A TWILIGHT ZONE: CHOiCE / Kaytranada / Solange

A Twilight Zone, the chronicling of Salt Lake City denizens looking for music, adventure, & life at the Twilight Concert Series

Josh

Another Thursday night in the late summer means another edition of the Twilight Concert Series. This week the curators of the series managed to book modern R&B hero, Solange. The attendance was dense and eager for the show. The tension built with the news that Solange’s flight was delayed. A quick check of her Instagram story showed her still on a plane from Texas at about 9:30 pm. It wasn’t clear when they landed of whether or not her band and crew were also delayed. At about 10:05 pm it was announced that Solange had arrived and would be starting soon.

The audience moved closer as the set began. The band took the stage first. All of the members were dressed in red. Their attire matched the background of the stage, which included a large red circle piece in the background that appeared three-dimensional when the stage lights created shadows. This monochromatic theme put the visual emphasis more on the musicians and their movements.

Enter Solange. The crowd goes wild as she displays her subtle finesse in both her dance moves and her opening vocalizations.

The entire set consisted of artistic coordinated dance moves that varied with each song. In one instance the group lined up from tallest to shortest and continued to move the song along with hip swings and a smooth 80’s funk style “keytar” bass line. The audio side of things was delightfully crisp with amalgamations of genres including funk, jazz, R&B, hip hop, soul, and disco.

The band kept the audio effects to the minimum and as a result, the audience got a transparent wave of warm sonic bliss. I could pick out any instrument and enjoy focusing on its subtle nuances. The drummer was especially precise and smooth as he moved back and forth between a drum machine sample pad and his acoustic kit.

If I had to sum up the performance in one phrase, I would say it was like a combination of Talking Heads’ Stop Making Sense and a killer episode of Soul Train. Solange, like many modern artists, draws heavily from artists of yesteryear. However, the influences do not cross over into simple reactionary territory. Her work makes me excited for the future of music in general. Give her a listen; her work is worth much more than just the novelty of being Beyonce’s sister.

Sarah

As a music, theatre, and art lover, I have a special fondness of musicians who incorporate striking visuals and dramatic performances into their live shows. Solange is a prime example of this.

Everything was a bright and energetic red as Solange entered the stage to perform “Rise,” the first song off of her album A Seat at the Table. The song is simple and repetitive, which are words most artists don’t want associated with their songs, but in Solange’s case, the term “simple and repetitive” is a good thing. Her songs tend to be more poetic and intentionally repetitive to add to the meaning of the song itself, which is something not a lot of musicians can pull off elegantly.

Another thing that stood out to me about Solange was her soft and almost whispery vocals. However, while her voice may be soft, her lyrics are anything but. They’re powerful, political, and heartfelt. I rarely cry at concerts, but I’d be lying if I said I didn’t shed a few tears while listening to her perform “Cranes in the Sky,” with lyrics like: “I tried to drink it away, I tried to put one in the air, I tried to dance it away, I tried to change it with my hair.”

While professional photos weren’t permitted during Solange’s performance, the stage was quite a sight to see. The background was bright crimson with a reflective red circle in the center. Everyone, including the band, wore a red outfit, adding to the vibe of the show. While I’m not quite sure why the color was chosen, to me it felt powerful. It also certainly commanded the attention of the crowd.

Geoff

Twilight. I don’t think I’ve ever wanted to leave that big of a concert unconcerned about missing the headliner, and yet, there I was.

I heard a lot of hype about KAYTRANADA and honestly, I couldn’t have cared less. Awesome, another hip-hop producer. As if the thousands living in their parents’ basement wasn’t enough, they decided to put this guy on stage. What’s he going to do? Spend 30 minutes making a track for someone not to rap over? I was there for Solange.

After the admittedly solid DJ Choice finished her set, everyone seemed to be ready to explode for KAYTRANADA. These are my peers, other K-UTE DJs who definitely have decent taste, so maybe I should hear this dude out.

