Tag: review
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‘It’s Only Life After All’: The Legacy of the Queer Folk Women Duo, Indigo Girls
With four decades behind them, Emily Saliers and Amy Ray, the women behind the Indigo Girls, are in the midst of a victory lap. Despite a loyal fanbase, evocative songwriting, and artistic consistency, mainstream success and popularity evaded the Girls. As openly queer musicians since the 90s, the duo was stunted by misogyny and homophobia for most of their careers but widely embraced by the LGBT+ community since their early days. Now, with a resurgence in interest for their folk-rock songs following a prominent feature in the Barbie movie, and a documentary directed by Alexandria Bombach, the Indigo Girls are being recognized as the trailblazers and community beacons they were.
Their documentary, It’s Only Life After All, premiered at the Sundance and the Tribeca Film Festivals in 2023. This month, it’s finally hitting movie theaters at select locations on April 10, with early screenings in their hometown of Atlanta, Georgia.
Its first two theatrical showings took place on March 29 at the Tara Theatre to a crowd of eager fans who’ve supported the Girls for decades, the young adults and teens those fans raised, and Salier’s and Ray’s family and friends. After the showings, the duo and the director were present to answer questions from the crowd, followed by acoustic performances of “Shame on You” and “Closer to Fine” (AKA “the Barbie song” as Ray called it)
Bombach, who met the duo through a mutual friend in 2017, became interested in making the Indigo Girls documentary after a quick Google search revealed there currently wasn’t any. During the Q&A, Saliers and Ray gushed about already being big fans of her work, which made it easy for them to get on board with the project. The result was a film that left moviegoers laughing and sniffling interchangeably for two hours.
Except for brief clips featuring fans and family members, Bombach largely allows the Indigo Girls to speak for themselves through the two-hour documentary. The movie is interspersed with old interview footage and decades of private cassettes that Ray recorded. With the addition of the newly recorded footage, Bombach shared that she combed through a whopping 1,000 hours to make the film.
With the help of Bombach’s directorial hand, Saliers and Ray radiate an authenticity uncommon in most rockumentaries.
With the wisdom that hindsight brings, Saliers and Ray speak candidly about their early experiences, able to understand their younger selves with a loving, delicate, and brutally honest perspective, while gracefully exploring their shortcomings.
As in everything else they do, the documentary centers the women’s activism and political involvement. Saliers and Ray were always more interested in the palpable community their music formed than celebrity status. At one point in the film, Saliers says, “It was always about community—the feeling you get in a room with people you are singing to.”
In the documentary, we watch them contend with the naivety of their earlier social activism. They mature from slogans like “save the earth” and “recycle” to more nuanced ecological perspectives embodied by Native Americans. Their dedication grows but they take up space only to support the voices of others. A little later in the film, when the Indigo Girls are at a rally for Black Lives Matter, the speaker introduces them saying “They weren’t even here to sing. They only wanted to support and since we know who they are we want them to sing.”
There’s an almost comical aspect to how different they are and yet, their differences complement each other well and the admiration they hold for one another is evident.
Saliers, raised on folk, is often featured wearing brighter colors. Ray, raised on punk and alt-rock, gravitates to darker tones and grungier outfits. More notably, they have striking differences in personality. Ray, trailing a year behind Saliers, looks up to Salier’s diplomacy. Ray says of herself, “I was always so angry. It wasn’t healthy.”
Saliers, the more reserved of the two, initially avoided coming out publicly as a lesbian. While Ray at one point in the film says, “I’ve never been in the closet.” Over the years, they’ve spoken candidly about the impact internalized homophobia has had on their self-esteem. They reflect on the jokes made at their expense and spaces they’ve been excluded from as Bombach shares with us pieces from the past.
The documentary is personal and intimate, but somehow the story feels so much bigger. With the help of Bombach’s directorial hand, Saliers and Ray radiate an authenticity uncommon in most rockumentaries. On the screen, fans give sincere odes to the band that quite literally saved their lives, and the theater audience whoops and cheers in recognition. Others shout back “They saved my life too.”
Bombach’s insightful touch, the sincerity and introspection of the Indigo Girls, and the community surrounding their music set this rockumentary apart from others. The Indigo Girls are a beacon. Rather than the cult of celebrity, the air surrounding them is decidedly different. The space feels uniquely democratic. This is a documentary you don’t want to miss the chance to see in theaters.
Review: Jazz Ensembles Performance in Ramsey Concert Hall
Jazz music not only has the ability to transport us back in time through various musical eras but also to old memories in our lives. On Wednesday, April 3, I traveled to the streets of Paris, France, and also to past loves in my own life because of music performed by the Jazz Ensembles in Ramsey Concert Hall.
There were two ensembles: Jazz Ensemble I and Jazz Ensemble II. According to the Hugh Hodgson School of Music website, Jazz Ensemble I consists of more advanced students and comprises saxophones, trombones, trumpets, drums, piano, guitar, and bass. Jazz Ensemble II, however, is an introductory ensemble that allows students to refine their improvisation skills.
Jazz Ensemble II performed first. Immediately, I could pick up on the group’s cool and collected vibe. The director and Assistant Professor of Jazz Piano and African-American Studies at Hugh Hodgson, James Weidman, thanked audience members for being there on the “lovely spring day” and said the ensemble was having a good semester exploring all kinds of sounds.
They opened with a fun piece “Day by Day,” followed by a smoother, slower, relaxing piece called “I can’t get started,” which is by Vernon Duke but was arranged by a friend of Weidman’s.
