Latest Issue: 23 - Spring 2009

Transcription

frequency
WMRE’S MUSIC & CULTURE MAGAZINE
ISSUE 23 SPRING 2009
editorial
editors-in-chief
PATRICK I. BUNTICHAI
CHELSEA SPENCER
managing editor
SEAN HALLARMAN
contributing writers
McLEAN CRICHTON
SEAN HALLARMAN
LAUREN LADOV
TRAVIS LEVIUS
IJEOMA OKORO
GEOFF SCHORKOPF
CHELSEA SPENCER
CHARLIE WATTS
TIM WEBBER
contributing photographers
TRAVIS LEVIUS
assistant editors
VICTORIA ALDEN
ALICE CHO
McLEAN CRICHTON
LARA KESLER
DASHA KIRILLOVA
LAUREN LADOV
TRAVIS LEVIUS
ARI ROSE
PAM STERLING
CHARLIE WATTS
TIM WEBBER
WYATT WILSON
designed by
Corrections: In Issue 22, the
Bob Dylan Tell Tale Signs
album review was written by
Tim Webber.
Jay Reatard caught me off guard. In our phone interview, he was genuine, articulate and, well, rather
polite. Not that I really expected him to spew fiery vomit through the phone or anything, but I wasn’t
quite expecting what I got: a quiet, grown-up teenager who wants nothing but to write music and
avoid the other kids. Now, the man has a reputation for live shows that exhibit a Jay Reatard quite
different from the Jay that I got. And I’m pretty sure that’s why we picked him to play our spring band
party. Before I knew anything about him, I knew about his live shows. Most people I asked about Jay
told me they saw him play live before ever hearing his recordings, which are widely considered to be
a phenomenal example of what honest indie-punk rock can and should be today (goddamn, I mean
even Pitchfork Media loves his releases). One gets a paradoxical, yet gratifying feeling of integrity when
listening to his clever lyrics shrouded in abrasive noise. He’s no one’s guilty pleasure. But that’s not why
we’re excited (and just the slightest bit fretful) to have him play our very own Performing Arts Center
April 10. We’re looking to see some good, old-fashioned ruckus. Jay maintains he’s not as pugnacious as
the Internet makes him out to be, but good riddance, Emory could really use a good punch in the face.
So, get ready for “Big dudes! Big hair! Big fun!”
- Chelsea Spencer
the magazine
Frequency Magazine, supported by WMRE, is Emory’s only student-run music and culture magazine.
We aim to bring Emory students, faculty and staff and others in the Atlanta area new information about
music, film, food, fun, booze, and entertainment. Although we center most of our features on local
Atlanta musicians and artists, we also like to slip in our vital insight into the radio world of WMRE.
Begun in 2002 under the name Listen, the magazine was redesigned and renamed Frequency in 2007,
then redesigned again in 2008. We’ve gone from black and white photographs on newsprint to this
high-gloss, full-color work of art. We’ve featured artists ranging from Hot Chip to The Coathangers to
Cipher Kenni. Frequency is written completely by contributing writers and we’re always looking for
submissions, photographs and artwork. Questions? Complaints? Praise? Contact Patrick Buntichai at
[email protected] or Chelsea Spencer at [email protected]
12
2
feature
JAY REATARD
comment
PISON FLO
ATLANTA PSYCHICS
FUTURE OF THE
MUSIC INDUSTRY
22 culture report
CONTENTS
frequency
18
the report
YEAH YEAH YEAHS
ATL EMPIRE
SHOW SCHEDULE
MSTRKRFT
SWAN LAKE
NU CLASS OF SOUL
RECESSION:
DO IT YOURSELF
ELVIS PERKINS
DAN DEACON
JUNIOR BOYS
MUSIC SOCIOLOGIST
I DO MUSIC
GALLERY OD
4
pieces
24 wmre
COMMENT
THE MUSIC INDUSTRY IS OU
T
HIS APRIL, ONE OF TIME SQUARE’S LANDMARKS WILL BE
conspicuously missing in the hurried urban landscape that is
Manhattan. The Virgin Megastore, the two-floor monstrosity,
will be closing down, followed shortly by its sister store in Union
Square. The recent economic downturn our country finds itself in
has been cited as the cause, although one must wonder whether this
is really the heart of the music industry’s predicament.
User-to-user sharing, and the problem it poses to record sales, predates Wall Street’s implosion. Record stores in particular face the
problem of selling an outdated technology. However, the music industry has, for the time being, learned to embrace the Internet and
sell to records in a .mp3 format. This does not seem to be working.
The recession has spread to the record labels as well. Touch and Go
Records — who boast the Yeah Yeah Yeahs, TV on the Radio, All the
Saints, and Blonde Redhead as current artists and alumni of the label
— has ceased manufacturing and production of many of its subsidiary record labels, focusing on its main corps of artists. Touch and
Go and many other independent labels will soon discover that there
is little room for profit on the periphery of mainstream music.
So is this a cause for concern? If you are looking for a job in music,
should you go take the LSATs? I don’t think so. Because the userto-user piracy problems existed prior to the recession, the problem
with the music industry is institutional. Rather, the credit crunch
in the financial sector is preventing record company’s from continuing to refinance their debt and creditors are calling in their loans.
The economic downturn is only exposing an industry in the midst of
spending more money than it’s making (sound familiar?) to facilitate
infrastructural transition.
The transformation from CD to .mp3 is much different than other
industrial transitions: the product is moving from something one
physically holds to something one believes exists in the depths of
their hard drive. Over the next ten years, the industry must learn to
handle this new market and control user-to-user file sharing in order
to sustain a modicum of business. It is inevitable, also, that record
companies will find a way to better control their product (i.e. iTunes
encryptions but much more widespread).
The industry must take proactive measures to maintain its own vital-
2
frequency SPRING 2009
COMMENT
UT OF TUNE
By McLean Crichton
ity. Labels should begin to make more vinyl albums, as some already
have. While the sound quality of a file on a CD is identical to a .mp3
file, vinyl albums give the sound a new, authentic dimension. More
importantly, record labels must harness consumer’s desire to receive
a tangible good that they can hold in their hands when buying an
album. That combination makes vinyl a very attractive alternative
to the CD.
Record companies will also have to consolidate. The democratizing
effect the web has had on music has been great for creativity. But
there is only so much demand that can be generated for every indie
musician with a Macbook in her garage. In order for the industry
to survive, there must be a return to the days when being signed to a
major record label was not only desirable, but essential to sustaining
one’s music career. This will not prevent musicians from producing
and distributing their own music via the Internet, but does create a
clear boundary between internet phenomenon and celebrity.
Artists must also regain focus on live performances, something one
truly cannot experience through a YouTube clip. But economic times
have left concert-goers with far less discretionary income to spend on
concerts. Langerado, a music festival based in Miami, was cancelled
this year due to low ticket sales, despite having Death Cab for Cutie,
Snoop Dogg and Modest Mouse as headliners. One must wonder,
in pressing economic times will consumers still spend money on music?
The answer, in short, is yes. Music is a market where demand stays
relatively stable, even in tough economic times. In fact, some may
argue that music is one comfort where demand increases in tough
economic times because of its therapeutic value, similar to alcohol.
While mom and dad may insist on eating at home more often, little
goth Johnny still wants his new Slipknot album to rinse the pain
away. Similarly, people will still want to go to a concert for the escape
it offers from the drudges of pressing fiscal burdens.
Music has played an important role in the narrative of world history.
