Tag: vinylmag
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UGA MBUS Student Ritika Sharma Forges Her Own Pathway
At ten years old, Ritika Sharma learned how to play the guitar—but upside down. Her father, who was left-handed, refused to buy her the instrument because she often struggled with sustaining a hobby.
“After a week, I’d be like, ‘I’m bored.’ He didn’t believe that I would stick with it. So, I learned the guitar upside down,” Sharma said.
Now, Sharma carries a dedicated spirit, with her seventh song “Love You Have Left” being released in late March. Even though she started writing songs at ten years old, she has wanted to pursue a career in music since she was 14—not giving up on her musical journey.
Sharma describes her music as “textured.” She doesn’t like to label or confine it to a particular genre, having learned rock from her father, talking heavy metal with a former boss, and being classically trained all the while.
Instead, she often asks herself what mood she wants to create, letting the lyrics stand for themselves in the absence of production, and vice versa.
“If you took the lyrics away, the production would shine, it would tell a story. And, if we took the production away, the lyrics still tell a story—that’s a test I do with all my songs,” Sharma said.
As a student in the University of Georgia Music Business program, Sharma says she’s learned that she can forge her own pathway, with each musician’s route to success being different. She currently has a mix of singles and an EP released. Vinyl Magazine met with her to discuss some of the lore behind each.
For The Fish
I think [with] the oceanic-like ambiance, I wanted it to feel like two fish were singing to each other. I think I kind of accomplished that. It was my first fully produced song. So, it’s definitely a learning process. I don’t think it’s a perfect song, but it’s really cool to see my progress.
Arabella
I wrote this about a friend I had in high school who was going through a rough time. She would always be like, ‘Oh I’m trauma dumping.’ And, I’ll just be like ‘Girl, you’re my friend, I want to hear about everything that’s going on in your life.’ … I don’t talk to that person anymore. But it’s weird because people are in and out of your life, but songs can just stay with you. And I think about that person a lot. So, I think that song just means a lot to me because it was about a special person.
Water Fights
That one’s about a relationship that just changed and shifted, it wasn’t the same as when it first started. I think that was just about youth and friendships. I think we have a lot of these friendships early on that just changed. It’s folk-inspired, and I just really liked the guitar melody.
14
That song was about middle school. I think growing up, I was in a very racist county. I’d get angry, my natural expression initially was anger. … But, my dad had a very kind expression, he thinks they don’t mean it like that—we have a different outlook on what people mean and why they do things. … That song was about [how] we’ll never be on the same page about how we want to react to things, how we want to treat other people… you can love people and them not think the way you do.
The Bear
The Bear was the first song I technically posted on TikTok and got me thinking about putting songs out publicly. … I wrote that about [how] it’s like the grass is greener on the other side—you have this bear that’s outside of a cave and a man who’s in a cave, and one wants to leave and one wants to be in the cave. There [are] positives and negatives to both sides. … I think it’s some of my best lyrics.
Sweet Bitter
It was the first time I was genuinely amazed by [the] stuff I created. … Usually, I would write, and then what my rough draft was was also my final draft. But, this was the first time I was like, ‘How can we edit this? How can we make it better?’ … So it started folk, turned R&B at one point. We meshed them, so the third section has R&B melodies if you really listen to it. It’s like four completely different sections that kind of signify the healing process. I think it perfectly takes you through you going insane and feeling not healed to being healed by a person who may have affected you. And it’s that sweet bitter feeling—you love them, but it’s time to move on. And, you also hate them.
Love You Have Left
I did it for an MBUS class. I had to do it so quickly… I had like multiple people, my friends who were trusted sources, who said ‘This one had some sauce to it, put this out.’ It was more [of a] pop sound. I didn’t want to go back to folk, I was like ‘Let me keep it pop.’ The hardest part was the ending, and I think I achieved a good ending. And again, texture [and] ambiance was really big to me. I think it’s some of my best lyrics, the melody is really catchy.