However, my favorite piece they performed was their third, “Parisian Thoroughfare,” arranged by Mark Taylor. It starts with exciting rhythmic clacking and buzzing runs to signify the bustling, crowded, and chaotic feel of these Parisian streets. As I looked around, many people were tapping their legs to the beat.
At first, the noises startled me, though. I quickly adjusted and really enjoyed the excitement of this performance. I imagined myself riding on a bike through these narrow roads, barely dodging the various shops and people nearby. There was a guitar solo that felt a bit out of place initially, but then I began to follow the progression of notes.
Ensemble II closed out their program with a funky piece by Gerry Mulligan and a smooth one with nice progressions called “Blue Skies” by Irving Berlin.
Not only was Ensemble I physically larger, but they also played a couple more songs. The band was directed by David D’Angelo, a Senior Lecturer of Jazz at HHSOM. They opened with “The Blues Machine” by Sammy Nestico and continued with “Jitterbug Waltz,” arranged by Eric Richards.
I noticed several small interactions between the band members in this ensemble, which made me smile in the audience. I could tell they were all close with one another and valued the others’ artistic craft. Many would cheer each other on during soloist moments.
Similar to Ensemble II, the third piece performed by Ensemble I, called “When I Fall in Love” by Victor Young, was one that lodged me back in time. It was a beautiful ballad that left me deep in thought and reflection, which I always value when music moves me like that.
I especially loved the descension of chords at the end because it felt like stages of falling in love. It didn’t resolve right away and teased a more minor sound, which made me think of conflict and left me wondering if maybe this romance wouldn’t work out. But then, it settled into a nice chord that had a bit of dissonance — leaving a little room open for the future.
They also closed with a love song, Alan Baylock’s arrangement of “What Is This Thing Called Love?” It featured a drum solo that I really enjoyed following. Ensemble I also played “Moten Swing,” a crunchy and anticipatory piece called “Evidence” by Thelonious Monk and arranged by John Clayton, and Callum Au’s arrangement of “Let Battle Clements.”
However, my favorite performance by Ensemble I was “Sister Sadie.” The main melody was catchy and memorable. It reminded me of a sweet but sassy southern woman that everyone in town swooned over.
The soloist who performed this melody on alto saxophone did an amazing job—they really got into the music, sliding into certain notes and then whispering the theme before belting it more loudly like a back-and-forth interaction. In the end, the saxophonist and trombonist actually did go back and forth in their improvisations, and I enjoyed watching this enthusiastic and emotional performance.
This was my first time attending a Hugh Hodgson Jazz Ensembles concert—but it certainly won’t be my last. I’ve watched the school of music put on a jazz concert before, but I really enjoyed both ensemble’s ability to lodge me in place or memory on Wednesday night.
Several others seemed to agree because this was one of the most packed nights in Ramsey Concert Hall that I’ve experienced. I look forward to Jazz Ensemble’s future shows and what new feelings may arise then.
RELEASE RECAP: Best New Music of February, 2024
February was an incredible month for new music—here are some new releases that Vinyl Mag LOVED last month!
SZA, “Saturn“
SZA teased us at the Grammys with this single, as she performed “Saturn” live, leaving us shocked at how mesmerizing she sounded. Then, she released it the next week, and it took us by storm. Some were a bit upset at SZA for tweaking the original Grammy performance recording, to which SZA responded with “No clue what’s wrong with the mixes on Saturn but all will be corrected shortly. Thank you” on X. This single will supposedly be the cover song for SZAs new album Lana, which is expected to release somewhat soon. – Alex Carrillo
Beyonce, “16 Carriages” & “Texas Hold Em“
Beyonce broke the internet during the Superbowl when she partnered with Verizon for a commercial and exclaimed “Drop the music” at the end of it. Immediately after, Beyonce released two singles, “16 Carriages”, and “Texas Hold Em”. These two singles mark the start of the singer’s country music era, and the beginning of act two of her three-part project, with Renaissance being act i. She sent a powerful message by highlighting the contributions of Black musicians to country music, becoming the first Black woman to top Billboard’s Hot Country Songs chart in the process. Beyonce’s Act ii COWBOY CARTER is set to release on March 29, 2024. – AC
Charlie XCX, “Von Dutch”
“Von Dutch” is Charli XCX’s first solo single since “Speed Drive” was released last year. She has teased her next album, Brat, dropping in Summer of 2024. “Von Dutch” has the same electric upbeat feel that we are used to hearing from her, keeping the energy flowing until the end of the song. In honor of her upcoming record, Charli XCX performed a boiler room set in Brooklyn, New York called “PARTYGIRL.” – AC
Kacey Musgraves, “Deeper Well”
Teasing her upcoming album Deeper Well, Kacey Musgraves dropped the titletrack in early February. The single and its follow-up, “Too Good to be True”, signal a return to her roots for Musgraves, who embraced a poppier sound on 2021’s star-crossed. In “Deeper Well”, Musgraves weaves her past and present, looking ahead to a brighter future. The soft plucked guitars and the cottagecore visuals are good signs for fans of her previously most-celebrated album, Golden Hour, which snagged an Album of Year Grammy in 2019. Her latest project is set to release on March 15, 2024. – Buket Urgen
Little Simz, Drop 7
UK-based rapper, Little Simz, dropped an EP titled Drop 7, which is a continuation of her drop series that began in 2014. This album blends a mix of Portuguese rap, jazz, and R&B, which ultimately showcases the artist’s talent and versatility. With this blend, the rapper’s lyricism shines, as she addresses her personal struggles, along with societal issues. – AC
The Last Dinner Party, Prelude to Ecstasy
UK-based The Last Dinner Party released their much-awaited debut album to great acclaim on Feburary 2, 2024. The all-female quintet delivered stunning tracks, with scorching lyrics, exploring themes like feminity and the packaging of pain and grief as a commodity. Their appetite for originality in musical arrangments is evident, making for a fun and fascinating listen. They deliver a product that meets the epic hype generated by their earlier live performances and singles. This is a band to watch in coming years. – BU
Brittany Howard, What Now
Brittany Howard absolutely dazzles with her wide-ranging and etheral album What Now. It’s got a little bit of everything for everyone. Howard’s refreshing honesty, dreamy arrangements, and captivating vocals make this a must-listen. – BU
RELEASE RECAP: Best New Music of January 2024
January was an exciting month for new music—from Megan Thee Stallion’s string of disses in her latest track “Hiss” to the controversy surrounding Ariana Grande’s relationship in “Yes, and?”. Vinyl Mag is here to deliver with our staff picks of the top music released each month. For a taste of our favorite singles and albums, tune in for a release recap every month!