The industry is going through a foundational crisis and it will be
some time before it finds itself on its feet. In the meantime, it’s not
going anywhere. Yes, radios may not exist in 10 years (or CD players
for that matter), but people’s love for music will be unfettered. As
long as music has a place in our life, it has a place in our economy.
13
PIECES
Jaspects
TAKE THE “A “ TRAIN - Atlanta, GA
Well, they are not exactly soul artists, but they share the same intent of pushing boundaries of musical genres. In fact, the Jaspects’ tag-line is “Redefining
All Aspects of Jazz.” The award-winning, classically-trained jazz sextet — all
recent Morehouse alumni from various parts of the U.S. — enjoys having a
multi-generational fan base. How many 20-something-year-old musicians
can achieve such a feat, let alone impress mega-celebrity jazz aficionado Bill
Cosby? With each release, their music gets more eclectic and daring. Their
most current single, “Unifunk,” has been the apex so far, incorporating their
old-school jazz sounds with an exciting electro-house/techno beat with an uplifting message of social peace. And have you attended any of their
concerts?! Simply nothing like it, just like their approach to jazz. This
uber-talented group would not have it any other way.
DARK & LOVELY- Atlanta, GA
ALBUM: The Polka-Dotted Stripe (due in April)
Play a song by Jessica Tonder and prepare to be easily intrigued. Imagine Ella
HOT TRACKS: “Unifunk,” “A Night in Tunisia,” “Uppity Negro”
Fitzgerald as a young girl, bumping trip-hop titans like Esthero, Portishead, and
DJ Krush on her 8-track player, and that’s what Tonder recreates in her music. An alumna of super-prestigious Berklee College of Music, the multi-ethnic
songbird had been introduced to several styles, cultures and generations of
music as a child, and it shows in her songs. There’s a haunting mystique to
her sound and her delicate, smoldering vocals, and for an artist that is searching for peace in a broken world — based on her concept EP The Robot and
The Little Girl — her music can, at times, sound anything but cheery. Listen
to “Smoking Gun,” a scathing, intelligently written charge against the Bush
administration’s “mishaps,” and you will see that this little girl has a whole lot of
pent-up frustration. Her dense sound may not register with the mainstream
listener, but we will be rooting for her ascent to stardom nonetheless.
ALBUM: The Robot and the Little Girl EP
HOT TRACKS: “Detox,” “Art of War,” “The Bee (Remix)” with Proton
Jessica Tonder
NU CLASS O
Brittany Bosco
THE GOLDEN GIRL - Atlanta, GA
Just wait until the world gets a hold of Savannah-native Brittany Bosco. Imagine the best
of true-school hip-hop (Little Brother, Madlib) with the best of left-field experimentalists
(Flying Lotus, J*Davey, Sa-Ra) and add yesteryear’s premier acts in various genres (Pink
Floyd, Sarah Vaughn, Earth, Wind, & Fire) and you may start to conceive her insanely
addictive, fresh sound. Last year, she put out her teasingly brief EP, and it ended up on
many people’s best-of-2008 lists. Perfectly titled Spectrum, it is a colorful smorgasbord
of sounds and genres that showcases her range musically and vocally. For instance, the
beat on “Glitch” is a glorious, industrial boom-bap track that would fit on Cannibal Ox’s
Cold Vein album, and her left-field vocals fit ever-so-nicely to the surreal soundscape.
Then she totally flips it and does a stellar, slow-churned jazz piece on “Blues for Blue,”
and while other artists may hide behind busy production to cover vocal weakness, Bosco
shows that when it’s all stripped, she still shines. Her eight-tracked EP should be enough
to satisfy your cravings for the time being, but you will still end up frenetically yearning for
more.
ALBUM: Spectrum EP
HOT TRACKS: “It Was You,” “Glitch,” “Black Keys”
J*Davey
TODAY’S FUTURE FROM YESTERDAY - Los Angeles, CA
Arguably the pioneers of the new electro-hip-hop-punk-funk sound, the dynamo duo of singer Jack Davey and producer Brook D’Leau have
shattered perceptions of what it means to do “black music.” Good luck trying to place a label their sound. It’s simply just too new and
boundary-breaking to generalize. J*Davey are their own genre. There’s something for the skater boy, something for the B-Girl, something
for the urban hipster, and even for the old-school funk enthusiast in each song. They may have retro influences, but their style is unapologetically futuristic — and trailblazing. Kinetic, and sometimes frenetic, J*Davey’s uniquely sexy sound will grab you like a vortex.
ALBUM: The Beauty in Distortion/The Land of the Lost
HOT TRACKS: “Mr. Mister,” “Hi Sun,” “Cowboys and Indians”
4
PIECES
Musinah
DOER OF TALENTED DEEDS - Brooklyn, NY
She turned heads last year with her voice featured on the delightful album-opener and single “Daykeeper”
by the Foreign Exchange. Her voice was also featured on “Changes,” one of the better tracks on Common’s Universal Mind Control. This woman with memorable vocals is Muhsinah, and I guarantee that
after you listen to any of her recent albums she will land on your favorite list of artists. Muhsinah, which
translates from Arabic to “doer of good deeds,” constantly pulls creative material and multi-genre influences (i.e. psychedelia, broken-beat, jazz) in her craft to produce a very cerebral yet mellifluous soundscape. It’s worth mentioning that her vocal layering is some of the most sublime layering on wax since
Marsha Ambrosius from Floetry. What is more astonishing is that she produces, writes, and arranges
all of her tracks. When you listen it is almost impossible to believe that the wonderfully progressive music
was mostly done by one person. She may seem like a Jill-of-all-trades, but who is to say that over time
she can’t be the master of it all?
ALBUM: The Oscillations: Sine
HOT TRACKS: “Construction,” That Day,” “Try”
F
SOUL
2009
by Travis Levius
ERYKAH BADU IS NOT THE ONLY MUSICIAN WHO REPRESENTS AUTHENTIC, FORWARD-THINKING SOUL.
Explore these creative geniuses and promising artists who transcend today’s stale music boundaries.
Kameron Corvet
Janelle Monae
LA NOUVELLE SENSATION - Atlanta, GA
It is sometimes hard to believe that the “R&B, Hippie, Neo-Soul,
Rock Star” title that Raheem DeVaughn gave himself was not
for Kameron Corvet. He’s hardly R&B, but his rock-tinged soul
has the ability to appeal to many listeners. The hooks, the strong
falsetto voice and the arrangements work spectacularly together
(“Kiss and Makeup,” “Let It Go”) and are even suitable for the
pop market with their touch of Prince and Kravitz. Corvet has a
growing and devoted following on both sides of the Atlantic, and
recently co-headlined with Grammy Award winner Adele in Atlanta. What makes him so special is the pure sincerity of his selfpenned lyrics, and if you know where to look online (“Kam’s Cam”),
you will realize that he really values a connection with
his listeners and fans. Nowadays in this vapid music
industry, it is refreshing to find a true artist at heart with a unique approach to soul.
ALBUM: Korporate Rockstar
HOT TRACKS: “Kiss & Makeup,” “War Within,” “You Will”
THE FIFTH ELEMENT - Atlanta, GA
You have hopefully heard of her by now; she is arguably
the emerging champ to come from the Atlanta music
scene. With her funky-retro hair, quirky persona, and
cyborg references, many are guilty of knowing more
about her image than the sheer quality of her music.