When he came on stage it felt like a crowd formed immediately. We wiggled our way into the middle and proceeded to jam for the next three hours as KAYTRANADA stood at his laptop bobbing his head. While he might not have been the best stage performer I’ve ever seen, the music was something else.

I don’t quite know how to put my experience into words, but here’s my best shot: His beats connected with me on a primal level as if despite its synthetic nature this was somehow going back to the music of my ancient ancestors. His vibe and groove seemed to hypnotize me and rest of the crowd. I danced, screamed, and at one point raised my middle finger and said “I don’t give a fuck!” all at his command. Motion was effort less, and somewhere a deep feeling of content arose within me. I was putty in KAYTRANADA’s hands, my actions corresponding to the buttons on his keyboard.

Unfortunately, a Station Manager’s work is never done and when I finally broke away something had changed in me. As I packed up our booth and lugged it back to the van I felt sad, I couldn’t focus on the music, now it was just a background track. When I heard the rumor that Solange was coming, just very late, I didn’t care. I had already gotten what I needed from this Twilight, my legs are tired. I’ve been up since 7, let’s go home.

Martyn

So there I was again, mingling amongst the Twilight crowd for the fourth time this year, not really knowing where to go at the moment or really if there was a where in which to go to. Suffice to say, perplexed‘. The crowd had grown massive in quantity of bodies compared to a few hours ago. Something about this concert. The mystique maybe? Solange‘s appeal? Either way, the first DJ, CHOiCE gave the crowd something to mingle and drink drinks and talk of probably hugely important affairs with one another. The rhythms were even throughout as if this DJ chose not to take choosy chances with more austere or different beats. Mostly it was the drums. Mostly, I felt as though I should wander over to the free food.

The free food being farther than I thought, I wandered blindly through the crowd (also known as the inevitable and incomparable smoke in my eyes and also I’m very short) until Kaytranada began his set. I watched from afar, eating pizza with a friend. This being the largest Twilight crowd so far (waiting with a stone’s patience for the delayed headliner) was a sight to see from far away. A mass of bodies, pushing out the parameters of fences and personal space to watch Kaytranada hover over his laptop. The visuals on the background movie theater screen were deftly impressive, moving from live action dancing to the swirl of incandescent warm colors in a kaleidoscopic swirl of a post-Y2K hypnotist. The Crowd (uppercased now in all its glory) felt strongly for Kaytranada, dancing, swaying, pulsing single hands attached to arms moving vertically in a calm frenzy of limber strength. An angel of a human next to me told me that this artist had played two of his favorite songs, “At All’ and “girl” which was produced for The Internet. People were blown away and the spirit of Twilight lived on.

Solange finally made her appearance after a few delays, bequeathing the stage and the crowd by dressing all in red with a lusciously red stage and accompanying dancers. She started slow and rose to a wonderful climax of music heard throughout the city. The noise ordinance was really disregarded for the best of reasons. Once again, after the music, after the sweat, and stress and noise and bumping into people, I had enough and awoke the next morning in this weird stupor.

 

Photos by Trevor Von Hake @trevorvonhake and Sarah Nelson @sarahnelson208

What’s What on SoundCloud

Hello friends. Welcome back to “What’s What on SoundCloud”! The following are some of the noteworthy tracks I’ve been listening to recently and feel that you should be listening to as well.

This week’s artist spotlight: Sam Gellaitry and KAYTRANADA

Sam Gellaitry is an electronic music producer out of Scotland who found his success on Soundcloud thanks in part to the underground music conglomerate, Soulection Radio. With goofy synth leads, quirky jazz chord progressions, and an overarching cinematic feel that invokes a sense of nostalgia, Sam G is one of my favorite artists to date.  After he tweeted “gonna release all this stuff I’ve been sitting on in the next couple of days” last week, I knew we were in for a treat.

If you listen to only one song from this blog post, “want u 2” should be the one. The instrumentation on this track is incredibly well executed. Gellaitry knows how to create compelling syncopated melodies that leave you with no option but to nod along with the beat in satisfaction. Whether you’re at a huge party or listening on your own in your room, this groovy track is sure to please your ears and your soul.