Kali Uchis, Orquídeas
Colombian-American singer and songwriter Kali Uchis released the album Orquídeas, meaning “Orchids” at the start of the month. This is her second Spanish-language album, following 2020’s Sin Miedo. Some notable features on this album are Peso Pluma in “Igual Que Un Ángel”, Rauw Alejandro in “No Hay Ley Parte 2”, and Karol G in “Labios Mordidos.” Uchis also shined a light on many genres in this album, from house to R&B to reggaeton, ultimately making this album extremely versatile.
21 Savage, American Dream
American Dream is 21 Savage’s third studio album release, summarizing the ups and downs of Savage’s life in America. From the artist’s ICE arrest in 2019 to fallen friends and gang relations in Atlanta, he paints his persona neutrally throughout this album. It has notable features with Summer Walker, Brent Faiyaz, Travis Scott, and Metro Boomin. Savage, who had a jam-packed 2023, co-headlining with Drake on the “It’s All a Blur” tour, still plans on being a part of more features and projects as the year progresses.
Ariana Grande, “Yes, And?“
Ariana Grande’s new single “Yes, and?” is an upbeat song experimenting with genres like house and ballroom. Many also noted Grande’s inspiration from Madonna‘s 1990 hit single “Vogue”. “Yes, and?” has topped billboard charts and is still in the top ten at the date of publication. However, Grande is facing a divide among her listeners due to the controversial lyrics, which belittle the backlash surrounding her relationship with Broadway star Ethan Slater.
Megan Thee Stallion, “Hiss“
“Hiss” is spot on for Megan Thee Stallion’s snake theme, following her previous single, “Cobra”. It’s her second song released through her independent label Hot Girl Productions. In “Hiss,” Megan disses numerous celebrities who have previously spoken negatively about her in the past. Some notable callouts include Drake, who dissed Megan in “Circo Loco” from his 2022 album Her Loss, and Tory Lanez, who was on trial for assault after shooting Megan in the foot. Nicki Minaj is gaining notable traction, after assuing that the lines “don’t be mad at Megan / but that they’re mad at Megan’s Law” targeted her husband, a registered sex offender.
The Asymptomatics Celebrate New Single ‘Two Possibilities’ With A Live Performance at Flicker Theatre and Bar
Athens has been home to critically acclaimed bands throughout the decades, marking the Classic City as not only home to the University of Georgia and its students but also a booming hub for artists and musicians alike. One such band is the funky, weird but strangely groovy The Asymptomatics.
The Asymptomatics, or “the Asymps” as they are often called, is a band of nine members who have made “chaotic” the name of the game. Since its formation in 2019, the band has garnered a name for itself within the music community of Athens. After the release of three singles, they have now added one more to their list of original music. To celebrate the release of their brand new single, “Two Possibilities”, the Asymptomatics recruited a list of prominent local Athens bands to play at Flicker Theatre and Bar for a night of unforgiving energy and sound.
Walking into Flicker is always a surreal experience, particularly on the evening of a gig. From the outside, bypassers can hear the beat of the featured band while they smoke a cigarette and drink a beer. Walking through the red curtains that lead to the venue portion of the establishment, stationed in the room next to the bar, I could see a sea of people bobbing their heads to the band, Neat Freak, which was followed by Late Notice and finally, Bog Bod. The celebrated feature of the night, The Asymps, performed last. Between bands, members handed out flyers with the single’s cover art designed by Hollis Midriff and they discussed their excitement to play their cleanest-sounding single live for the first time.
The band’s set began as most of its sets do, with the lead singer Max Mahieu relentlessly jumping around the stage with the band, maintaining an aura of chaos that has defined the group’s career, particularly in the past year.
The single itself possesses an eccentric guitar-solo build-up in the outro. Though their MO is full-fledged passion, this song was a pleasant departure as it boasted a more meaningful and slower vibe. “Two Possibilities” explores that little gray area in life by rejecting the idea of black-and-white decisions and outcomes. A simple song to describe how intensely unsimple this life can be, especially when young, as the band members are.
“A lot of times it seems like there’s two possibilities but, you know, in reality, things are a lot deeper than that,” says Mahieu. “It’s not just decisions you make, it’s the decisions of the people around you and the ones you love that affect your life and affect their life.” Mahieu’s family is the inspiration behind the song, which was written by Mahieu and his mom, who is a musician herself.