For the record: this girl can sing. And with intense,
thoughtful lyrics such as “Are we really living or just
walking dead now?/ Or dreaming of a hope riding the
wings of angels/ The way we live/ The way we die/
What a tragedy, I’m so terrified” on the great “Sincerely, Jane,” Monae is clearly much more than her quirky
style. Do yourself a favor, cop her Metropolis EP and
get plugged-in immediately.
ALBUM: Metropolis: The Chase EP
HOT TRACKS: “Sincerely, Jane,” “Metropolis,” “Many
Moons”
Peter Hadar
CrazySexyCool Soul - New York, NY
It’s hard to figure out why the self-proclaimed “Cool Weirdo” has not blown up
yet. Soul peers Rashaan Patterson, Erro and Raheem DeVaughn have talked
about his talent, and URB, Essence, and Billboard have sung many praises for
his infectious, groove-heavy material. Why isn’t he selling platinum numbers?
That answer may remain elusive, but now you have no excuse not to discover
this guy’s sound — a tantalizing mix of sensual soul/R&B, electronica and
“glam-experimental” flavors. Add in a great voice reminiscent of Dave Hollister,
and you have a star package (patiently) waiting to be unraveled by the masses.
ALBUM: She’s 4 Months
HOT TRACKS: “First Sight,” “All Mine,” “Can’t Stop”
5
SPRING 2009
2009
frequency SPRING
PIECES
BROKEN ZIPPER
Have you ever bought a new pair of jeans just because the zipper on your old pair was broken?
Recent times make this option cost-prohibitive. Luckily, Frequency knows how to fix your broken
zipper for free! All you need are scissors, pliers, thick thread and needles, then follow these
steps (hint: take off clothing before operating on zipper):
1. Use the pliers to remove the metal stopper at the bottom of the zipper. Zip the zipper down
to the bottom, stopping just below the last of the teeth.
2.
Arrange the teeth evenly. Make sure that the fabric and zipper are lying flat. Slowly zip up
zipper halfway.
3.
Sew loops around bottom of zipper where you have removed the metal stopper. Make
sure that these are sewn perpendicularly to the zipper. Sew at least six stitches and finish with
a knot on the inside.
4.
Go ahead and zip it all the way up.. FIXED!
RECESSION DO IT YOURSELF
THERE ARE FINANCIAL SACRIFICES TO BE MADE FOR THOSE IN HARD ECONOMIC TIMES. HERE
ARE SOME MONEY-SAVING TIPS TO HELP MAINTAIN YOUR QUALITY OF LIFE.
PESKY STAINS
Stains have often turned a new blouse into a fashion emergency.
Gone are the days when a trip to the dry cleaners (or the mall) was
an affordable avenue for wine stains. Here are some tips to get
those tough stains out of your favorite clothes.
Vinegar is a cheap alternative for stain removal. For stains that are
tomato-, wine- or grease-based, saturate the area with vinegar and
allow it to soak, then wash. Repeat these steps if initial attempts fail.
Beware though, the acetic acid in vinegar may weaken many common fabrics such as cotton, rayon, acetate, triacetate or silk fibers
and in some instances can cause color change. Try testing it out on
a hidden seam to make sure your colors will stay true.
Plain old soap will do the trick as well! Make sure it’s not colored or
scented and doesn’t contain moisturizer. The more basic it is, the
better (not in the pH sense though, you want it to be neutral). After
soaking in cold water, scrub stain with the bar of soap. Repeat until
the stain is gone. This won’t work for grease or oil stains. Hope this
saves you a trip to the dry cleaners!
DECORATE
Is your apartment or dorm décor suffering from the recession because
you can’t afford pricey posters or swanky paintings anymore? There
are some creative ways to spiff up your crib.
Go to the local dollar store and pick up a few picture frames. A cheap
way to fill them is with pictures of your friends or paintings of your own.
Decorate the frames to give it a little something special.
Another great way to decorate your room is to draw on the walls with crayon. Leaving crayons around
your apartment with the purpose of drawing on otherwise vacant walls will leave a creative landscape
over your couch. Every square inch will reflect a different individual’s taste. Best part: it’s easy to clean
up. Mr. Clean’s Magic Eraser works as well as many pricey solutions like silver polish.
6
ASK A MUSIC
SOCIOLOGIST
Emory Professor Timothy Dowd provides a
scholastic perspective on the state of music.
INTERVIEW BY TRAVIS LEVIUS
FREQUENCY MAGAZINE: The music industry has seen major changes since everything is going digital. As a music industry scholar, do
you see this as helping or hurting the music business?
TD: It helps some but hurts others. The retail sector of the music business
— like actual stores located in physical places have not been doing so well.
And for the record company, things haven’t been going as smoothly as they
would want but the shift has obviously been a real benefit to Apple with
their iTunes and iPods and other companies that deal with MP3 players.
And to a degree, some performer-musicians have an easier time getting
their music out than the past so I think it’s been
really beneficial to musicians who operate at the
grassroots level — it’s through Myspace, through
CD Baby and other sites. It’s pretty easy to get
your music out there. The problem is getting the
attention. That’s the big problem.
FM: The current recession has hurt plenty
of markets and consumer wallets. Has the
blow to the economy deeply affected the music biz?
TD: Before this crisis hit, the music business as a
whole, particularly the record industry and brickand-mortar retail had been going through some
problems. In some respects, their big days are
behind them in terms of finances. This [crisis]
didn’t help their situation. As far as consumers, if
they have less, less and less money in their pockets, I wonder if that’s gonna make free online
music [peer-to-peer] more appealing to them. I
wouldn’t be surprised if that happens.
FM: We’ve seen eight-tracks, then tapes,
then CDs, now the iPod — what’s next?
TD: Well I hope the iPod sticks around, for self-
ish reasons, because that’s [where] all my music is
now. We might have a long stretch where your music system is computerbased. I don’t see it disappearing anytime soon especially since there are
moves to integrate other media (television, motion picture, photography)
into computer-based systems.
FM: In your opinion, what was the best decade period for music?
TD: I really like the late ‘60s and early ‘70s — it was a really vibrant time.
You saw FM radios creating an environment that was conducive to playing
entire albums on the air. It was a sort of free-rolling period. Personally
I think the current time is not necessarily [producing] the best music, but
access, both old and new, has been incredible compared to the past. For
musicians, I prefer the way things are now because I can record my stuff
and share it with people — I don’t have to rely on gigantic record companies to get this stuff out there.
FM: How many albums do you own?
TD: I’m still moving all of my physical albums over to iTunes and I’m
PIECES
will give you the [amount] of albums. I still have maybe another twoor three-thousand songs.
FM: Was there a song or album that changed your life?
TD: The first album I ever bought was a really weird album: the sound-
track to 2001: A Space Odyssey. [There’s] some really bizarre music on there:
very avant-garde 20th Century orchestral music, and I used to play that.
My mom and dad would ask me to turn it off. So, where other people
got in trouble for rock and roll, I was getting in trouble for really bizarre
orchestral music. That [album] has a place in my heart.
FM: What are the odds of an aspiring singer becoming a platinum
artist?
TD: I think the odds are better than if you’ll become an NFL player. What
do you do when you want to be an NFL player? You should participate in
sports in junior high/high school, right? You should get someone’s attention and get recruited to a big college program, then scouting comes and
someone gets signed to the team…so otherwise, there’s steps. There are
no “steps” if you want to want to do music and be an aspiring musician.
FM: How does the city of Atlanta compare to other U.S. “music
capitals”? Is Atlanta really a hotspot?
