Hello! My Name is Sage Holt, I am a brand new Freshman here at the University of Utah. And I would love to share my experience working for K-UTE Radio as DJ Bug Bite. Before I jump into it, I feel you should know a little bit about me. Just like many of the incoming students, I was nervous, terrified, and also excited to start college. Like many others, I had little to no friends at the U, I did what any logical person would do trying to make friends; I signed up to rush. (a choice i’d soon regret).
DJ Dum Dum Boy
Here Comes K-UTE
Not even halfway through rushing I got sick and had to leave thereby excluding me from being able to join. But little did I know I already had a family on campus, I had just yet to realize it. As a kid I remember my mom always telling me that the friends you make in college are the friends you keep for life. And as a freshman new to the scene of the college radio station, I was meeting people left and right, each one kind in nature with a character all their own.
Gary Potter & Father Cactus
People who would help me and guide me, as if they were my family. Brothers who would protect me and sisters who would lend a shoulder if needed. Working for the radio has also given me a voice to be heard in the college community, a voice to share my thoughts, ideas and perspectives with my fellow students. Due to K-UTE Radio, I will not be just another student in the classroom. I will have left my mark on this campus as all of us should. Little by little I have come to see that these people have become so much more than my producers, managers and interns; they are some of the greatest friends, giving me memories to last a lifetime.
“My body’s overworked It’s just the same I know When can my body work Cold static overload? My body works, I know It’s just the same, I know My only difference Is robot influence”
The chorus off of “Robot Stop” from 2016’s Nonagon Infinity is a prophetic statement for 2017. With the band releasing two new songs off of their fifth album this year on Wednesday, the Melbourne based King Gizzard and the Lizard Wizard is at the tail end of a whirlwind year. Touring across Australia, New Zealand, the U.S (twice) [if you want to see K-UTE’s Jackson Card’s review of their SLC show, check it out here.], and Europe the band has not only focused on tours but recording five different albums and ending the year with a touring music festival across Australia, “Gizzfest.”
A band with this kind of ethos is almost unheard of in 2017.KGATLW have proven that they can deal with a heavy workload and deliver quality music, concerts, and collaborations. What started as a seven member garage rock band from Geelong, Victoria in Australia, KGATLW consistently delivers new albums with new sounds, and 2017 was the band proving themselves to the world.
Starting with Flying Microtonal Banana in February, the band introduced a western audience to 24 TET tuning (For the non-musically inclined, these are notes in between notes in western music) which is commonly used in Arabic music. Fusing Psych rock, Krautrock, and Turkish folk music, the band created a sound that has not been seen in western popular music since The Beatles. The album had two singles that got considerable airplay in Australia and some U.S stations, “Rattlesnake” and “Billabong Valley”, the latter being a contemporary Bush Ballad that tells the story of Bushranger Dan “Mad Dog” Morgan.
In June the band released Murder of the Universe, an album that told three different stories through the band’s signature psych/kraut/garage sound. The album was even nominated for the ARIA’s (Australia’s RIAA) “Best Hard Rock Album” of 2017. Featuring Leah Senior’s narration for the first two stories on the album, the band resorted to using a text-to-speech application to narrate the final story. The album did not have any songs that got considerable airplay due to the length of each story, however it is the first time since “Eyes Like the Sky” that KGATLW has used spoken word to guide the structure of the album.
In August the band released Sketches of Brunswick East, a collaboration with U.S based jazz fusion group “Mild High Club.” The album mixes some concepts from “Flying Microtonal Banana” with a looser, improvisational feel ushered by Mild High Club’s involvement. This is some of the most improvisational content that the band has put out and their first foray into jazz. Citing Miles Davis’ “Sketches of Spain” as inspiration for the album name and jazz influence, the band delivers a newer sound that has not been heard in their discography. The album’s big single “Countdown” received heavy airplay in Australia. Again the band shows that they can metamorphose their sound and surprise their audience with new concepts they’ve never explored.
In November the band rolled out with Polygondwanaland. An album that is as fun to listen to as it is to pronounce. Building on the themes explored in “I’m In Your Mind Fuzz” and “Nonagon Infinity,” the band produces an album that uses more synthesizer than any of the band’s previous work. The big takeaway from this album however is the band released it entirely for free. The masters and artwork were given to the public for free. The band is stated as saying, “Ever wanted to start your own record label? GO for it! Employ your mates, press wax, pack boxes. We do not own this record. You do. Go forth, share, enjoy.” The band again explores a new concept never seen with their work. The fanbase has already began publishing Polygondwanaland among different labels, creating special editions of the album that are unique to each label. KGATLW shows that there’s always something new up their sleeve. If you want to read more about Polygondwanaland, check out our very own Jackson Card’s review of the album here.