“Pyrotechnic” is a little more quirky. Sam is super liberal with the chops, creating a sense of anticipation as you wait for the beat to come back in after it cuts out. He slaps this track in the face with his distinct eccentric style. If you haven’t given Gellaitry’s discography a listen, I highly recommend it.

To conclude this week’s discovery, I’m throwing it back to 2014. “At All” is, without a doubt, my favorite Kaytranada track of all time. This funk-house banger is the perfect thing to listen to on a late night drive around town, or really any time you just want to dance. Kaytranada’s distinct bass lines and combination of bump and groove give this track the perfect balance between the funk of yesterday and the house music of today.

A TWILIGHT ZONE: Antibalas / Kamasi Washington

A Twilight Zone, the chronicling of Salt Lake City denizens looking for music, adventure, & life at the Twilight Concert Series

Sarah

One of my favorite things about the Twilight Concert Series is their ability to showcase so many different styles of music. While last week’s performance of Kurt Vile could be best described as more country-rock style music, Kamasi and Antibalas put on a show strongly rooted in jazz and afrobeat, but both very different in tone and feel.

Before them, however, was a local DJ named DJ Ebenflow who got the crowd bustling with an interesting mix of DJ beats and 20’s style music. Even though it wasn’t my favorite, I thought his unorthodox mixture of old and new music was very different and interesting to hear. Plus, his man-bun was quite beautiful.

After DJ Ebenflow, Antibalas came on. One of the first things I noticed was the sheer size of the band. There were sax players, guitarists, trumpet players, drummers, the list goes on… Then, the band’s lead vocalist Amayo entered the stage in an elaborate white outfit and a personality that immediately captivated the audience. He sang about themes like peace, love, and mother earth. Each song almost felt spiritual in a way, and you could tell that the band members and audience were both feeding off the crowd’s energy.

Sadly, I had to leave before Kamasi came on, but I had a chance to research his music when I got home. The first video that came up on Youtube was a song called “Truth.” Even though the song is 14 minutes long, I got chills within the first 3 seconds. Beautiful visuals, melodic jazz, and political undertones immediately elicits emotion from the listener, which is exactly what good music should do.

Jacob

It’s Twilight season! A busy and important man like myself unfortunately cannot make each show, so last week’s Kamasi Washington show was my first of the summer. 

Getting there as late as I did, the first opener, local cat DJ Ebenflow, was already mid-set. I had never heard of him, but he has a pretty strong following in Salt Lake City and after hearing him live I can see why. His electronic music pulls classic jazz and swing samples and meshes them with his own beats. The result is a unique sound that could belong in a carnival or an old silent movie. Introduce your ears to him with his ‘I love the swing!’ set. 

Next up was New York based Afrobeat band Antibalas. Man, these guys are funky. Even at the K-UTE tent I couldn’t stop dancing. These guys bring strong brass instruments and a great stage presence and make a genre that’s generally unpopular a fun, uplifting experience. At this point, the crowd is starting to build. I was pleasantly surprised by the amount of people that came out to a jazz show, and especially surprised by how the young the crowd was. Maybe millennials will do something cool with our time, and keep jazz from going extinct, eh?

When Kamasi and his band finally came out the crowd went wild. With two drummers, a stand up bassist, pianist, vocals, an eclectic group of brass with a trombone, flute, and soprano saxophone, Kamasi led the gang on his sax and they were loud. They really got the place rocking with some of their classics. Easily my favorite part of the show is when everyone went through their solos. Every musician rocked the stage for five minutes or so, and then left the stage to the two drummers. Their back and forth battle was insane. Both taking completely different beats and twisting them over each other in a frenzied harmony sent the crowd over the edge. No one could stop dancing, everyone was moving around and having a good time. One thing I love about Kamasi Washington and his band us that they can push a political stance with the peacefulness that jazz requires. This was definitely one of the best shows I’ve seen all year.