TD: Atlanta is obviously a hot-spot for hip-hop,
and it’s been that way for a while, but even there
it’s not the hot-spot. People like OutKast, of
course [they] have been great for Atlanta, but
you know the Atlanta scene is also part of, in
some sections, the “dirty South. So in many
ways it doesn’t have its own distinctive quality.
And Atlanta’s scene arguably suffers in comparison to [the one in] Athens. When you think of
alternative rock and the like, you go there. As
far as the live music scene, some place like Austin is really happening versus Atlanta.
FM: Tell us your predictions on how the music industry and popular music will be in the
year 2020.
TD: I don’t know which one will dominate, but
the trend right now is that you’re seeing a proliferation of genres and subgenres. My guess is 10
years from now, you’re gonna see a wider range
available, which makes it harder for any one to
be dominant nowadays.
FM: Can you comment on the state of music today? Good, bad or fugly?
TD: All of the above. You know, there’s a lot of really good music out
there. It’s just sitting through everything and finding access to it. But
access is not the problem; information seems to be the problem. Where
is everybody? Where are all of the good folks? If you go to places like
MySpace Music, Soundclick — there’s no shortage of really good musicians, but you have to somehow know how to find them. I’ve actually
quit listening to the radio. There’s a large variety of stations, but most of
it kind of strikes me as bubblegummy in a certain way. I find radio to be
very conservative in its programming. But that’s how much things have
changed; you don’t even have to listen to radio to find new stuff. When
I was younger it was just the radio and record store and that’s what you
relied upon. Live performance I think is suffering. Why? Because it’s
cheaper to have a DJ. Small scale performance opportunities are not as
plentiful as they use to be. Financially, it’s easier to go with the DJ, you
don’t have to rely on some band to play the music correctly. A DJ is
self-contained, versus a “do you want an eight-person band” in your little
restaurant or club?” I don’t know.
up to about 14,000-and-something songs, so divide it by 10 and that
77
WINTER 2009
2008
frequency
frequencySPRING
PIECES
MY NAME IS ________AND
I dO MUSIC
“This is for all of the talented true MC’s
This is a dedication to you from me
We in the same boat truthfully
And so if you unsigned then keep fightin’ like the UFC
I speak, on behalf of the dudes that make beats
The backpackers-trappers
and music fiends
The game ain’t what it used to be
That’s why we gotta stay connected like a USB…”
I
t was slightly eerie to hear
those lyrics performed by RE, a
young, aspiring MC from Atlanta
by way of New Orleans, at this particular event. It was as if he was the unofficial
spokesperson, telling the crowd the main intent
of I dO Music through lyrical form. In reality, his song “I Just Wanna Be” was a product
from his own thoughts and struggles of “making
it.” He understands that he is not his own, but
that he is part of a larger picture of go-getters
wanting to become established in the industry.
However, many all over the Atlanta area share
the same discontentment with the difficulty of
talking directly to music professionals, networking with serious people and discovering valuable
resources for advancement. Until…
THE ANSWER
They always say the best and brightest businesses
are those that address a problem in a given industry and become the model solution. Kervins
Chauvet was unhappy with the opportunities
available in the music industry and decided to
actively solve the problem.
“The brand is my solution to an issue that’s been
plaguing the aspiring music community for a
long time... the lack of information and opportunity,” Chauvet said. “Growing up as a musician myself, I realized that a bulk of my obstacles
stemmed from a lack of information and opportunity. This is the purpose of I dO Music — to
empower aspiring musicians to realize that they
hold all the power they need to make it happen
for themselves.”
As an extension of the famous, Atlanta-based
Patchwerk Recording Studios (hit-making birthplace for Beyonce, Whitney Houston, OutKast,
T.I., Cher, and Jay-Z), I dO Music mixer is the
outlet for people working in the music industry,
taking place the first Thursday of every month at
8
the widely-known hip spot Apache Café.
“The platform is truly unique in the way that
it provides a dependable, consistent and quality
platform where people who do music can network with like minds, learn from credible professionals, promote their projects and perform
for a real audience. I can’t think of any other
local or national brand that provides all of this
in such a direct way,” Chauvet said. The set-up
is simple: allow for uninterrupted networking
amongst the attendees in the beginning, then
offer a beatmaker component, a freestyle component, then the main artist showcase which includes direct, publicly heard feedback from top
A&R (Artist & Repertoire) exec Rob Watson
(called “The Hot Seat”). The program ends with
a topical panel discussion featuring successful music professionals. Launched September
2007, I dO Music has continued as a growing
phenomenon in the Atlanta area, sometimes
packing nearly 500 rappers, songwriters, singers,
musicians, producers, A&Rs, and managers into
the intimate space. It is not unusual for people
to come from different parts of the country to
promote their talents and business for the onenight, four-hour event.
They offer more than the monthly showcase
and panel, however. The creators have also
made “I dO Music University,” an intensive,
registration-only, one-day event that, every few
months, pairs prominent people in the nation’s
music industry to the public who have serious
business interests. Grammy-winning pop and
hip-hop producers, along with managers and
A&Rs for some of America’s most popular acts
(Ciara, Fat Joe, Nelly, Jadakiss) gather to share
invaluable information in artist development,
music production, management and audio engineering. There is also “My Band Rocks!” the
indie-rock showcase version of the I dO Music
event which features some breakout bands in
Atlanta every few months as well. It is clear that
BY TRAVIS LEVIUS
I dO Music tries to provide all the resources for
the independent music professional, but one
thing is apparent: this is mostly for the rap/hiphop person. There is a small pop presence and
a sprinkling of R&B at the events, but for the
rocker (besides “My Band Rocks!”), electro-beat
maker or alternative or folk crooner, it’s best to
market yourself elsewhere. However, I dO Music’s highly resourceful online blog gives great
tips, wisdom and keys to getting to the top that
is beneficial for an up-and-coming professional
in every genre and type of music industry.
THE EXPERIENCE
The I dO Music mixer includes as many firsttimers as regulars. I stood next to Hope, a frequent attendee who is an aspiring rap artist
from Atlanta, and she gave me a nice and brief
description of the type people that come: “serious people that are seriously involved in music.”
The opportunities are quite serious as well. One
night the showcase portion featured a reggae
artist, Akshun, whom A&R vet Rob Watson
instantly loved.
“I’ve worked with Kem, India Arie. I’ve worked
with the Marleys. Never ever since them have
I heard someone as talented as you,” he said on
the mic in front of hundreds of people. “If you
give me your information I will, I promise you,
I will try to hook you up...” That same night,
a rapper named Big Rec (from Tulsa, Okla. and
now resides in Atlanta) made his new-city debut
at I dO Music. He started off with an intimidating, water-tight flow verse in a capella and finished it off with a song that appealed to nearly
everyone in the crowd. Promoting himself as the
“bridge of the commercial to the underground,”
he showed other less-than-inspiring performing
acts that you don’t have to sell yourself out for
club and radio airplay to get recognized. His
winning performance landed him a feature on
S.I.R. Magazine and shortly after he received the
offer that hip-hop MCs only dream of: opening
for KRS-ONE. And who knows what else could
happen when a determined producer meets the
right rapper, or a hard-working songwriter connects with a talented singer on the networking
floor? The future of America’s top musical acts
could start here.
RE, the rapper mentioned in the beginning of
this article, found himself placed in a grand-scale
solution, standing onstage in front of hundreds
of other music industry types that are striving to
PIECES
move forward or trying to bring people forward. RE represented many people in the I dO Music event that have pushed
and grinded for so long, and have been patiently waiting for a
green light of viable opportunity. The lyrical irony continued
in RE’s rap performance that night in his hook:
“I’m just me and my mic
With all of my might
I’ve been waiting for this moment for all of my life
I just wanna be, I just wanna be, I just wanna
Be... signed.
