB: They’ve been sort of involved, but in that sense they’re really supportive. They really support and believe in the artists they have. Going into signing with them and not knowing anything about labels, I sent them a cold demo submission. I have definitely learned a lot pretty quickly signing with them and not being used to it. It’s been a lot of new things signing with them and releasing my first album. They’re wonderful, and I feel extremely lucky. They’re really open, supportive, and they make me feel like I have tons of freedom. They’re just really cool people in general.
VM: So, have you been listening to any other artists right now? Has anyone excited you or just drawn your attention?
MB: I’ve been listening to a lot of Alex Cameron every day.
VM: Since you’ve been on tour with them?
MB: And my friend and ex-band mate Katie Schaffer and her boyfriend Shane just released a new album. Their band is called Olden Yoke. Also some friends of mine just released an album. They’re called Loma, and I’m excited for that. And my friend Jeff Williamson also has an album coming out.
VM: Well, thanks so much for talking with us! Do you have any other miscellaneous shout-outs that you before we wrap up here?
MB: I have one more friend, I just remembered [laughs]. This girl who lives in New York named Nadia but who records under the name Nadine just released her first album.
Check out Molly’s album Please Be Mine here and on all streaming platforms and follow her on Facebook.
For Fans of Led Zeppelin? Check Out Greta Van Fleet
One of the biggest issues with good ‘ole, classic rock ‘n’ roll is just that… it’s old. Many bands, understandably, faded as new music graced us all. For the few that still push on, new music is seldom found and often represents various passion projects (see: The Rolling Stones: Blue & Lonesome—despite how amazing the release was, it still wasn’t an album of originals.)
Luckily, there are, in fact, a few up-and-comers that not only appreciate the musical greats of the 20th century, but are also clearly, actively, trying to continue the steps taken by those that came before.
Enter the “throwback” of today’s focus: the legendary Led Zeppelin.
From it’s start as a super group by The Yardbird’s own Jimmy Page in 1968, Led Zeppelin followed a storied path marked by enormous successes. The group’s enormous popularity—in the early-to-mid ’70s it was easily one of the largest live-draws around the world—came from its successful integration of blues, folk and middle eastern influences. However, this quick ascent was marred with scandal leading to an early disbandment in 1980. Following that, there has been little to no hope of new music for fans of this legendary group, despite the handful of reunion shows over the years.
So, you’re a fan of the ‘Zep? You should consider checking out Michigan rockers, Greta Van Fleet.
The foursome—three of which are brothers—seemed to be just out of high school when they came tearing out of Frankenmuth (a town that couldn’t be less rock ‘n’ roll if it tried, just give “Bronner’s” a quick google) in 2012, unleashing their almost nostalgic music mastery out into the world.
Honestly, the most shocking part of it all is the rate at which the group has risen. After just releasing it’s first double EP on November 10, following it’s very first studio release only a handful of months before, the group has already embarked on nationwide tours and garnered a cult following—and not just in the “CHRISTmas Wonderland” (literally how Bronner’s is advertised).
Even better than the group’s humble start and quick ascent is its clear ties back to Led Zeppelin. GVF basically feels like listening to the ‘Zep… if the latter were born in the late ’90s, grew up in a world where pop-music ruled our culture and began traveling the world while still in high school.
But don’t just take my word for it. Let’s take a look at the bands.
Upon first hearing a GVF track, say, “Highway Tune,” it takes literally 15 seconds to hear a wail so reminiscent of Robert Plant it’s equally frightening awesome. The group’s front man, Josh Kiszka, has mastered the almost alarm-like war cry previously found by Plant on tracks like Zeppelin’s “Immigrant Song.” But that’s not all. In continuing with “Highway Tune,” other similarities are easily traced, such as the dramatic waiver used by both frontmen and their often quick, almost flippant, delivery. Both vocalists are gritty, both have ridiculous ranges and both are beyond talented.
Continuing to lyricism, it’s easy to see GVF taking notes from the greats, stylistically at least, in the track “Safari Song.” Kiszka repeatedly questions, “Hey mama/ What you gonna do/ With all that love in/ Your heart?” and his vocabulary should sound quite familiar to any Zeppelin fan. See “Black Dog,” in which Plant rushes out: “Hey, hey mama said the way you move/ Gon’ make you sweat, gon’ make you groove.” The younger band’s lyrics are nostalgic, and truly feel like they were born of a wilder era.
Taking a turn to the instrumentation, both bands focus on highlighting talented lead guitars—Jimmy Page in the 70’s and Jake Kiszka now. Both bands leave plenty of space for the all-too-essential guitar solo, and both instrumentalists draw heavily on the blues. Neither guitarist feels rushed in execution, and Kiszka is clearly comfortable marinating in the drawn-out, funky delivery that is almost a defining characteristic of Page’s style.