Staff Picks to Satisfy Your Inner Choir and Band Nerd
Whether to help you study or because you’re actually a choir/band nerd, orchestral and choral music are a staple. Personally, I’ve been singing in choirs since middle school, discovering many fantastic pieces throughout my years.
Even though it’s not your typical pop music, orchestral and choral music still has the ability to reach souls and spark memories. I’ve often found myself in my deepest reflection when I’m listening to pieces like these.
So, three Vinyl Mag staff have each chosen songs to add to your orchestral and choral playlists, hoping they satisfy that inner band and choir nerd we know lives in each and every one of you. Check it out below.
Staff Picks for Your Perfect Granola Playlist
With the weather warming and summer swiftly on the way, it’s about time to break out your favorite “Life is Good” T-shirt again. The chacos make a reappearance, and driving with the windows down is back “in.” The only thing missing — the perfect granola playlist to transport you away from Athens, Georgia, and into the Colorado mountains instead.
The “granola girl aesthetic” has been something I’ve long aspired to have. The carefree and folky vibes that radiate off every granola person ease my type-A persona. I like to imagine myself in the woods with the sun on my face and growing my chaco tan line.
With that spirit in mind, three of our Vinyl Mag staff have each chosen songs for your perfect granola playlist this spring and summer. Some are perfect for driving and others would be ideal for a night campfire. Check it out below.
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.
Athens DJ Scene Is on the Climb Post COVID-19
A flow state of pure connection and free movement—this is how Izzy Morrow, a DJ and promoter in Athens, describes the music environment that she hopes to curate. She says this state of being is when she feels the most connected to the universe and, when she’s on stage, to the crowd.
“Movement is such a healing thing—just dancing freely,” said Morrow. “[In our] normal everyday lives, we literally don’t get to do that… I feel like I just shed all my layers and it’s just pure human.”
Before the COVID-19 pandemic, Athens had a thriving DJ scene. According to Morrow, the Georgia Theatre in Athens, Georgia, used to book EDM shows frequently on the weekends. However, she says the number of shows and DJs in Athens has since slowed down in the post-pandemic era.
Still, many of Athens’ DJs—from underground to EDM to old school—predict that the scene is regaining footing, preparing for an anticipatory comeback.
Current trends
The live music industry, like many other aspects of our lives, changed after COVID-19. According to a study by the National Library of Medicine, the total monthly consumer spending on music has decreased by more than 45% compared to the pre-pandemic levels, impacting live music and physical sales the most.
While sales in pop music concerts have recently skyrocketed three years post-pandemic, the New York Times reports that amphitheaters operating below arena levels have seen climbing costs, and other industries, like Broadway audiences, are still down from pre-pandemic numbers.
On the other hand, the pandemic also offered rare free time for many people to try out new things—for musicians to perfect their craft. Another study by the National Library of Medicine reports that some musicians referred to the pandemic aftermath as a “creative period,” despite the disadvantages of lockdowns.
Athens also gained some quality music from the DJ scene during this time, according to Henry Landgraff, known as DJ Henny. He attributes this spike in creativity to the increased time people had to learn how to produce.
However, even beyond the pandemic’s influence, Morrow says most musicians in Athens, not just DJs, are “hungry” to create. It’s that freedom of expression that made Morrow fall in love with the Athens DJ scene in the first place. Even Landgraff, originally from Ohio, attended the University of Georgia because of the attractive music scene and music business program.
“Having like-minded people that are so musically intelligent, even if it’s not about music … it’s a microcosm [where] you can fail and there’s no downside,” said Landgraff.
Mark Weathersby, or DJ Mahogany, started DJing back in 2005. So, he’s seen the evolution of Athens DJs over the last several years. In a Flagpole story from 2016, he said that the scene in Athens was varied, ranging from top 40 hits to obscure jams—he largely agrees today. He says there’s still a crowd that enjoys older music, but there is also a new, youthful movement.
“Here in Athens, I think it’s definitely more of that top 40 scene, I think it’s going towards that … youthful, vibrant, very energetic, fun, dance scene with EDM. And, that definitely is the movement where music is going towards,” said Weathersby.