Martyn

Then it was Thursday again, already, and I made my way down to Pioneer Park for the first Twilight of August so underneath the sun (again, it’s clichéd already) I walked forward to the beginning of the show. Comparatively, and perhaps because of no local band to open, there were few people surrounding the outskirts of the wearisome stage. I moved on into some shade.

A DJ by the moniker of Ebenflow came on and gave the audience something to dance to. They did. It lacked a certain personal touch of a local band, but hey, the sunburns were worth it for those dancers. After a quick break, I found myself in the VIP section, sitting on a white chair instead of my usual pose of ‘my feet hurt’. Antibalas came out and absolutely had me throwing that chair out of my place so I could dance. The wonderful jazz/funk group came alive with so much energy, the music twisting with heat to create a lively, energetic performance. Soon enough though, Antibalas ended their set and the crowd was growing.

Calm again, I went back for more tacos (mostly no one was eating the delicious zucchini filling). Kamasi Washington quietly made his way to the stage to engage in one of the most full-sounding

Twilight shows yet. With his band and singer Patrice Quinn by his side, Kamasi had the crowd grooving and moving to jazz in huge numbers. For this, I went directly into the middle of the crowd towards the front because you can’t not be taken in by someone performing with this much personality and this much vitality. The music itself was not out of place at a show like Twilight. Nothing was out of place, really.

Photos by Trevor Von Hake @trevorvonhake

 

A TWILIGHT ZONE: 90’s Television/Whitney/Kurt Vile & the Violators

A Twilight Zone, the chronicling of Salt Lake City denizens looking for music, adventure, & life at the Twilight Concert Series

Josh

A local happening, a local enigma, a local band is taking the opening slot for this concert. That band you ask? 90’s Television. An enduring sun hits the stage as the group grabs their instruments. A crowd of early arrivers crawls from the shadows towards the front of the stage. It’s a diverse group of slimy monstrosities: cyborgs, mutants, weirdos, voidoids. It’s an amalgamation of sunglasses, tank tops, and scaly skin recently burned by the salty city sun.

A groovy wave hits the crowd as the group opens a cold one with their classic tune “Radio 90s”. Oooweewoowee, now that’s what I call a hair splitting specter. The group appears to be locking the crowd into an unknown form of hypnosis using their powers combined. Drummer Jeremy Devine (known robot) mines unseen rhythmic crystals that are channeled by the guitars of both Greydon Benzmiller (resident wizard) and lead singer Dravland Brown (vampire spirit, incarnate). Dravland and Greydon send the harvested power into the hands of their trusted bassist, Craig (a friendly martian). Meanwhile, Craig’s head starts to become swollen with the kinetic energy of the group’s power pop inventions.

No momentum is lost as they power through classics like “Bug Girl” and new innovations like “Karmakazi”. As Craig’s head grows, the crowd becomes weary of what might become of the situation. The band closes with an expertly triangulated transmission of their hit “Channel Surfing”. The head is so far bloated at this point and explodes buckets of green foam onto the crowd. The radiation from the foam puts the crowd into a state of panic. Craig quickly regrows a fresh head, and the band exits the stage. Spectacular as this is, you must continue your journey, as the groups of Whitney and Kurt Vile are soon to enter frame…

Sarah

Considering last year’s Twilight Concert Series was how I originally became involved with K-UTE Radio, it was needless to say that I was extremely excited for this year’s lineup. My friend and I arrived at the concert just in time to see the local band, 90’s Television. They opened the show with surf/rock rhythms and a relaxed audience repertoire.

After their set, I headed towards the food trucks to scope out the dining options. I walked around for a while until I saw a lady carrying a small cup of light-purple liquid. Intrigued, I headed in her direction and found a Poutine truck selling drinks called “Hummingbirds” made of lavender soda and a lemon wedge. After being in the summer heat, I made the best decision of the day and ordered one. If you get a chance to go to the next Twilight Concert, so should you.

Soon enough, I heard the rumble of the next band coming on and headed back to the crowd. The first thing I noticed was the sheer size of the band. SIx people including a trumpet player and a lead singer playing drums took up the stage. They announced their name, Whitney, and played a set of seemingly upbeat songs with underlying darker themes like depression and break ups.