Can’t get by with this nine-to-five job
I gotta make it, some way, somehow
I just gotta get, I just gotta get, I just gotta
Get... signed.”
He’s surely come to the right place.
9
GALLERY OD
PIECES
THE HIGH MUSEUM JUST ISN’T GIVING YOU THE SAME HIGH AS IT ONCE
DID? LOOKING FOR YOR NEXT ART FIX? PLEASE TAKE THE PAINT BRUSH
OUT OF YOUR NOSE, AND THERE IS NO NEED TO INJECT THE OIL PAINT IN
YOUR VEINS. ART AFICIONADOS.
3.
1.
2.
BY IJEOMA OKORO
1. ATLANTA CONTEMPORARY ART CENTER
535 MEANS STREET, NW
ATLANTA, GA 30318
As the name suggests, The Contemporary houses modern art primarily of
Atlanta artists. It also sponsor a number of worthwhile events, lectures and
workshops for the community.
Hidden behind the imposing shadows of the High and the Museum of
Contemporary Art of Georgia, the Contemporary is unbeknownst to many
Atlanta denizens. Phallic-like sculptures greet me as I make my entrance
into the gallery and pay the $3 student charge. My eyes immediately go to
the neon green and orange hovercraft exhibit. “Yes. This is going to be awesome,” I think to myself.
2. BEEP BEEP GALLERY
696 CHARLES ALLEN DRIVE
ATLANTA, GA 30308
The first exhibit I saw was Athens artist and musician Andrew Cayce’s
“Recent Paintings.” He utilizes cartoonish depictions of communication
towers, noodle-shaped ships and the alien obedience of bears in saturated
neons that create a queer, yet almost religious, ambiance.
I stroll into the neighboring room of the gallery and study the muralsized paintings on the walls. The next exhibit, Amy Pleasant’s “The Bed,
after Lautrec,” displays an ethereal depiction of a woman emerging from
the clouds in a dreamlike state and is based on the 1893 Henri-Toulouse
Lautrec’s “The Bed.” On the next wall, there is a man facing his painted
counterpart with matching whimsy.
10
Next up on my tour d’Atlanta art, I head to Ponce to Beep Beep Gallery. I
step on some stray wet paint from the attendant who’s out front repainting
her van with the iconic Beep Beep robot. “Free publicity,” she shrugs with
all the insouciance I expect of a New York hipster. I enter the single room
gallery and take a look around. Beep Beep is a very small, independently
run gallery that features and sells the collections of an array of local artists.
Everything in this gallery screams eclectic, from the mixed media of most
of the displays to the heavily graffitied bathroom walls and cleverly kitsch
knick knacks for sale. With its comfortable feel and reasonably priced art,
Beep Beep is a quiet but cool spot in an underrated part of town.
3. GET THIS! GALLERY
662 11ST STREET, NW
ATLANTA, GA 30318
PIECES
5.
4.
After circling the block for a good 20 minutes, I finally stumble across Get
This! Gallery located in Midtown. “What exactly am I getting?” I ponder
as I push open the door. I immediately understand the gallery’s exclamation: construction-worker orange covers the walls, and a large mixed media
installation for “______ is not always a bad thing.”, the latest from awardwinning Atlantan Ben Roosevelt. In “______ is not always a bad thing.”,
Roosevelt takes the mundane from the cityscape and transforms the objects
into bizarre graphic statement with a razor sharp wit. The tiny gallery is
owned by Lloyd Benjamin, an autodidactic artist who first opened it to “create [a] forum for emerging contemporary artists from around the country.”
4. EYEDRUM GALLERY
290 MLK JR. DRIVE, SE
ATLANTA, GA 30312
I continued my quest for more Atlanta art and I was pointed into the direction of Eyedrum Gallery. The offbeat gallery is “Atlanta’s premiere alternative art space... [that] features everyone from emerging artists to some of
the city’s most distinguished experimentalists.” The gallery stands as one of
the best places for all sorts of sensory stimulation from the always-changing
avant-garde creations of local artists (including Emory’s very own visual arts
professor Sarah Emerson), a small stage for live — and sometimes improvisational — bands that doubles as a space for theatrical performances, an
arena for film and a very colorful people-watching venue. If you love the
snobbery of the New York art scene, then you’ll love Eyedrum, particularly
on the first Thursday of each month when they hold free-form art events.
5. WHITESPACE GALLERY
814 EDGEWOOD AVENUE
ATLANTA, GA 30307
Finally to round out my excursion, I headed to Whitespace Gallery, hardly
10 minutes away from campus on Edgewood Avenue. I step into the brick
and steel showroom and immediately feel the comfort and creativity of the
wonderfully unpretentious space created by Susan Bridges of Inman Park. I
take a look around at the latest exhibit on the walls, “Everything is Optional,” paintings and sculptural installation by Deanna Sirlin. I pause to soak in
a cornucopia of colors erupting from the vivaciously chromatic digital art.
With an archive that boasts the detailed photography of Richard Fleming
to the abstracted chimera of Julia Hill, the Whitespace Gallery possess a
smartly selected array of local and nationally lauded artists.
I finally make it back to my dorm room and collapse on my bed after a long
day of gallery gallivanting and sigh as I happily overdose on the muchneeded art hit.
11
GET
REATARD
INTERVIEW BY CHELSEA SPENCER
feature
feature
M
ost people familiar with the name Jay
Reatard have unearthed the video,
which lurks in the bowels of YouTube,
documenting the man behind the pseudopseudonym ‘punching some kid in the face’ last
year at The Silver Dollar Room in Toronto. More
interesting than the clip, however, are the comments posted below the video, which reveal a
spattering of opinions about the legendarily prolific garage punk. “If you behave like stupid cows
in front of a good guy by destroying their equipment and throwing glass and beer in their faces
and equipment, be sure to have a response. I’ve
seen them in France and sorry guys, their show
kicked ass,” writes eczema1966. “talk about a
cunt singer… the kid just got on stage, no reson
to punch him [SIC],” writes Flint1955. After over
a decade writing music and playing both with
friends and alone, however, Jay (née Jay Lindsey) remains unruffled by the Internet masses’
debate on his relative semblance to female
genitalia.
13
frequency WINTER 2008
feature
FREQUENCY MAGAZINE: Why did you start
making music?
JAY REATARD: I guess I made music pretty much
out of boredom. Most kids have to do something
to occupy their time. It’s just pretty boring being
12- or 13-years-old. I didn’t particularly like the
outdoors. I tried skateboarding, but I really wasn’t
fond of the jock attitude that still went along with
it. It was still a sport and I really wasn’t into sports
[and] the competitiveness of it. And I never really
got along with guys that well when I was that old,
so [I decided], ‘I’m just going to sit in my bedroom
by myself and play songs.’
FM: What were your first songs about?
JR: I think the first songs I wrote were probably
pretty childish. They were probably about whatever you would think a 12- or 13-year-old kid
would write a story about. It was pretty soon after
that [age] that my songs ended up being based on
contempt for everyone else outside of my room. I
got so far removed from social circles or anything
a kid should be involved in. I was just in my own
self-indulgent world.
FM: Did you let people listen to what you wrote?