It’s both happy and sad which is reflected by the musicians as they played with electricity and passion, making the audience feel the underlying irony of “Two Possibilities”. Mastered by Jason NeSmith at Chase Park Transduction, “Two Possibilities” incorporates a classic guitar solo from the lead guitar that amplifies the emotional aspect of the song.
“We wanted to have this big rock section at the end that instrumentally captures the emotion and the vibes of the song that the lyrics start at the beginning,” said Mahieu.
From there, the band immediately transitioned to play their classic, most-noteworthy hit “GTFO! (Gerald the Friendly Orangutan)” which was a lighthearted and silly conclusion to a great show.
Though the chaotic transformation of the Asymptomatics onstage is something that some would deem messy and unorganized, those with an ear for passion would comprehend that this gives the band its personality, hence its rising claim to fame within Athens. A funk outfit of shameless chaos and a force to behold.
“Two Possibilities” is out now on all platforms, with the Asymptomatic’s first full album slated for spring.
Review: Logic: ‘College Park’
Maryland-based multi-platinum rapper Logic, AKA Bobby Hall, was not lying when he rapped “Egon’s finest, Peanuts after like I was Linus / Followed by that College Park next, that’s the lineup” on the final track of his previous album Vinyl Days. Sprinkled with various skits, College Park tells the story of the original Rattpack’s (Logic’s close squad and later, the name for his fans) trip to Washington D.C. as Logic prepares to perform a show. With features from the entire Rattpack (and more), College Park brings Logic back to his roots.
The album begins with guitar strumming and psychedelic vocals from Logic on the track “Cruisin’ Through the Universe” featuring RZA of the Wu-Tang Clan. Logic’s vocals get both pitched up and down to indicate that this is a dream of Logic’s as he sleeps on longtime friend Big Lenbo’s couch. Logic wakes up and recalls his dream of being on a song with RZA. Lenny states “You know what would be really crazy? / If you got the whole Clan on a song one day” alluding to Logic’s “Wu Tang Forever” off his album YSIV. This track features every member of the Wu-Tang Clan except the late Ol’ Dirty Bastard. Logic’s producer 6ix is, of course, present throughout the entire album, and he does not let us down.
Next is “Wake Up” featuring Lucy Rose, the first single off College Park. While Rose does not have a chorus on the track as she did on the track “Innermission” off Logic’s sophomore album The Incredible True Story, she helps with the social commentary the track was made to create. Repeating lines “every day I wake up” displays Logic’s previous cyclical life of drugs and violence. Logic raps over punchy drums and a pulsing horn-like lead, stating “Dropped out of school then he picked up a spatula / ‘Cause he never had a good role model just a hood role model” displaying the importance of a proper education and environment to lead you through your adolescence.
The next single “Lightsabers” featuring C Dot Castro has the most grandiose production on the entire project. Elevated by the fun Star Wars-referenced title, Logic and Castro come out with a feel-good anthem. I particularly enjoy the several beat switches on the track. We are greeted with iconic “Logic” ad-lib and brassy trumpets as Logic raps simply “Today’s a good day”. After the first verse, the track introduces some light keys over which Logic lyrically highlights his love for producing. The message of this track is to not be creative not for fame or money, but for the love of the game. The third verse introduces more pulsing horns and vibrating synth leads. Recently released from prison, C Dot Castro, previously known as Shy Grey, finishes off the track rapping about his aspirations to make it in the industry one day. Since then, Castro and Logic have created a rap duo known as halfBREED and recently released their first EP, entitled 3P.
Still sprinkled with skits throughout, Logic does what we know him for best on the next three tracks. “Clone Wars III” exemplifies itself as a classic boom-bap beat produced by PoST and Logic himself. Logic reminds us that he is just one of us, a music and pop-culture nerd. The track “Redpill VII” is one of Logic’s most introspective in a while and is one of my personal favorite beats on the record. Beginning with an enchanting yet mysterious soundscape, Logic raps “the drugs all in they system got ‘em adamant they fine / but in they mind they know they not”. Logic is no stranger to struggling with or advocating for mental health, such as on his platinum-certified suicide prevention track “1-800-273-8255”. The track “Playwright” featuring Andy Hull can be summarized by one line “Logic known for tellin’ stories like a playwright”. The track is fun and light-hearted, nothing serious. Yet, the catchy chorus from Hull keeps me coming back. The track ends with a skit of Rattpack in the car, ready to head to Bobby’s show. Castro brings beat CDs, and then we go into “Gaithersburg Freestyle” feat. C Dot Castro, Big Lenbo, Fat Trel, and ADÉ.
Logic’s energy and delivery on the track keep me coming back to this freestyle. Plus, the seamless transition into the next track, “Insipio”, satisfies me every time. Logic released part of this track on his YouTube channel, featuring fun spinning visuals and agile spitting. Next, we get to the TikTok phenomenon “Self Medication” featuring Seth Macfarlane, Redman, and Statik Selektah. MacFarlane’s Sinatra-esque vocals are stellar. Logic and Redman put you in their shoes with their lyrics. I see why this track became a TikTok favorite.
“Shimmy”, featuring Joey Bada$$, is a tribute to Wu Tang’s late Ol’ Dirty Bastard. The track flies by, clocking in at just over two minutes. We get verses from Logic and Joey about overcoming their need for welfare benefits. 6ix and Soundtrakk lay down repetitive keys over simple hats. The production is straightforward, yet catchy, which is what 6ix does best.