Even though I had never heard of Kurt Vile & The Violators before the concert, I took a listen to the song “Pretty Pimpin'” before the show and immediately fell in love. While I wasn’t a huge fan of his other music, my friend has a video of me going ham to that song which might double as blackmail later on. His quirky, introspective lyrics and country-style guitar riffs make him a perfect artist to sit down and listen to on vinyl.

Martyn

I re-awoke after a weirdly long week of not going to Twilight Concerts in time for this week’s Twilight Concert. After walking through the city of Salt Lake under a ceaselessly unwavering sun, I arrived (again, shivering with anticipation for lanyard glory) through the gates into the park which has now become a real haven of sorts on Thursday nights. You could say music was in the air or something like that.

The first band, 90’s Television opened up against the final afternoon blaze with pure rock ‘n roll. More local heroes adorning themselves in deserved spotlight had the crowd shimmying. I saw two patrons holding up larger-than-accustomed-to print outs of the bassist’s head. The bassist laughed, we laughed, the sun went down a little further. Wearing only sunglasses sans prescription, I bumbled my way through people on blankets and unsteadily placed-on-the-grass drinks.

After sneaking behind the K-UTE table to rest on a weirdly comfy bucket, I went back into the crowd for openers Whitney. The experience of seeing a lead vocalist/drummer live is something of note, even if the songs (albeit a cover of the “Golden Girls” theme) had a steady and unwavering rhythm. The songs weren’t exactly catchy but the sounds still fulfilled expectations. Concurrently, I was awestruck by the power one band member had using and instrument called a trumpet. Each time this trumpet would blow, the crowd would immediately begin woo-ing and clapping in awestruck mob fascination at the certain long note emanating from the small brass.

Finally, as the night began to wrap around the stage in an awesome shroud, Kurt Vile & the Violators came on the massive applause. Week Two was slowly ending in between the songs which already had a melancholic air and I felt a pang of sadness. Kurt Vile had that certain rock-star swagger and great jeans you’d come to expect from someone out of Philadelphia. When with his band, the songs flourished; when solo, Kurt Vile still held people in attention. After his set, the crowd dispersed into the night amongst talk of past and future and I headed to the train which was way out.

 

 

Photos by Trevor Von Hake & Sarah Nelson

 

 

A TWILIGHT ZONE: Angel Magic / Xenia Rubinos / Little Dragon

A Twilight Zone, the chronicling of Salt Lake City denizens looking for music, adventure, & life at the Twilight Concert Series

Martyn

And so we’ve finally come to the beginning, ending a drought of park concerts since around this time last year. The Twilight 2017 Concert Series has commenced and the musical acts ushering in these ultimate days of summer played one exemplary opening concert. To my and other’s disbelief (or relatively minimal confusion as to ‘why?’), this was my first Salt Lake Twilight concert as I only started listening to music in the most recent past. 

Having satiated my hunger and finding a water bottle for the evening from a friend, I received my lanyarded pass and walked towards the entrance with strides on lanyarded confidence. Inside, the sun cast an oppressive glow on the field as the opening band Angel Magic began to set up.  A local dream/synth/pop band given this Twilight spotlight is a quantifiably gargantuan opportunity and their sound carried wonderfully through the park. This was obvious because several fans were encouragingly shouting ‘your sound carries wonderfully through this park!’. Technical errors aside (a keyboard ran out of D batteries (PSA please carry D batteries)),  Angel Magic’s dreamy vocals and musical arrangements were able to make the crowd dance and behold! the keyboard still worked on the batteries running dry.

Around the time the next artist,  Xenia Rubinos, took the stage, there was the aforementioned and highly looked forward to twilight setting in and around Pioneer Park casting a steady glow amongst vendors and patrons. I hadn’t listened to her music so my expectations were set in absentia, and although the music lacked a certain solidarity of form, Xenia and her band put on an impressive set. Her movements were, as a friend put it, ‘a whole body doing a jazz hand’. I then tried my own turn at this dancing and fell over. Xenia’s lyrics repeated strong themes of identity and her powerful clear voice made the music second to what she was saying. It worked in synchrony.