JR: Not for a while. There was this record store
I had been shopping at. I finally got up enough
balls to let the girl who worked at counter have a
cassette tape of maybe 10 of the songs I had been
working on. She passed them along to a guy who
was in my favorite band at the time [Eric Friedl of
the Oblivians]. He put out my first record right
off that tape. It happened pretty quick after I let
somebody hear it that I had a record. It was like
two months from the point that I got up enough
nerve to let anybody hear anything that I had been
working on for the past two years.
FM: How old were you when this was happening?
JR: I was probably 15 by the time I let anybody
hear anything and put out a record. I probably
started writing songs when I was 13.
FM: You dropped out of school around that time,
right?
JR: Yeah, I stopped going after the eighth year.
FM: Do you have any good memories from
school?
JR: Absolutely, I think that junior high is where
you’re really forming your opinions and becoming
an independent thinker. I was getting these ideas
when I was 12 or 13 that I really don’t like people.
I’m a loner and I like being alone. It reinforced
all that. That’s what school was good for: for me
was [to realize] that I didn’t like being in a room
with 30 or 40 people that I didn’t have anything
in common with. [I learned] that I like to choose
my environment and control [whom] I’m around.
And school was the opposite of that. It just reinforced everything that I was thinking at a younger
age. I couldn’t bear the idea of high school. It
was just too much for me. I knew that everything
that I didn’t like about these kids was only going
14
to get worse when they became adults. With high
school, I wasn’t prepared for it. I couldn’t do it.
FM: What about your music is important to you?
JR: The most important part about it to me is that
it gave me an outlet to veer off from the center of
the highway, to go way into left field and to try to,
at a really young age, follow what I wanted to do.
It really helped me to live a pretty unique lifestyle
and avoid all the trappings of society that I wanted
to avoid.
FM: What do you want people to walk away with?
JR: Even though I’m an adult now, it’s still supposed to capture that moment of being in your
room when you’re a kid and bouncing off the
walls.
FM: What has changed about your music since
you were younger?
JR: I’ve learned to focus on things a little bit better, rather than it just being this blind rage of energy. I think I’ve been able to contain it a little bit
and it might be more dynamic now. When I was
younger the bands I was in were just — in a live
setting and on record — at 11 the whole time and
spazzed out the whole time. I think I’ve learned
to relax and try to use melody a little bit more and
play around with sounds, rather than just turning
everything to 11 and screaming as loud as I can.
FM: You’ve lived in Memphis pretty much your
whole life, correct?
JR: Well, since I was like eight or nine.
FM: Do you like it there?
JR: I like to exist inside a bubble of sorts. I’ve
created my own fake world here for myself that I
really enjoy. It’s disconnected from most people’s
reality, and even my own really. It’s really cheap to
live here. I can afford not to have a job and still
have a lifestyle here that I enjoy. There’s not a lot
of people, it’s like a small town. It’s like a vacuum
here. You could be doing something for years of
your life and no one would recognize. They will
just pass you by and never notice, and I really enjoy that. I lived in Atlanta for a while and that was
almost too big of a city for me. Cities like L.A. and
New York, it just seems like you can’t exist inside of
a bubble there. There’s just too many people.
FM: What was it like living in Atlanta for you?
What did you do with your time?
JR: I lived in Atlanta for, like, a year. I moved
down there to record my first solo record [Blood
Visions’ (In Red)]. I lived around Ponce at Dekalb,
around that area. I made friends quickly with
all the Carbonas guys and the Gentleman Jesse
dudes. I guess they’re kind of all the same people
that make up those bands. I made friends with
Bradford [Cox] from sitting in that damn Majestic
diner too much every day. That’s basically what I
did when I lived there. I would just sit in there all
day and talk to people that came in and seemed
interesting. I was dating a girl that worked there
feature
and I would just sit in there [for] her entire shift
and eat cheeseburgers and drink sodas and talk to
people about music. I guess I would go to Lenny’s
and get drunk on the weekends. That was about it
when I was there.
FM: I see from your blog that you’re not a big fan
of Cut Copy. Do they represent a greater trend in
music today that you dislike?
JR: I don’t have any personal objections to [them]
or anything. It’s just the aesthetic with their music
that they’re employing really bugs me. I just really don’t like the whole idea that modern indie
rock has completely removed the rock from it. It’s
like people have completely forgotten, with a lot
of indie bands, that the roots of indie is rock or
punk rock. They’ve gotten so far away from that.
They’re influenced by the more watered-down versions, which came later. I like synthesizers, but the
bands that I like who use synthesizers use them in
a more aggressive manner, instead of just making
dance music. I just don’t see what the difference
between bands like Cut Copy and house music or
techno that you would blindly dance to at a dance
club because you’re on ecstasy or something. It’s
not very creative. There’s nothing artistic about
it to me, or emotional even. It just seems devoid
of emotion.
FM: Is there any dance music that you do think
is successful?
JR: I think the best electronic music was made
when the technology was still really primitive,
which forced people to be really creative. Now it’s
pretty easy to program music with the tools that
are readily available to consumers. Before, you had
to save up for a long time to get one drum machine
that does one thing, so you would get really good
at just using that one piece of gear. Now with a
mouse click you can download what would have
cost you tens of thousands of dollars to assemble
in 1983 or ’85, when that whole stuff was starting
to happen. It’s just too convenient. It’s our music
for people with shorter attention spans. I’m just
not a big fan of it.
FM: I see you’re going to Europe soon. What is
different about touring in the Europe versus the
U.S.?
JR: The main difference is that Europeans like art.
Europeans like music. America hates art. Over
my years, I’ve seen rollbacks in funding for music and art programs in school. It comes from
there. If these kids don’t learn in school to appreciate culture, they grow up to be adults who
don’t appreciate real culture. They appreciate pop
culture. Europeans — well they appreciate pop
culture as well — they really like the cheesiest aspects of American pop culture. But they also really
like things that are more conceptual, like bands in
America that people aren’t willing to take a chance
on and try to understand. They’re into listening
to things that challenge them. People here aren’t
really into that. If they don’t get it, they don’t get
it. So when you tour there [in Europe], they just
treat you better because they’re really appreciative
that you came across the ocean to present your
music or your art to them. It’s just something you
don’t get here. People here just seem like they’re
at a show just to get drunk or be entertained for
an hour or two. [In Europe], it seems like people
come out because they’re really interested and they
want to stimulate themselves.
FM: What’s the best/craziest show you’ve ever
played? And do those two necessarily equate each
other?
JR: I think craziest can sometimes turn into worst,
or best. We played a show in Toronto, where the
guy had oversold the club by about 150 people,
so the audience was just collapsing onto the stage.
It was a big mass of people just smashing bottles
and throwing stuff at us the entire time. [It got]
to the point where they just broke everything we
were trying to use, one by one, until the show was
just impossible. Then it just collapsed. That was
probably the scariest or craziest time; things just
felt like they were out of control. Things were going to go bad, so I just left. That was probably the
worst crazy. The best crazy [was] the first show I
ever played. There were no big events, but inside
my head it was just the most insane thing ever. I
thought, ‘Woah, I’m opening for my favorite band
and there’s 30 people here!” It was just something
different and so new that that was the craziest moment I’ve had playing a show.
FM: What’s the best compliment you’ve received
about your music? And the worst insult?
JR: After a while, the insults don’t really have an
impact. The most recent one was [when] someone
told me that I was ‘a worthless, overhyped, punk
rock rock star’ and that my bubble would be burst
soon and that I would be working as the greeter at
the Wall-Mart within the next few years. And I’m
fine with that, it seems like an easy job I guess.