“Paradise II” was the third and final single from College Park. Featuring Norah Jones, we get melodic and swelling vocals in between Logic’s raps. Bobby drops some nerd and music references before Norah closes out the track, singing “Take me into paradise / Gotta keep our heads tonight / Even if it makes a fight / Take me into paradise”. This track is of course a sequel to the original “Paradise” off of Logic’s second studio album. Paradise II is a fun track, but I enjoy the first far more. This one ultimately feels like a filler.
Despite being a Logic fanboy, I must admit that things get a bit rough at this point in the album for me. Out of the next three tracks, the only one I really come back to is “Village Slum”, mostly due to the instrumental similar to Madlib’s “Road of the Lonely Ones”. “Come on Down” featuring Jordan Harris sounds a bit like a gym banger without any lyrical depth. We all know what the track “Highlife” is about, so I won’t waste anyone’s time explaining it here.
Here we are, in the concluding few tracks of the album. Said to be the title track by fans, “38.9897 °N, 76.9378 °W” featuring C Dot Castro and Big Lenbo feels like another filler track. Nothing interesting is lyrically presented, but 6ix kills it with the simple yet catchy production once again. In the album’s story, Logic has now arrived at his show in D.C., accompanied by DJ Boss Player. Logic is nervous, but hype for the show. Then, we are introduced to the track “Ayo” featuring Bun B and Lil Keke. This is probably the most absurd turn in the project for me. I believe Logic could have placed another boom-bap-heavy freestyle-type track here, yet he just raps the word “ayo” over and over. I enjoyed the features, but again, nothing innovative here.
Last but not least, “Lightyear” is the track I had been waiting for on this entire record. Produced by 6ix, PoST, Kal Banx, and Logic himself, the track contains several iconic beat switches and insanely enjoyable lyricism. Some of my favorite lyrics on the track are “Why you think I went pop? So my family could eat / But now that the fridge is full, it’s just a pen and this beat” and “I’m God-level, here to locust I’m so pissed like a P.O. / Rollie gold like C3PO, and I’m busting off like R2 / That’s COD-level”. We get introspective bars, alongside Call of Duty and Star Wars references—it’s purely awesome. Logic rapping over Kendrick Lamar’s “Rigamortus” came as a surprise to the entire Rattpack, and I could not wipe the smile off my face when I heard it.
“Lightyear” is interrupted by a skit, where the squad goes their separate ways and the only ones left are Logic and Big Lenbo. Lenbo tells Logic he’s going to make it big in the game someday, but Logic is hesitant. He states he wants to sing and play guitar, not putting himself into one box. Here, Logic shows us who he really is, singing “Now I’m here, Lightyears from where I was before”. Die-hard Rattpack members like me were shedding tears at this moment, proud of who Logic has become and what he will do in the future. While known for his snappy raps and witty punchlines, it only took a “Lightyear” for fans and the industry alike to respect and love Sir Robert Bryson Hall II.
Review: Recess Party: ‘Paid In Full’
Recess Party is the brainchild of four current and former University of Georgia students. Blending a wide range of indie, rock, and metal influences, the quartet has now released their debut album, Paid In Full, to the world. Keeping the energy always present at their live performances, this moody project is cohesive while still ensuring that every band member is spotlighted. Upon inquiry, bassist Sam Smith disclosed that “the whole album outside of ‘Foot’ is pretty much [frontman] Riley [Stillwagon]’s perspective and experiences.
The first track, “Foot”, begins with some light strumming and the lyrics “Give me all of you; there’s not much to see / Cause I’ll take everything, when everything’s meant for me” before the rest of the band comes in. Riley asserts that openness and vulnerability are nothing of significance and that a future with an unnamed subject of desire could be destiny. This is one of the strongest performances of instrumentation on the record. Drummer Meghan Stewart and lead guitarist Christian Pullen are especially vibrant with the last minute of the song being purely instrumental. Consistently building up to its peak, the song reaches its emotional and lyrical climax in the last verse:
Don’t you speak for yourself if you’re self-diagnosing?
Recess Party, Foot
Well, I promise I’ve got noth.ing worthy of solving
And I finished it once, aren’t my sins worth absolving?
Well, I know you well
Track three, “Different Bodies / Lights”, is brimming with energy. The raspy nature of Riley’s voice lends itself well to conveying a strong sense of distress. Speaking over the drums in the song, Meghan explains, “The constant busyness/motion of the groove is intended to create a feeling of barely restrained chaos within the song.” Lyrically, the relationship we are hearing about is toxic and incompatible. “Why can’t you spit it out; you wonder why I’ve grown so thin? / Can we just sound this out? Won’t you bless me with your wounds again?” These aren’t the words of someone whose relationship is uplifting them but rather someone who’s been left “suffocating” with “bloodshot eyes”.
“Happy Accidents” continues the through line of love hurting, and placing it fourth on the tracklist was a great decision. As we come to understand more about the nature of the relationship in question, Riley starts coming to terms with his own reality. He cries out to this woman in the chorus, “Unstable / Pick and choose again / Until you / You’re bound by emptiness.” The vocals are breathier and the track is more stripped back as the band builds up to the chorus. The almost three-minute instrumental outro is cinematic with excellent dynamics. The whole band, and most notably Christian, is really shredding here, so having heard it performed live several times, I can confidently say this is one of my favorites.
Track five, “Second Time” is the first to make use of an acoustic guitar. Here, Riley expresses ire towards his lover while still recognizing how much he doesn’t want to let go of what they have.