Headliners Little Dragon were finally taking the stage in a grand entrance of ethereal proportions. With her large headdress (matching her fingernail color mind you), lead singer Yukimi Nagano looked majestic and overwhelming. Ushering in their set with a newer song, “Celebrate”, the rest of Little Dragon was pure dance magic. Lights, motion, and song blended into pure ecstasy emotion. The band played wonderfully from start to finish with a neon glow of orange surrounding Yukimi’s headdress. I wandered ethereally between the crowd and food trucks on the fringes of the crowd and felt at peace.

Little Dragon finished their set with much longer remixes of their music which ignited the atmosphere around the stage. Once it was over, I walked out in the Salt Lake City night, wondering if anyone still had water. Settling for an answer of no, I descended into the city, awaiting the next show.

Nick

The stage is set, I can tell the crowd is charged up and the show hasn’t even started yet. Twilight is really incredible to have local artists at the top of their shows, it gives us something to connect with as a community. Tonight’s local spot light was Angel Magic. Their music has gumption, very fun synths, reverberating vocals, and emotionally charged expression. The duo are solid performers, focused on their craft. Angel Magic could be music for ethereal exposes. It was a very beautiful day, a nice billowing sky provided ample shade on a hot afternoon.

Then Xenia Rubinos came on. What a nasty groove that lady has got in her. Everyone in the front row lost their entire heads of hair. I don’t know if it was radiation from the UFO or excessive head banging. It may have very well been the way Michael Bouchelli kept on slapping the bass like he was mad at it. Xenia gave us a rap in Spanish. The drummer rewired his drums and changed up his sound. I’m not sure what this technique is called. It sounds cool though. Xenia is very multi talented. Playing the keyboard and singing. So much soul in this band. She was unstoppable sporting an all purple jumpsuit cinched at the waist with a fabulous belt. Xenia Rubinos finished off with vibing and some funky rapping.

After a minute the clouds got thick and a warm mist filled the crowd, It was time for the Swedish-based band Little Dragon, adorned in a thin red silk sheet Yukimi Nagano entered, with cool drummer Erick Bodin, slick bass player Källgren Wallin and Håkan Wirenstrand killing it on the keyboards. Excellent progression, incredible drops, and beautiful distortion of lovely bells. It makes one feel like they are at home and comfortable. The ground opened up beneath us and swallowed the whole concert. As we fell into the eternal abyss of night Little Dragon did not skip a beat. They proceeded to play their whole set as we fell together. Twas’ very good! Folks dancing, falling. We landed in a different location than when we started and we all had to go with it.

What a fantastic evening of fun and music. We’re all looking forward to what the next concert of Kurt Vile & the Violaters will bring, and what chaotic beauty Twilight has in store.

Twilight In Ogden: Miike Snow & Klangstof

Ogden Twilight has not disappointed me yet. If you’ve ever driven to Ogden from Salt Lake City, you may know how bad traffic can get between Farmington and Ogden. On the way to the Miike Snow concert, the traffic doubled due to an automobile accident. That did not stop me from seeing Swedish band Miike Snow and Dutch/Norwegian band Klangstof with a spotlight on local heroes New Shack.

Driving an hour north is usually worth it when going to the Ogden Amphitheater. It’s a very nice, friendly, and welcoming venue. When I arrived, I bought myself a frozen pink lemonade, and smoked while I waited for Klangstof. A very clear day, only a few small cirrus clouds in the sky. The place was getting packed. Due to the traffic, I only caught the last few moments of New Shack’s set. I listened to their music on SoundCloud when I got home. New Shack is from Provo, UT and they have a very new age indie pop sound.

Klangstof is a progressive/indie/alternative-rock band. The drummer would go back and forth from drum pad to traditional drums. Sometimes, you can tell when a band stumbled into the music industry; Klangstof is not one of those bands. These guys look like they have been on the grind for a while, and they are now on tour with Miike Snow. I fell in love with Klangstof‘s singer Koen Van De Wardt. He said the band, Miike Snow, had an incredible Swedish tobacco, but it stops working. The joke fell flat but I laughed.