Ben Bradberry, also known as DJ Reindeer Games, describes in Flagpole a “split scene,” which poses the question: Are people coming to shows because they enjoy the music, no matter who is spinning, or are DJs attracting crowds with the specific vibe they create?
Morrow, being more involved in underground EDM, says her experience has been going to a show because you like their sound. Landgraff, who also works in EDM but for a more fraternity crowd, thinks the answer is a little complicated. He doesn’t necessarily want to be confined to one sound, which makes it a fun challenge to experiment with all kinds.
“You need to set an entire vibe—there’s nothing to watch… it’s just me and my board,” said Landgraff. “My favorite part is being able to set an entire tone of how you want your set to be… I think that the balance of Athens music makes it so people know to not expect anything going in and kind of accept it for what it is.”
Current opportunities
In the post-pandemic music scene, Morrow attributes much success to the Nightshade Family, which she describes as being like a label and events promoter. She worked as one of their resident DJs and says they’ve been instrumental in throwing shows for the underground scene, which struggled after COVID-19.
Morrow also helps host Open Decks at Mai Kai Kava Bar, which she describes as “an open mic night for DJs.” Anybody who wants to play can bring their USB and plug it in, allowing beginners to give it a try and pros to experiment with something new.
Scottie Stephens, known as Karezza, is one of the other hosts for Open Decks. Morrow says he helped her learn how to DJ and produce. Stephens started DJing and producing about five years ago, saying he also used the lockdown time to work on his music. But, he didn’t start playing shows until two or three years ago, many of which were with Nightshade.
Morrow is the one who invited Stephens to Open Decks, which they soon started hosting together. While it felt like a big step at the time, he says this opportunity helped him make connections. He reflected on how different his and Morrow’s lives would be if she had never asked him to come to Open Decks.
“Honestly, this place has changed my life for the better,” said Stephens. “I’ve met so many people in the community, and it’s given me a place to come to and keep growing my relationships with all these people.”
What’s next
Stephens agrees that the DJ scene is slowly being revived and is on a good path.
“It’s slowly being built back up, but it’s just harder to find,” said Morrow.
Now that anyone can watch a YouTube video, DJing is more accessible, according to Morrow. She emphasized the need for production skills because people can pick it up pretty quickly. Landgraff agrees, saying his biggest regret was not releasing original music fast enough.
Overwhelmingly, the DJs want beginners to approach their craft with an open mind. Landgraff said that even though a vibe cannot be predicted, the DJ must be prepared. Weathersby said he had to be like a sponge that absorbed it all.
“You need to have fails,” said Landgraff. “You have to have those kinds of low-stakes shows in order to make those high-stakes ones good.”
With summer quickly approaching, Morrow already has her eyes on the third annual “Earthday Everyday” event on May 11 at Southern Brewing Company, which is put on by Afterglo. Weathersby also thinks the warmer weather will draw back more shows to their previous hot spots.
“I bet you we’re gonna see DJs on the rooftop [of the Georgia Theatre], and I think they’re gonna be packed and ready,” said Weathersby. “By the end of this year, everybody’s gonna be back out on the dance floor dancing.”
UGA Glee Clubs Embrace Unity With “Vive La Compagnie” Concert
The University of Georgia Glee Clubs echoed messages of unity at Hugh Hodgson Concert Hall on Tuesday night for their “Vive La Compagnie” concert, which translates to “Long Live the Company.”
“Singing together is one of the most human things you can do,” said Conductor Sarah Gallo. “We think it’s really special … it’s also just deep in our core.”
Both the men’s and women’s groups performed a variety of pieces. From a Bulgarian folk song to a song sung in Sámi, a language spoken by Indigenous people in the northern Scandinavian region, to a poetic ballad—the repertoire was diverse.
Perhaps the most exciting piece from the Women’s Glee Club program was “Ozdolu idu,” arranged by Philip Koutev and sung in Bulgarian style. Gallo said singing in Bulgarian style required a brighter sound, which was not a typical vocal placement for choral singing.