I don’t owe you; you don’t know my name
Recess Party, Second Time
But our breaths are held in compromised exchange
I don’t owe you; you don’t know her name
Can you take a second look and maybe
However, the words of this chorus soon change in both perspective and emotion.
You don’t owe me; please just say my name
Recess Party, Second Time
While I’m gasping at each breach under your waves
You don’t owe me; you don’t feel the same
Just take a second look and maybe
Yearning to be heard and for his feelings to be reciprocated, he begs to just be recognized; just maybe, his subject of desire will reconsider. The band stated that this song was originally named “Emo Song”, which would have been a clearly fitting title. There is a universal message in the song: unreciprocated love can push us to do things we’d be afraid of saying out loud.
The title track, “Paid In Full,” released as the album’s last single, is the best-written song on the album. The lead guitar and drum parts are rife with tension. Sam’s back-and-forth vocals with Riley on this track are essential. The lyrics “Are you sick? Know I tried / Paid in full. Empty tithe / Won’t you write this record ‘bout me now?” give us a firm answer as to what the song and album title means. Pining for love has left Riley with nothing but fatigue. Having given his full effort, or “paid it in full,” as a religious person offering tithes would, one might expect something in return. Sadly, that isn’t the case here.
Track eight, “Hypocrite,” was the first single the band released for this album, and you can read my review of it and their AthFest performance here.
“Range of Motions” closes out the album strongly. Vocally, it’s my favorite performance on the record, and bassist Sam really gets her opportunity to shine here. Understanding why things aren’t meant to be doesn’t usually stop us from pursuing those we desire, and that’s the story here too. With the context of all the previous songs, the lyrics “I swear I blocked your image out / In patterned, cyclic thinking / Now you’ve gone / I’ve gone” stick out the most. A greater understanding of his situation is the cause of great internal strife for Riley, and though he recognizes that fact, he can’t escape it.
The true highlight of this album for me, though, is the drumming. If the meaning of the song was unclear to me, I could focus on the drums and the meaning would become clearer. Likewise, Christian is almost always playing something that captivates me while Sam’s timing and chemistry with her bandmates make me envious. The album structure delivers a complete story, so I have to commend the band on the choices made regarding sequencing. These songs may well be a disconnected string of interactions with women, or they could be a collection of experiences between two people as I understood them to be. Regardless, they’re relatable, layered, and emblematic of the idea that love hurts.
Review: Khamari: ‘A Brief Nirvana’
Up-and-coming R&B singer Khamari released his debut album, A Brief Nirvana, on May 26, 2023. The album is littered with recognizable samples, interpolations, and strikingly personal lyrics. His voice and strong songwriting are reminiscent of a Channel Orange-era Frank Ocean. He has writing credits on every track and production credits on all but the last, making this a distinctly personal album. Prominent (soul) samples, bittersweet lyrics, and heavy personal experiences are common threads that bring everything together but above all this is a journey into Khamari’s experience with growth and isolation.
Built on top of a sample of Bill Withers‘ classic track, “Use Me”, the opening track “Wax Poetic” is oxymoronic. The title phrase is often used to describe writing that is excessively verbose and flowery. Khamari, however, flips this notion on its head. He sings, “Wish that I could wax poetic / Paint a Picasso with these words like Kendrick.” He also interpolates the chorus from “Sixteen” by Rick Ross and André 3000 where André sings “Sixteen ain’t enough”. 16 bars is the standard length of a rap verse. By invoking André and Kendrick in this way, two of Hip Hop’s greatest and most wordy lyricists, he is telling the listener that he has a lot to say on this record and we need to be ready to hear him.
The third track, “Drifting”, uses a sample that rap fans may recognize from “New Day” by Kanye West and Jay-Z. That sample is “Feeling Good” by the legendary Nina Simone. On that song, she joyfully sings about finding freedom while on Khamari’s track, he sings about escapism, substance, and addiction. The album title is actually mentioned in the chorus: “Visions of a brief nirvana / Smoking way more than I should / Couple sips had more than I would.” Inspired by the monotony of peak COVID times, “Visions of a brief nirvana” describes Khamari finding happiness and letting go of his self-destructive behaviors. The sample, a poignant but soft string section, a simple drum beat, and a prominent piano come together to create a beautiful instrumental. This song evokes feelings of longing and fragility, but most importantly it is hopeful.
“A Sacred Place”, is the fifth and saddest track on the album. Speaking on a failing relationship, Khamari starts the song with, “What if I can’t make a believer out of you / What if it’s easier to change my point of view?” His worries have turned into resignation and bargaining. He asks himself if letting go of this love is worth letting go of his own opinions and way of being. The lyrics “How fickle a mental state / Set fire to a sacred place” encapsulate the song as a whole. This relationship wasn’t built on solid ground, but it was still special and sacred, and coming to terms with this just isn’t an easy process. Concerning both structure and instrumentation, this is a simple song, making use of two distinct short verses, strings, and a piano. The simplicity concerning the instrumentation and structure of the song is juxtaposed by the layered nature of its lyrics. All things considered, this track reminds me of Faye Webster songs like “Hurts Me Too” and “I Know You”.
The seventh track, “Changing Yourself (Gil’s Interlude)” is a ten-second sample of poet, spoken word performer, and Hip Hop progenitor Gil-Scott Heron.
Of course you want to change yourself for the better
Gil Scott-Heron, Changing Yourself (Gil’s Interlude)
You want to make yourself
A better father
A better son
A better brother
You need the help of those that you’re trying to improve for
This short segment helps tie together the album narratively. As he subtly discusses in the third track, Khamari is in pursuit of bettering himself. This sample asserts that Khamari needs to seek the help of more than just himself to improve.