From what I can tell, it can’t be easy to keep a band together. The way Koen kept all of his band mates engaged and relaxed showed me how real this band is. Very dual-sided, beautiful, light at times, with droning tones and complex shredding. This band was perfect for helping me release the built up tension from the awfulness of the world. After Klangstof‘s set, I felt like maybe things aren’t that bad.

After playing with the Pepsi Patrol, there was a brief introduction to the indie/pop/electronic band, Miike Snow, from the same host who introduces every Ogden Twilight I’ve been to. She introduced the band and then about ten minutes later Miike Snow came on.

This band had been apart for a little while working on solo projects. At first, they seemed to be very okay with me taking photos. It seemed Andrew Wyatt was even giving me some poses. I got carried away and kept taking photos. I’m very enthralled with this band in general. Towards the end, he seemed to break the pose he was making as soon as I lifted my camera (I don’t think bands like it when you watch their sets through your phone screen).

He kept a great and electrical energy the whole time; this band is so cool, Pontus Winnberg is my favorite.  The drummer, whose name I can’t find, had the key to my heart. the other band member, I can’t find his name either, absolutely stole the show with his sick licks. He was not regular bandmate Christian Carlson, he was not there on this particular night, however, he is a very important part of Miike Snow.

These guys are some real and professional musicians, which don’t always go hand in hand. I caught a glimpse of the setlist taped to the stage after the show and they had the encore they did on the set list. The encore song was “Animal”, a very popular song of theirs and I’m glad I got to see them play it.

This music definitely does not look easy to make happen every night sofor that, I thank you, Miike Snow. I can tell this band has made a real difference in people lives for the better. I’ve been a Miike Snow-Flake for a while now, it’s absolutely great music for dancing out the feels. Overall, a stellar end to the Ogden Twilight concerts.

 

New Shack- Soundcloud

Klangstof- Spotify

Miike Snow- Spotify

 

 

 

Rare by Hundredth: Shoegaze meets Hardcore

The album, Rare, by Hundredth is a unique concept. A melodic-hardcore band realizes that their sound doesn’t reflect their musical tastes, and make an effort to shift their focus from hardcore to shoegaze. This change brings them an intensity that the dream-pop genre tends to shy away from. Tracks like “Vertigo”, “White Squall”, and “Youth” are all very much post-punk, dream-pop ditties that are solid shoegaze with some edge. But ultimately, Hundredth seems to lack the nuances that drive shoegaze, and the sound suffers because of it.

While most dream-pop might bring to mind positive imagery such as rainbows and beaches, Rare shoots for more of a nightmare-ish feel, with lyrics such as “False hope/Spreads like a disease/The curtain is drawn/ And there’s no shepherd for the sheep” from the song “Disarray,” played over a soundscape featuring heavily distorted guitars, blaring power chords, and aggressive drum beats.

It is surprising just how well the band’s darker tone fits with the shoegaze sound. Hardcore and shoegaze seem like opposite ends of the musical spectrum, but Hundredth has really found a sweet spot where shoegaze reverb and hardcore’s intensity can meld together and create something uniquely enjoyable. Tracks like “Suffer” and “Hole” really showcase this hybrid sound.

Rare is a solid album, but it is impossible to shake the feeling that this is not the band’s full potential. Shoegaze, as a genre, has surprising depth with the diversity of emotions and sounds it can encompass and Hundredth just hasn’t quite mastered it. At a certain point, the songs all meld together in the worst way possible; there is little variation and that’s what really limits Rare. Somewhere in the album’s forty-five-minute run-time, the album loses its nuance. “Down” and “Chandelier” might start differently, but ultimately, they all become variations of the same song, just with different lyrics and slightly different chord progressions.