The best is [when] I get emails from really young
kids, where they say, ‘Hey in an interview I saw
you talked about your process of making music
and how you do it all at home and how it’s a really
personal thing, how you do it alone. And that really inspired me to do the same thing. Here’s some
tracks I recorded. I don’t really know what I’m
doing, but you inspired me to pick up the guitar.’
That’s really rewarding. I’m always blown away by
that.
FM: What can we expect from your show at Emory?
JR: I give as much to a show as I receive and so if
it’s a really energetic audience, then the show will
be like when you’re a kid and you’ve [drunk] too
much soda. It’s a really high-energy punk show.
FM: What are you plans for the future?
JR: I’m just going to keep traveling and writing
songs. That’s all I know how to do.
15
feature
feature
16
frequency WINTER 2008
feature
THE FIX:Introducing Rapper-Actor
Pison FLO
by travis levius
I
f you’re not paying attention, you may hear Pison FLO’s references to dope and “dub sacks” and declare him the one million-and-first rapper
to use past (or fictional) drug hustles to jump start his rap career. Don’t be misinformed; he’s really referring to his possession of, as The Fugees would
say in their early days, “some lyrical cheeba cheeba.” In that case, his substance is quite potent, perhaps even addictive.
Referring to his fans as “fiends,” he describes his music as “more like a conversation with a dope rhythm to it so it’s easier to remember the story. I tell
stories that sound feasible and relative to people I know aren’t being accounted for the radio or TV now.” Born Dale Neal, he first realized his lyrical gift
in college. “I felt like a regular dude with the irregular ability to express true life through rhyme. I kept just making fun songs about what was happening in
my life, and from there my homie ‘Mouthpiece’ was like you got a gift from God. Once I realized that, I just put my pen to the pad and never took it off.”
The 21 year-old Midwest transplant resides in Atlanta, and it’s obvious that his musical style reflects both areas. In his songs you get a little Kanye, a touch
of Lil’ Wayne, a hint of Lupe and a tad bit of T.I. Consequently, he has the impressive ability to appeal to every rap-coded region of the U.S. His swag and
wit is so thorough and his delivery at times so imposing that it’s possible to overlook the fact that he doesn’t cuss in any of tracks, or that many of his lyrics
contain uplifting, spiritual messages with none feeling contradictory. He can switch content so quickly that it’s easy to miss.
It’s difficult to encompass all that makes FLO “FLO” with one label or idea. It’s just too much. And he doesn’t stop at rapping. He’s also FLO the actor.
Already being the featured bully in “Madea’s Family Reunion” and frequently appearing on Tyler Perry’s “House of Payne” and BET sitcom “Somebodies,”
FLO aspires to become the next Will Smith. “Serious ain’t even the word about how I feel about the film industry. It’s funny you mention Will because I
actually thought I was the Fresh Prince in high school! I dug how Will was able to do it with class and respect for all ages and races. I actually was acting
before I was ‘rapping.’”
It’s evident that he’s out to be a big influence, for the right reasons. Peep the last lines on his new single, “Dream On”:
“…and it seems, more green come when FLO lean
and then Rock, without a bottle of Codeine
Even without a model or whole team
of women with pedicures and toe rings
Who only like dudes cause of how they gold bling
but seem to like ME cause of how my soul bling
That mean FLO bling even with no ring
Only when I sleep do you see my low beams
I move life with money, I call “Go Green”
Giving back to the hood until it’s your green
And I’m still living good getting more green
They ask me why I do it, tell em what FLO mean.”
I’ll let you do the research.
FLO and Fusion the Band performed with N.E.R.D. at Emory University’s Spring Band Party on March 26th.
17
report
the
YEAH YEAH
YEAHS
It’s Blitz!
[Interscope]
I am fairly convinced Yeah Yeah Yeahs’ fans
can be split into two distinct categories: those
who enjoyed their second full-length album,
Show Your Bones (2006) and those who did not.
It may seem like a simple distinction, but it is
an important one when looking at the trajectory
of the Yeah Yeah Yeahs’ career. With Show Your
Bones, the Brooklyn-based trio attempted to
18
vary their repertoire while employing Squeak E.
Clean’s production that lived up to its namesake.
Its glossy production, coupled with Karen O’s
newfound restraint, contributed greatly to an
increase in listenership. While the album did
boast the occasional great hook, it proved too
tame and far too overproduced. For this humble
reviewer, “Rockers to Swallow” off their 2007
EP, Is Is, was a godsend. Though the EP was
written before Show Your Bones, it was recorded
afterwards, with Nick Launay at the helm. The
gritty, devastating production marked what
seemed to be a return to the aesthetic of David
Andrew Sitek, the producer of their debut Fever
to Tell (2003), while still embracing advancement
in songwriting.
It’s Blitz!, the third full-length album from
the Yeah Yeah Yeahs, finds Sitek and Launay
sharing production credit — a blessing for the
latter group of Yeah Yeah Yeahs fans. Gone
would be the sheen of Show Your Bones, or so
one might think. It’s Blitz! is, however, still a giant leap away from Fever to Tell and Is Is. It takes
the Yeah Yeah Yeahs out of the local dive bar and
into the club, offering songs tailored for the DJ
booth, interspersed with the occasional slow jam.
Though this is certainly a distinct departure for
the trio, they manage to create an album with
some of the muscularity of Fever to Tell and Is Is,
despite an uneven batch of songs.
Openers “Zero” and “Heads Will Roll”
introduce this newfound club-inclination and
THE REPORT
prove to be equally strong bangers. However,
the third track, “Soft Shock,” embraces perhaps
a bit too much twee for the Yeah Yeah Yeahs
to successfully pull off, while fourth track,
“Skeletons,” is overly austere. And so it goes
for It’s Blitz!. Throughout the album, the track
list proves to be wholly uneven, while never
either achieving soaring highs or embarrassing lows. It’s Blitz! allows the Yeah Yeah Yeahs
to exhibit some well-crafted pop songs sure to
draw Blondie comparisons. However, the trade
of Nick Zinner’s economical, yet devastating
guitar playing in exchange for synthesizers does
not always play to the trio’s strengths. It’s Blitz!
certainly will grow on listeners, though its favor
may be curbed by the band’s new choices.
OVERALL GRADE: C+
Best Tracks: “Zero,” “Heads Will Roll”
-Sean Hallarman
MSTRKRFT
Fist of God
[Last Gang]
Dance or electronic records are known for
following the same general formula: include
one or two hit songs amongst obligatory
collaborations and instrumental filler.
Fist of God, MSTRKRFT’s newest effort, follows
this formula religiously.
By far, the best song on the record is
“Bounce,” which features rappers N.O.R.E. and
Isis. A staple in nightclubs across the globe since
last summer, “Bounce” is infectiously catchy and
ridiculously danceable. Its near-perfect blend of
hip-hop, electro and rock makes it an essential
download for any fan of electronic music.
“Breakaway” recycles the piano chord that
MSTRKRFT used on their remix of Bloc
Party’s “Flux” to great effect. Jamiroquai-like
vocals from Jahmal of the Carps give the track
a slightly retro feel and make it perfect for the
dance floor.
MSTRKRFT and R&B crooner, John
Legend, prove to be surprisingly suited to
each other on the next of the album’s hits,
“Hearbreaker.” MSTRKRFT tame their wild
and frantic sound for Legend, giving his
excellent lyrics and vocal performance room to
shine.