Not only did “Ozdolu idu” bring joy to the audience, but choir members were smiling and dancing along to it too. Katie Bethbrewer, a sophomore biological sciences major, is in her second semester at the Women’s Glee Club and said this was her favorite piece to perform. According to the program bulletin, this children’s song tells a story about colorful carts “bumping and jumping” down the road.
“The concert was just awesome. I love, love, love Dr. Gallow,” said Bethbrewer. “She always does such an amazing job picking such a wide variety of music. I’m so excited every semester to get to sing all the different kinds of songs.”
Cooper Hardy, a sophomore agricultural communication major, also noticed the variety of pieces and would love to see even more languages in the future. He, however, enjoyed the “quiet and lowkey” performance of Gwyneth Walker’s “Crossing the Bar” by the Women’s Glee Club the most. Alfred Tennyson wrote the poetry, which included lines like:
For tho’ from out our bourne of Time and Place
The flood may bear me far,
I hope to see my Pilot face to face
When I have crost the bar.
However, the namesake of the concert was the Men’s Glee Club “Vive La Compagnie” performance, arranged by Alice Parker and Robert Shaw. This piece matched a jaunty mood and faster pace like the Bulgarian piece. Braden Rymer, a baritone, had a solo.
Words in “Vive la compagnie” translated to “Should time or occasion compel us to part, vive la compagnie! These days shall forever enlighten the heart,” according to the program bulletin.
“I thought the whole idea of music bringing everyone together was a great way to highlight how the music school works,” said Hardy.
Tuesday’s concert was the last opportunity of the semester to see a Glee Clubs-only performance. Because of this, Gallo made an effort to recognize the graduating seniors in the choirs.
The Glee Clubs will combine with the other UGA choirs and UGA Symphony Orchestra to put on the “Dona Nobis Pacem” concert on April 26.
“Dona Nobis Pacem is an incredibly timely and really moving piece that is unfortunately really appropriate for our world today — it’s begging for peace,” said Gallo.
A few days before the concert, two UGA students—one current and one former: Wyatt Banks and Laken Riley, respectively—died on campus. Bethbrewer said many of the songs were about hope, finding a community and finding beauty in the state people find themselves in, which helped bring her peace among the tragedies.
“Getting to hear those words and get to sing those words and preach that to our community at this time is really empowering and helps, I think, bring hope to our campus,” said Bethbrewer.
The Men’s Glee Club ended on a positive note with their performance of the Georgia Medley. This included the tradition of calling the Dawgs and skit-like choreography to engage with the audience.
“It feels like you get to experience something that’s really intimate that these people have put so much time into—I feel like it is our duty to go out there and to show our support,” said Hardy.
Score Soundtracks For Your Whimsical Fiction Movie Life
We all need a whimsical fictional world to escape to now and then. There’s How to Train Your Dragon to make you feel like you’re soaring, and Tangled to get you up off your feet. UP is a real tear-jerker, but Monsters Inc. is a real toe-tapper—all this to say that score soundtracks are a seamless way to transport us into those fictional worlds we crave.
As I’m reminiscing on my time spent in Copenhagen, Denmark, this past summer, I’ve listened to a lot of fairytale scores. Copenhagen was magical—the weather, the air, the scenery, the almond croissants, the parks, the people—I could go on. I was exploring the city on a bicycle when I stopped to take this quick photo shown above. That moment didn’t feel real.
Then again, nothing about travel feels quite real. As soon as I felt the plane take off, a supernatural buzz consumed me. Even though I’d only flown on a plane once before trekking to Denmark, I still knew I had to have a playlist ready for takeoff. The perfect song for being hurled hundreds of feet into the atmosphere: “Test Drive” from the How to Train Your Dragon score.
Here is a playlist of the best scores to be in your fiction movie moments—times like when I biked around Copenhagen and wondered upon the most perfect scenery.
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.
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.
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.