Continuing with his streak of prominent sample usage, the eighth and tenth tracks each sample songs that have been sampled more than 50 times. “Right My Wrongs” samples “Didn’t I” by Darondo and “On My Way” samples Al Green‘s “Love and Happiness.”
“These Four Walls”, track nine, is a song expressly about isolation. Khamari also recorded A COLORS SHOW version that was released just over a week after the album. In Khamari’s own words, “It kind of has undertones of ‘Diamonds From Sierra Leone’ by Kanye West, where I’m making peace with what I have, and I’m happy because at least I know this is guaranteed.” The song’s chorus ends with “I’ve got these four walls / Even when you don’t call.” Despite struggling after having moved to Los Angeles, he is able to find solace in the things that he does have, like the four walls that he calls home. Sonically, Khamari goes higher up his register and softly stacks vocal harmonies, creating one of my favorite refrains on the whole project.
The album finishes out with “Requiem.” A requiem is a piece of music written in remembrance of someone or something. Over the course of the album, Khamari has learned about himself and grown accordingly. “Not guaranteed a second chance / Thank God I’m waking up / Please don’t play my requiem.” Still struggling to “escape ephemeral darkness,” he hasn’t finished growing yet. His pain is fading and he feels himself coming back to life, so he exclaims that he isn’t ready to die, to have his story finished, to fade away. He doesn’t want to “play his requiem” because there is more for him to do and more for him to be remembered by. Again, he uses his upper register, in what I feel is the most beautiful song on this record. It feels cinematic. He has awoken and come to terms with his isolation. And with this renewed spirit, he feels free in the fact that he has the rest of his story to write.
Review: MAVI: ‘Let the Sun Talk’
An undergraduate student at Howard University at the time, Charlotte-born rapper MAVI released his 2019 album Let the Sun Talk just a week after his twentieth birthday. He is considered by many to make abstract hip-hop. It’s a hard-to-define sub-genre but some shared qualities amongst its artists, songs, and projects are pushing sonic boundaries, emphasizing the use of symbolism and metaphors rather than straightforward lyrics, and on some level being “weird” and/or experimental.
He explained in a 2019 tweet that “Let the sun talk is 3 movements 4 songs each. like a clock. or sundial.” Some hold that MAVI himself is the sun, telling those close to him that they need to pay attention to his words, and others hold that the sun is his own mental state, and this album is him addressing his problems. In his own words, he explains the album as being “about writing your own laws, creating your own cosmology, adapting the laws of physics to your reality, and being the center of your universe.”
A skillful mix of poem and prose, the influence of Earl Sweatshirt is evident but by no means is it derivative. In fact, many fans were introduced to MAVI on Earl’s 2019 FEET OF CLAY EP, a project that came out just two weeks after MAVI’s own album. He cites other artists like Noname, MF Doom, Stevie Wonder, Project Pat, and Thelonious Monk as influences along with rocksteady, salsa, gospel, soul, and reggae music.
The opening track, “Terms & Conditions,” begins with a speech explaining what it is “to be pro-black.” There are three tenants: the relentless pursuit of tangible assets to build and maintain black communities, the “cultivation of a culture that reinforces a unified vision of black well-being and continuous advancement”, and the use of one’s own voice to share with their community ideals such as understanding, freedom, equality, love, and happiness. A jazzy instrumental is soon introduced and the song switches to a narrative on the origin of the sun and the moon in the sky that draws largely from an Efik folktale.
Track four, “Self Love” is a fan favorite. When I attended MAVI’s “Laughing So Hard, It Hurts” Tour in April of 2023, the entire crowd sang this song together at the end of the show. A sample from Sonia Ross‘ 1969 track “Don’t Go Breaking My Heart” is used in the chorus and bridge with the repetition of “just because I love you.” So many of the messages core to this album are illustrated in this one song. “The moral of my story is I’m impure / The horror in my story is I’ve been through it and I still do it / And my pencil is in earnest.” It’s a deeply emotional song, seeing MAVI detail his relationship with marijuana and his internal struggles. He recounts how his mom has noticed how often he’s “gone” while at home and her love won’t allow him to keep poisoning himself like this any longer. His list of sins is so long that feels unworthy of even talking to God. The song climaxes in the third verse, sounding much more distressed than the rest of the song. Referencing the album title, he raps “I self-aggrandized in the past / But now the sun talking.” I think he means that in the process of making this album, he has begun to shed his arrogance.
We sprouting, now we plant seeds
MAVI, Self Love
You plant love, love will grow
You plant fear, fear will grow
If you planted me, then me would grow
But I was branded negro
He metaphorically explains that external labels hinder the fulfillment of his potential as a black man. He looks beyond just his own reality though, rapping “And I offer free smoke to any nigga behind a #MeToo / ‘Cause to my niggas, we ain’t free until she free, too.” He is deeply angered by the culture of rampant sexual abuse and harassment of women and recognizes that the black community won’t truly be free until its women are free from this as well.
“Sense”, the eighth track, is my personal favorite and was actually produced by Earl Sweatshirt. Just barely over a minute long, this was the album’s lone single. He describes himself as “Breathing out of love for respiration” rather than just living because he enjoys it. The majority of lines on this song begin with “I”, with MAVI using this track as an opportunity to tell listeners what he thinks about himself. Alluding to his words on the #MeToo Movement in “Self Love” he raps, “I give a lot of thought to what my daughters look like free, chainless.” In a line that is both boastful and truthful he poses and answers the question, “What kinds of songs you make? I make the kind you gotta read, baby.” MAVI, like his influences, makes lyrically dense music, whose full value can be better attained by reading the lyrics.