What’s going to be on the fifth album? The band released two singles on Wednesday (You can listen to them below), “Beginners Luck” and “All is Known.” Both singles show an amalgamation of their musical work in 2017. With “Beginners Luck” borrowing the softer sound of “Sketches of Brunswick East” and Beginners Luck taking sounds off “Flying Microtonal Banana” and “Murder of the Universe.” Does this mean the band’s fifth album will be the capstone of their work in 2017? If these singles indicate anything, the answer is yes.
King Gizzard and the Lizard Wizard has delivered in 2017, they have come of age. Stu Mackenzie is now Kevin Parker’s biggest threat in terms of the Australian rock scene. In the time that Tame Impala has been quiet,KGATLW has come in and taken the crown from them. KGATLW has become the ruler of the late 2010s in the way that Tame Impala was in the early 2010s. The work they’ve done in 2017 has shown that rock is not dead. The show of pure passion for their content shows off with the band’s fanbase, and by giving their fans Polygondwanaland they’ve developed a new brand of marketing that is so brave in a world where music does not make a living.KGATLW is a force to be reckoned with. Time will show that their efforts are not fruitless and their work ethos in 2017 has sealed them as an influential band of the 2010s.
It’s seven thirty on a Saturday night. The doors to In the Venue were supposed to open thirty minutes ago. Instead, the line wraps around the corner and half way down the block. The heat is almost unbearable. The people in line squeeze together trying to hide under any shade they can find.
An hour passes. The heat has somewhat subsided as the sun begins to set, but everyone just wants to get inside. Ablebody begins to play. The sound echoes through the windows with hundreds of people still outside. I hear some voice their frustration saying they came just to see this band. The line slowly begins to move. By the time I get inside, they are wrapping up their set list and I hear only one song.
The second band, She-Devils, only has two members. Their performance struggles to captivate the attention of the audience. The instrumentation sounds disconnected from the vocals and the music unpracticed. Some listen silently while others converse.
The headliner of tonight’s show is Beach Fossils. The indie-pop band from Brooklyn, New York has experienced moderate success since their formation in 2009. They are currently on a world tour showcasing their June release, Somersault.
When Beach Fossils gets on stage, there are issues equalizing the music. Frustration sweeps over their faces as they converse with the engineer. “Can I get some more keyboard in this monitor?” “More guitar over here.” The lead singer, Dustin Payseur, leaves the stage to try and mend the situation.
After thirty minutes, everything sounds good and the band begins to play. The tired audience has little energy during the first couple songs. After a slow start, a couple people start to dance and their excitement radiates throughout the rest of the crowd. Within seconds the entire vibe changes. “I was wondering when you guys were gonna wake up”, Payseur asks.
I somehow find myself three rows from the stage with nothing to do but enjoy the show. For the next hour, I dissipate into the crowd. I am entranced by the music and the motion of those surrounding me. The outside world seems disconnected and my entire existence seems limited to the five hundred people under the same roof.
Many artists love playing in Utah solely for the passion of the audience. Utahans always show their appreciation for a good performance. Several concertgoers hopped on stage then surfed off into the crowd. While mosh pits may not be customary at indie-pop concerts, in Utah it is expected. When the enthusiasm of the crowd went up so did the band’s. They played a variety of fan favorites including Saint Ivy, Daydream, and This Year.
At the show, I was reminded why I go to concerts. Despite the heat, the long lines, and the problems with the tech, I genuinely enjoyed myself. For a short time, I was able to forget about everything outside of the venue’s walls. I didn’t have to worry about school, work, or the current state of our country. I could just listen to music and dance with my friends.
Hitting play on Bleak Plaza was a good idea. The Denver based group’s debut album kicks off with an immediate hit of energy on the title track “Fire in The Olfactory”, and it doesn’t soon let back on the acceleration. Track 3 “Say It and It Dies” brings a satisfying change of pace via catchy driving beats that transition from garage-y slacker rock to swirling kraut rock. These moods are complimented by clever motifs in the lyrics such as “when we’re dancing in the dark do you really care what the lyrics are…”.
Furthermore, this album will never bore you with stale grooves and patterns. Track 4 “Some Things Happen” starts off with a funky no-wave-esque groove that drops into a agony-tinted heart pounding finish to the song.
The second half of Bleak Plaza continues with the same pattern of passionate noisy pop songs with dynamic genres layered on top. The tight driving feeling of “Night of Vampires” is reminiscent of “Hard to Explain” by The Strokes. It brings a similar lovely feeling of driving in a car in a city filled with neon lights.
The final song “Until I Untie” quickly became my favorite track off the record (because I’m an absolute sucker for any simple powerful pop song such as this). In addition, the guitar tones are on point with perfect EQ, drive, and modulations. This song will make you feel as scared as you did the first time you felt that classic teenage reflex of pure romance squeeze your chest.