Finally: a quick look at composition. For example, both bands have mastered the art of using backing vocals to create an almost haunting atmosphere for the lead to exist in. Further, both bands tend to keep listeners on their toes using a variety of techniques to do so from switching keys, hopping between acoustic and electric instrumentations and changing up the rhythm often. Even more than just using these techniques, both bands have been known to layer a couple of them to really prevent settling into a track too much.
So, to put it simply. For fans of Led Zeppelin, hungry for more? Look no further than Greta Van Fleet.
The Visual Album: Marketing Gimmick or Freeform Artistic Expression?
While it’s not exactly a new concept, the visual album has become more commonplace recently than ever before. French artist Serge Gainsbourg’s 1971 visual album Histoire de Melody Nelson has received some nods for arguably being the first visual album. Through the rest of the 20th century, bands such as The Beatles, Pink Floyd, and Prince released visual albums as well. However, this phenomenon didn’t die with the ushering in of the new millennium.
Along with grunge, Justin Timberlake, and all the fashion trends that many thought would die with the turn of a decade, the visual album has continued staying power in the music industry. In recent years, icons such as Beyoncé, G-Eazy, and Frank Ocean have released visual albums as well, which has begun to lay the groundwork for what could arguably become an industry standard in the future. Even relatively smaller artists like English alternative rock band Suede and Georgia based chillwave artist Washed Out have recently released visual albums, which shows that the trend isn’t seen solely in industry superstars.
As music videos continue to decrease in popularity, as seen through MTV’s move away from its original branding as a music video platform, artists are turning to different outlets to showcase their music. Some might wonder if these moves towards releasing visual albums are just a marketing gimmick.
Millennials, the ever-popular targets of advertising, are drawn to brands that can give them an experience. Experiential marketing has been used in a variety of ways recently to reach millennials. For instance, artists such as Kendrick Lamar and Frank Ocean have started opening pop up shops to increase merchandise sales and build buzz around themselves.
2 Chainz opened a “Pink Trap House” in Atlanta in July 2017 as a way to promote his album Pretty Girls Like Trap Music. 2 Chainz also used the house to connect to his fanbase in the Atlanta community by opening a free HIV testing center inside the house and turning the home into a “trap church” to encourage locals to get involved with local organizations.
Millennials are swarmed daily by an increasing amount of advertising messages. Millennials wake up to ads on social media platforms like Facebook and Twitter. They drive to work and see billboards plastered along the roads. They visit websites and see sponsored advertisements along the sides and top of the page. To break through the advertising noise, artists are increasingly having to try louder tactics to reach their audiences. If artists have any hope of increasing their fanbase then they might think to turn to a visual album in the hopes of cutting through the noise.
Visual albums are seen by some as just another form of experiential marketing. Visual albums elevate ordinary albums to ones that take the viewer directly into the mind of the artist. Visual albums can serve as a great way to build buzz around an artist as viewers obsess and pour over every detail of the video to glean every insight and nuance from it. This can potentially translate to increases in listening streams and sales of merchandise and concert tickets.
On the other hand, some see visual albums as an increasingly popular way for artists to showcase their music as a form of creative expression. Proponents of the visual album say that they allow for the viewer to see exactly what the artist’s intended message in their songs is. They say that visual albums allow them to better understand, visualize, and internalize the album through the mind of the artist. On the other hand, opponents of the visual album say that they enjoy music because the meaning is completely open to the listeners’ interpretation, and so visual albums narrow the interpretation to solely the artists’ viewpoint.
I personally think that visual albums don’t constrict the amount of interpretations for the viewer because the cinematography creates more layers of hidden meanings waiting to be interpreted. For instance, in Beyoncé’s visual album Lemonade, the cinematography is so striking and unique that all the details, from the colors of her dress to the location and time period of the scene, leave room for the viewer to interpret their own meaning behind the music.
However, I digress. Fans can “experience” a normal album by listening to it but they’ll never truly see the album beyond the level that listening to it affords them. Visual albums add layers of rich meaning and substance to the album by letting the reader see the colors in the lyrics and the pain in the artist’s voice. Visual albums also allow for the insertion of metaphors and nuances visually instead of solely in the lyrics.
For instance, on Washed Out’s album Mister Mellow, the video for “Get Lost” collages a multitude of cutout photos of people from the 1960’s-80’s driving in cars. The cars help further the metaphor for getting lost and the old cutout photos of people dressed in vintage clothing help further the throwback vibes established by the keyboard and backbeat in the song.
In the world we live in, everyone seems to be disconnected from one another. We all talk to each other from behind screens and social media seems to be one of the only outlets for artists to connect with their fans. Visual albums can be another way for artists to reach through the screen and personally connect with their fans. The viewer can be taken inside the mind of the artist to connect with them on a deeper level.