This album is so special to me on a personal level. This level of candid vulnerability from a fellow black man, especially one who is about the same age as I am, is something that I value deeply. Mavi is inspired by a mix of ideals and people: experimental jazz composer and poet Sun-Ra, legendary Black author Toni Morrison, cartoons, the Five-Percent Nation (whose Supreme Alphabet you may be familiar with by virtue of rappers RZA and GZA and singer SZA), and so much more. Searching for meaning and purpose in his own life, he is someone that draws from things all around him. He accepts his faults and recognizes his pain, but he still seeks to grow as a plant does toward the sun.
Show Review: Earthday Everyday 2023
On April 22, Afterglo held its second annual Earthday Everyday music festival at Live Wire Athens. It was a busy day in Athens, coinciding with Normaltown Music Festival, Highlight Athens, and Athens Twilight Criterium. Starting at 2 p.m., a multi-genre lineup of artists took to the outside stages, with attention turning to the inside stage at 9 p.m., as the party turned into a late-night rave with the Nightshade Family. We’ve decided to highlight some of our favorite acts from this wonderful day.
We arrived just in time to hear Rhymes with Japan and Selah Samarah. The two very different styles of these acts set the tone for the rest of the festival. Rhymes with Japan was a DJ, drummer, and rapper trio that put together a fun and lively performance, even taking some time to dance with members of the crowd. On the other hand, artist Selah Samarah, sang several original folk songs, backed by guitar, mandolin, endingidi, and cajón,
Punk band Commune took to the stage after several openers and brought the energy. The moment they began playing I felt the audience inch forward and from that point forward the moshing didn’t stop. They were really engaging with the crowd too, cracking jokes and offering context for some of their songs. One of my favorite moments was when they played their song about property, shouting in unison “Property isn’t real!” (which is pretty punk in my opinion). They also played a new song, “Fallin Down,” which rocked, and announced it would be releasing soon with a new music video. We definitely recommend checking them out and be sure to keep an eye out for their upcoming content!
5:00 p.m. was a hot time-slot because the upper stage saw the talented rapper Cardynal perform. They were a fan favorite, drawing the biggest crowd at that stage. Early in their set, the mood was set, as Cardynal paused their set to jump into the crowd and dance. A favorite song was “Mango,” where their lyricism and personality shined. They weren’t afraid to stray from rap, performing some R&B jams and showing off their vocal ability. The local rap scene is full of talent, and Cardynal is the perfect example. They had a great set!
Convince the Kid, a self-described “four-piece synth-rock band out of Athens” took the 9dk stage at 7:00 p.m. Ranging from spacey synths that make you feel like the world is ending to bass-heavy tracks that carried a lot more weight, the band held the audience attention well. A highlight for me was when frontman Trevor Thrift made use of a smaller drum kit and drum pads as drummer Vic Fisher banged away. Overall, the band had a lot of energy and a good understanding of song structure and tension, often having several members drop out to highlight a single instrument before reintroducing everyone with a bang.
Trvy & The Enemy were next up on the 9dk stage and had by far the most crowd participation of the entire festival. Rock instrumentation with rapping is usually best when performed live, and this was confirmation of that. Rapper Trvy, the recent Vic Chesnutt Songwriter of the Year Award winner, combined infectious energy with technical expertise to captivate the crowd. The performance ebbed and flowed from smooth and introspective to loud and heavy to jazzy and uptempo. “Gotta die a legend” and “Mama couldn’t you tell me where to go / I’m so sick and tired of being alone” were the lyrics that stuck most with us, out of both repetition and poignancy at that moment. Without a doubt, you should check out Trvy’s solo work and his work with The Enemy.
The outside stages wrapped up with Cassie Chantel, who we were impressed by. Before she even began, I was a fan, as she got the crowd hyped with needle drops ranging from Hiatus Kaiyote to Ice Spice. Her energy was infectious and she was a great performer. A favorite moment was when she played her song “Tennis,” causing the crowd to quickly realize why there had been so many rackets on the ground. It was pretty cool seeing everyone waving them in the air with the song’s chorus. She ended her set with a merch giveaway, earning her even more fans, if everyone wasn’t already.
As it turned to night, the crowd turned inside for a rave by Athens’ own Nightshade Family. They had a raised stage with stunning visuals, bringing life to the talented DJ’s music. From 9 p.m. to 1 a.m. Izzy, Karezza, Mystic Grizzly, Chief Kaya, and King Shotta took over, each with their own individual styles and feeling. From flips of popular songs to complicated, electronic buildups, not a single moment failed to impress us.
In the spirit of Earthday, local University of Georgia student Christian Aldama instructed festivalgoers on how to garden, going as far as to distribute ready-to-be-planted seeds to anyone who wanted them. The also event made sure to highlight and venerate Tortuguita, an environmental activist who was killed by police in protest of Cop City, a proposed Atlanta Police Department base that would see serious destruction done to the Weelaunee Forest.
The 2023 Earthday Everyday festival encapsulated some of the many things that make Athens special. Students, locals, and families alike all came out to enjoy music together. Vendors sold handmade rings, confectioneries, CBD- and THC-based products, and more. It was truly a wonderful day of music, cool outifts, and even better people. Thanks again to Afterglo for putting on such a fun festival, and please take the time and check out some great artists!