Bleak Plaza wastes no time in fulfilling its purpose of delivering an eclectic stream of toe tapping lo-fi power pop that will make you feel like you’re falling backwards into a swimming pool filled with nostalgic goop. I sincerely hope that this Denver based group will come play in SLC soon. This one will definitely be in heavy rotation in the rock/indie and Midday Mix shows right here on K-UTE Radio.
As a long time fan of the LA alt-rock band, Bad Suns, I was thrilled to have the opportunity to sit down and talk to them about their newest album Disappear Here. Along with that, I was also able to interview the band about their current tour, as well as ask a few questions about their previous album, Language & Perspective.
My first encounter with Bad Suns was in 2014 when I ran into their music online. I quickly fell in love with their songs, and after a couple months I received their Language & Perspective vinyl as a birthday gift. Their catchy hooks and energetic songs make them the perfect band to sit down and jam out to, but they also don’t shy away from music that focuses on more serious issues and contain a lot more lyrical depth.
I met up with the band at The Complex on February 28th; the winter weather was still lingering as fans huddled up in a line outside of the venue. I met up with the band inside where I was able to meet all of the members. I was first introduced to Christo Bowman (Lead vocals and guitar), then Gavin Bennett (Bass), Ray Libby (Guitar), and Miles Morris (Drums).
After we all sat down, I asked the group about their newest album, Disappear Here, and how their sound has changed and evolved from their first album, Language & Perspective.
“We felt in a lot of ways that Language & Perspective feels like the first couple of dates with a person; you present yourself the best that you can, showing the best sides of yourself, but with Disappear Here it’s kind of a bit more like falling in love…There’s more vulnerability there and it goes a bit deeper, but at the same time it’s still the same person,” Christo explained.
While Language & Perspective is still one of my favorite albums, it’s easy to tell that Disappear Here feels more confident and structured while still maintaining their original sound.
I then asked the band about the album title itself, Disappear Here, and how the name came about.
Christo explained, “We were in the studio and I was reading the book Less Than Zero by Bret Easton Ellis, which is one of my favorites, and there’s a billboard that appears in the narrative a few times that says ‘Disappear Here.’ I remember we were thinking of album titles…and it kind of encapsulated everything we wanted it to. It’s like instructions too, to an extent, it’s like sit down, put your headphones on, and disappear here.”
For myself, music has always felt like an escape, but with the track list for Disappear Here it’s very easy to follow the album’s directions; just sit back and get lost in the music.
Lastly, I talked to Bad Suns about their most recent tour. Coincidentally, Salt Lake City was their first show on the list, so I asked them about what they all looked forward to the most when performing live on their tours.
“I was talking to my uncle just the other day about this. It’s a really cool real life manifestation of your hard work. It manifests itself into people physically spending their time to go buy a ticket or drive to the show; it’s really encouraging.” Ray explained.
Christo chimed in, “Yeah it feels like the reward aspect of what we do…It’s one thing when we put a record out, and it’s great to see that people are listening to it…but you don’t really get the full picture until you come to a show and you see a room full of people singing along to the entire record and you go ‘Oh wow, this is real, these people are actually spending time with our music,’ and that’s just an incredible feeling.”
It was definitely really nice to see how humbled the band was to be playing live, and as a fan, I was definitely humbled to be able to sit and interview them.
If you’ve never listened to Bad Suns before, make sure to check out the song below. Sadly, they’ve already passed through Utah, but if you’d like to see them in the future during the rest of their tour, be sure to check out their tour dates for this Summer!
This first release of the two volumes, which will be catalogued together as the band’s fourth record, takes on the Yin of Chinese philosophy – the Yang to be taken care of in vol. 2. Roughly translating to “the shady side of the hill,” the Yin in vol. 1 is used as a vessel to take on a more grim subject matter, moving through night and dark, bumping into ideas like how vague and black the world can be. This is all according to the duo themselves, Ripley Johnson and Sanae Yamada. They found themselves in the darkness of a Portland winter at the start of making this record, and having ended in the season of infectious scents that is a northwestern spring, they thought it would only make sense to evolve this record as winter to spring, night to day, dark to light – Yin to Yang.