So the question of whether visual albums are a marketing gimmick or a form of artistic expression remains. I personally think that it’s a little bit of both. One thing is certain, however: Visual albums aren’t going anywhere, and I predict that in the coming years they will increasingly become an industry staple. Let me know what you think in the comments below.
Never Miss a Hulaween
Never miss a Hulaween….and we mean it.
A weekend at Suwannee Hulaween is something to be experienced. Over the past five years, Hulaween has morphed into a world class festival and one of the best Halloween parties around. The festival offers a wide-reaching and ever-evolving lineup year after year. Hulaween’s superb live/jam and electronic music will be the soundtrack to a fully immersive creative journey over three, or maybe four, days.
Many may not realize the concept for this spectacular Halloween extravaganza reaches far beyond the first Suwannee Hulaween that took place at Spirit of Suwannee Music Park in 2013. A history spanning nearly two decades of The String Cheese Incident’s legendary Halloween “Incidents” has helped create the magical masterpiece that Hulaween is today. Over the years as SCI’s popularity grew, so did their stage presence and so did the “Incidents.” Spectacle elements, various eye and mind psychedelia aspects, and audience participatory activities were added to these special and larger “Incidents,” such as Halloween — which became Hulaween due to the band’s early connection with the hooping movement. So it’s no wonder that new and veteran attendees will find themselves entranced by SCI as they play host to their flagship festival and play all three nights, including a unique Halloween themed covers set.
In addition to SCI’s magical enchantment over the festival and a stellar lineup — The Disco Biscuits, Greensky Bluegrass, and Lettuce, electronic giants like Bassnectar, GRiZ, RL Grime, Claude VonStroke, Beats Antique, FKJ, Shiba San, and Manic Focus, globally renowned headlining live acts like Ween, Run The Jewels, Portugal. The Man, Nick Murphy (Chet Faker), Nathaniel Rateliff, and many more — there are a few other elements of Hulaween that help make this beloved festival so unique and special.
SPIRIT OF SUWANNEE MUSIC PARK – The venue itself is naturally perfect for a Halloween festival. Set in the midst of 800-acres of Spanish moss-draped oak and cypress along the black Suwannee River, the grounds are an organic host to hauntingly beautiful memories and ghoulish shenanigans. You can undoubtedly feel the magic of this place.
SPIRIT LAKE – Spirit Lake is the artistic triumph of Hulaween’s fully immersive inventive playground. This focal point continues to define the multi-faceted Suwannee voyage. Psychedelic media arts, otherworldly lighting design, and bewitching projections will lure attendees deeper into the wooded lakeside oasis where they may encounter live performers and of course costumed fans embedded into this wildly collaborative passage. Swing on the tentacles of a jellyfish, get lost in a swamp ball pit, warm up near a mythical beast spitting fire, or daydream in a teepee. Whatever you choose, the adventure is yours in Spirit Lake.
HULAFAM – Hulaween doesn’t just have attendees. It has a community of like-minded individuals where new friends and old become family. Sometimes you attend a festival where you can feel how special the weekends and moments are, Hulaween is one of those festivals. Spirt of Suwannee is a place where you can abandon the worldly grind and summon your inner child to come out and play. Inhibitions, judgements, and preconceptions dissolve away with every smile and hug exchanged with strangers who will quickly becomes your new best friends.
THE STRING CHEESE INCIDENT’S HALLOWEEN THEMED SET – Year after year, The String Cheese Incident delights and excites attendees with their annual themed extravaganza. This year SCI will be playing to the theme Night of the Loving Dead on Saturday night for their highly anticipated set. In a world devilishly assaulted by ferocious natural disasters, crazed political discourse, and other sinister attacks, love is the only kryptonite that can stop these invaders in their tracks. SCI invites all to bust out their zombie garb, cupid outfits or whatever else suits attendees’ Halloween desires. Their only requirement is that you inject whatever you wear with a ghoulish portion of LOVE. In 2017, love is the answer, love wins.
Hulaween 2017 Playlist
In case you haven’t heard by now, Hulaween 2017 is officially sold out. In it’s fifth year, this year’s Hulaween will not disappoint. So while all you ghouls prepare for next weekend’s festivities, we’ve created a soundtrack for your packing and costume making. See you in the swamp!
Imagine 2017 Playlist
In two short weeks Imagine 2017 will be kicking off in its fourth edition of the immersive aquatic fairytale at Atlanta Motor Speedway. Imagine creates an all-encompassing, 360-degree sensory experience that blends music, circus troupes, performers, dancers, art, workshops, classes and more.
In anticipation of catching sets from some of today’s biggest names in the electronic universe, we’ve created a little playlist of our own. From classics and recent tracks, we invite you take a listen as you start getting ready for your festival weekend. Also included are some fresh releases that just dropped today (9/8) from Tiësto, Deorro, The Floozies, Leah Culver, Shiba San, and Netsky.
Tickets are still available, so get on it!