With Rare, Hundredth shows a lot of promise for the road ahead, and if you’re already a fan of the band, this album, while a massive departure from the rest of their discography, isn’t going to disappoint you. However, for everyone else, it’s a mixed bag. Tracks like “Vertigo”, “ Disarray ”, and “ Suffer ” are inventive and strong, but as a whole, the album just leaves a lot to be desired. My recommendation: go check it out because there is a lot to love, just don’t expect to fall in love with Rare as an album because the “pieces” aren’t all there yet.

Album Review – “Revenge” by XXXtentacion

Travis Scott, Lil Pump, Smokepurrp, Robb Banks, Ugly God. Among others, they are driving a new wave of hip-hop which is characterized by lo-fi bass with aggressive lyrics and vocals. One of the leading names in this sub-genre of lo-fi is rapper XXXTENTACION.

Hailing from Broward County, Florida, he shook the game with his hit single “Look at Me.” For that song, many tried to pigeonhole XXX into being nothing but a lo-fi bass artist. His new release, Revenge, demonstrates otherwise. Revenge features many tracks that were previously released through his SoundCloud, but are now compiled into a commercial release. Songs such as “King” and “Looking for a Star” show quite a contrast to the style we’ve come to expect. Yet, “YuNg BrAtZ” and “RIP Roach” still show that xxx isn’t afraid to go hard.

XXXTENTACION opens Revenge with “Look at Me”, which, to fans, is to be expected. It’s his leading single and works well as an attention-grabber, but also serves as a way to show contrast to the following tracks. The first of which, entitled “I Don’t Wanna Do This Anymore,” immediately shows this opposing sound. It’s still lo-fi, but the autotune shows XXX’s softer side presented in the form of a hybrid garage-style produced 808’s & Heartbreak and cloud rap.

Continuing to throw the listener through hoops, “Looking for a Star” features a distinctly dark yet tropical back beat produced by none other than EDM megastar, Diplo. Auto-tuned as well, but not over the top and cheesy, his vocals fit well with the song and its Jamaican-ish vibes. 

Moving on, we continue with this leaned out, almost lethargic feeling with “Valentine.” XXX almost seems to be taking notes from early Travis Scott or Yung Lean as he channels his inner sadboy and questions whether or not to continue down his current path, or stop everything and become a better person. The answer presents itself quite clearly on “King,” which starts out very similar to the previous track, dark and airy. This, however, does not last. In almost a hat tip towards his punk rock and heavy metal roots, distorted guitars and thundering drums accompany his screams of “HEY! YOU!” coming seemingly out of nowhere and marks a change in tone for the rest of the album.

However, the next track “Slipknot” continues the running theme of XXX wanting to show his audience that he isn’t a one-trick pony when it comes to rapping. Undoubtedly the most lyrical track on the album, it’s definitely his best attempt towards creating an old school hip-hop sound with piano runs and hooks similar to that of UGK and Outkast. XXX is out to prove that he can not only sing and scream, but also spit bars. It’s also the first track on the album to feature other artists, Kin$oul (who’s featured on the track) and Killstation (who sings the end hook).

Revenge returns to the sound of “Look at Me” with “YuNg BrAtZ,” and marks the return of the XXX we’ve come to know and love; Loud, aggressive, and ignorant toward the feelings of others to ultimately bring the album full circle. Not much can be said other than it’s definitely a crowd pleaser meant to whip the audience into a blood-thirsty frenzy.

The last track, “R.I.P Roach,” features fellow Members Only founder $ki Mask, The Slump God who more or less raps over the beat, as opposed to XXXTENTACION‘s hype shouts. Like “Look at Me” and the previous track, it carries XXX’s signature sound of distorted bass and screamed vocals. It also holds our objectively favorite line on the album with XXX essentially calling his haters “rice krispies.”

From top to bottom, Revenge proves that XXXTENTACION is not a one trick pony. As his first major commercial project, the album sets out to demonstrate his versatility and diversity. Only time will tell which direction he will continue, but as far as our opinion goes, we see X continuing his reign of bending genres, generating insane amounts of hype, and blowing out subwoofers worldwide.