Pigeonholing themselves in the genre of what they call “repeat-o rock” (their incessant repetition and uncompromising loop of riffs provides a cadence that probably first attributes to punk legends, Suicide) they surface their dark contemplations, batting off with “The Death Set.” Setting the stage for rest of the record’s ambience, the track contains relentless fuzzed out guitar, a beat you can coolly nod your head back and forth to, synths attacking from all directions and soft, yet demented, gospel-like vocals that keep you in tune with the evolution taking place. “Cold Fear” and “Will of the Devil” bring on more of the same allowing the band to flex their commitment and show that if something gets stuck in their heads it won’t be over for at least another five minutes. But it’s when we get to “Creepin” that perspective shifts a bit and listening to it you feel like you could be on some coastal highway zipping along the beach in a convertible. Ironically, given the dark tones and discrepancy of light within the rest of the album, this will probably be the composition that sticks with you come the end of the album. However, I might only think that because we are in the dead of winter and I could really use a beach. “Cross-Town Fade” and “Cult of Moloch” are great tracks that alleviate the bite from a cold breeze; the former surfaces the likely influence of Suicide bringing out old-school drum machines that compliment the playful synthesizers that might sound familiar if you’re into the Brooklyn art project Japanther, and the latter elevates the band to their most tenacious mode demonstrating a duel of two soloing guitars above the atmosphere of drum machines and fuzzed-out-guitars-on-repeat.
Vol. 1 comes to its conclusion, and where it will pivot to the Yang and sunny skies in Vol. 2, in “White Rose.” The track channels in with sound of ambient winds, almost like air moving through an indefinite valley, void of time and consequence, until the beat kicks in and you remember that you’re listening to a song. The song itself moves in and out of its gospel, clashing synths and guitar solos, but never let’s that beat stop. Not for a second. Not until the ambient winds return after 10 minutes and it fades away under the stiff breeze, and you’re once again lost. The winds push through the valley, revealing to your mind that they will come again, like all seasons – winter, spring, summer, fall, winter again – and that life is just a repetition of rotation of earth. Like the beat, the winds fade away and you’re back from void, but with all of this still realized, and it’s the moment this record ends that you understand that a good life isn’t a lack of repetition, but rather, an excess of variation that you can fade in and out of.
It’s TRV aka The Realest Vegan aka The King of Soundcloud Finds, back with a list of what I’m listening to this week. First off, another hit from the jazz group gone electronic production trio, 3lo, this time with their spin on Rae Sremmurd’s Black Beatles, aptly titled Bl5kBtls. The song takes an interesting, future bass inspired twist on the chart topping hit from 2016 (ignore the poorly photoshopped album art, this song is sick trust me).
Tennyson has been one of my favorite artists for a long time, and in celebration of his upcoming concert at Kilby Court (which you should definitely check out), I had to throw in Like What? An audiophiles delicacy, this track first pleases your senses, then takes you on a journey as you search for post-production perfection. It’s weird, raw, and groovy.
Quickly Quickly’s Trilogy is an electronic masterpiece produced solely by a highschooler out of Portland, OR. The progression of themes in this song proves this kid doesn’t mess around, displaying his musical prowess over his peers. His musical progressiveness in this emerging electronic sub-genre puts him leaps ahead and makes him a must watch as he rises through the ranks of soundcloud’s greats.
To round off this week’s finds, we’ve got a super funk collab from Tall Black Guy and Darondo. Doing other collaborations with rising artists like Masego and Rommel Donald, Tall Black Guy has a refreshing retro-groove influenced sound that’s already earned a timeless place in my books. If you’re not riding Tall Black Guy Railway, you better hop on soon.
I hope you guys enjoyed this weeks tracks. Hit me up on twitter @K_UTETRV and let me know what you’ve been listening to!
The Velvet Underground was an American Rock band from the big apple. It was formed by Lou Reed and featured John Cale, Sterling Morrison and Angus Maclise. The Velvet Underground was managed by Andy Warhol for a spell, and was the house band for some Warhol events from 1966 to 1967. Warhol insisted that Nico, a German singer, collaborate with TVU at some point, and after a year of working on the album, it was finally released by Verve Records in March of 1967. The album cover is famous for its Warhol flare: a yellow banana sticker with “Peel slowly and see” printed near the tip of the banana. Consumers who peeled the banana skin found a pink, peeled banana beneath.
Although they had almost no success during their existence on the shelves and streets, the Velvet Underground is now recognized as one of the most influential bands of the rock era. Their album featuring Nico that debuted in 1967 was called “the most prophetic rock album ever made” by Rolling stone in 2003.
After TVU moved on from Andy Warhol as manager, they made White Light/ White Heat, which was often referred to by the band as an album that reflected, “consciously anti-beauty”
From “Who Loves The Sun”, which sounds like a mix of the Smiths and the Beatles, to “Femme Fatale”, which sounds like a melancholy tune from a coming-of-age comedy-drama movie by John Hughes, The Velvet Underground has a wide span of music. While “Pale Blue Eyes” acts as a quiet lullaby to a lost lover, “Sister Ray” is a 17 minute rock anthem to drugs, violence, and transvestism. In 2013, Velvets fanbase spiked with the death of Lou Reed. Today, The Velvet Underground is an “oldie but a goodie” and is more popular than they ever were in the 1960s.