Unfortunately, most of the other
collaborations on the album fall flat. E-40 seems
barely able to keep up to the dance-paced tempo
on “Click Click,” where he only delivers a single
verse, leaving the rest of the song unsatisfying.
“Word Up,” billed as collaboration with
Ghostface Killah, only features a chopped-up
sample from the rapper which is sped up and
repeated senselessly. The incongruities between
MSTRKRFT and these rappers make these
tracks fail, even as simple electro-bangers for the
club.
Instrumental tracks like “Vuvuvu” or “100
Cigarettes” are fun and fiercely danceable, but
ultimately forgettable. The instrumental tracks
on this album would be at home in the middle
of a DJ’s set, but they simply cannot work as
stand alone tracks.
At the end of the day, this album has some
definite highs, especially with “Bounce,” but the
good doesn’t outweigh the bad. While the album
is certainly filled with danceable beats, one can
easily find a better soundtrack for a night of
debauchery.
OVERALL Grade: C+
BEST tracks: “Bounce”, “Breakaway”,
“Heartbreaker”
-Tim Webber
SWAN LAKE
Enemy Mine
[Jagjaguwar]
Swan Lake’s second release, Enemy Mine,
opens with Carey Mercer’s immediately
identifiable bluster, squawking over a trudging
buzz-saw synth bass on “Spanish Gold, 2044.”
Spencer Krug’s distant caterwaul joins in, with
his vocal part later replicated in Dan Bejar’s
syrupy fashion. All in a day’s work for Swan
Lake — the quintessential indie super group,
if there ever was one. Swan Lake, consisting
of Mercer of Frog Eyes, Krug of Wolf Parade/
Sunset Rubdown/Frog Eyes, and Bejar of
Destroyer/The New Pornographers, returns
with Enemy Mine after 2006’s enjoyable, but
ultimately lacking, Beast Moans. Unlike Beast
Moans, the result is certainly closer to the sum of
Swan Lake’s parts.
While Enemy Mine suffers from similar
issues as Beast Moans, such as the three strongly
characteristic voices occasionally stepping on one
another’s toes, Enemy Mine appears less like a
vanity piece and more like an organic, cohesive
set of often superb songs. While Mercer and
Bejar’s contributions to the album are generally
strong, Krug’s tracks stand above the rest.
Despite Krug’s voice being shrouded by
distortion and his claim that his “voice is tired,”
he nevertheless carries “Settle on Your Skin”
in a most satisfying manner. Within the first
few seconds of the track, an eerie momentum
is established. It continues through most of the
track until a brief respite tapers into the end
of the song, exhibiting Krug’s strong-suit of
creating whimsical, wonderfully paced microopuses.
Another shining moment for Krug is
“A Hand at Dusk,” which opens with an
oddly familiar piano part. Creating beautiful
melancholy, Krug’s voice shudders over the
piano before being joined by Bejar and Mercer.
While the album’s nine tracks are divided
democratically between the three songwriters,
more collaboration would certainly not be
unwelcome. On Bejar’s “Battle of a Swan Lake,
Or, Daniel’s Song,” Mercer joins in nearly two
minutes into the track in such an outstanding
fashion that it begs for Mercer to have taken lead
vocals for the entire song. Regrettably, most of
the album features tracks sung primarily by their
respective songwriter, despite the fact that, as
exhibited on “Battle,” trading lead vocal parts on
one another’s songs can be extremely effective
by placing the singer in structures and textures
generally foreign to his usual territory.
Overall, Enemy Mine is effective in
establishing Swan Lake as more than a tossaway super group. The album instead provides
a diverse, dynamic listen that, despite suffering
from occasional flaws, brings Swan Lake nearly
on par with each member’s respective main
projects.
OVERALL GRADE: B+
BEST TRACKS: “Settle on Your Skin”, “Spanish
Gold, 2044”
-Sean Hallarman
Elvis
Perkins
In Dearland
[XL]
Elvis Perkins is not from this music
19
THE REPORT
somehwere fifty years ago, sauntering along the
train tracks of a nondescript middle-American
valley, with nothing but a harmonica in hand. If
this description sounds reminiscent of a certain
Perkins and slap him in the face, exclaiming,
“There’s life to be lived!”
On this sophomore effort, Perkins’ loneliness
fades as he is joined by In Dearland, the
can see colors again. But not until “Send My
Regards to Lonelyville” does the album truly
depart from the gloom of Ash Wednesday with the
integral introduction of, wait for it, horns! And
what magnificent horns they are. Featured for
the rest of the album, they create a new strength
and depth to each song — a New Orleans’ jazz
funeral, of sorts. In “Doomsday,” Perkins shouts,
“I don’t plan to die! Nor should you plan to die!”
And there you go; you heard the man.
This album is a great step for Perkins, and
his newly acquired band. It’s sincere, upbeat,
and a worthy album for the folk-lover and
indie-inspired ears. Perhaps one day this reporter
will be seeing you on the tracks, ready for a
harmonica hoe down.
OVERALL GRADE: A
BEST TRACKS: “I Heard Your Voice in Dresden”, “Doomsday”
-Lauren Ladov
DAN DEACON
Bromst
[Carpark]
Mr. Dylan, it should. It’s hard to deny the
similarities between the two musicians’ unique
voices, obscure lyrics and their musical struggles
between the depressed and happy.
Perkins’ first album, Ash Wednesday, released
after the deaths of both his parents, is one full of
despair and remorse. It seems to move listeners
enough to shout out, “Elvis, I don’t care how
beautiful this music is. Here, please cry on my
shoulder!” Yet, his second album, Elvis Perkins In
Dearland, Perkins presents himself as a changed
man, one who would pick up the old, depressed
20
collective ensemble that used to tour with him,
then decided to stick around, and rightfully
so. In Dearland helps Perkins bring a needed
complexity and dynamic feel to his music.
The album begins with “Shampoo” (“because
it goes on first and cleans the hair”), and
although still slightly somber, there seems to be
hope for Perkins, as he exclaims, “I don’t wanna
die.” Well that’s good, because this reporter
doesn’t want you to either. The second track,
“Hey,” establishes the upbeat jingle-jangle that
makes this album what it is; it’s as if Perkins
Percussion, brass, vibraphone, piano,
glockenspiels, xylophones, bells and electronic
mixes à la mode all come together to create
an album that descends into madness. In his
second official UK release, Dan Deacon’s album
Bromst would be a lovely excuse to drop acid and
groove ‘till the sun comes up. Bromst would be
amazing to see as Deacon performs from within
his audience, encouraging constant participation
with the music. A Baltimore local, he is best
known for his live performance of “Spider of the
Rings,” released in 2007 by Carpark Records,
which was almost entirely instrumental.
In Bromst, the cacophony of sound begins
and ends with the epic dance songs “Build Voice”
and “Get Older” sandwiching the album with
excellence. “Build Voice” mixes live percussion
instrumentation with electronic mixes to start the
album off with an exciting wall of sound. In the
song “Wet Wings,” Deacon slows it down and
switches to a completely different mood as layers
of female folk-voices harmonize, culminating
with one throbbing mess of lyrical wails.
Schizophrenic electronica dominates
the album; but, through use of classical
instrumentation, it ties computerized beats and
humanistic harmonies nicely together. This is
shown with the cascading effects of bells and
synthesizers in “Sunprise Stefani.” “Snookered”
continues on this trend as ambient swells of
looped voices are juxtaposed with childish
keyboard beats.
Bromst was released on March 24 by Carpark
Records and Dan Deacon himself will be
THE REPORT
performing April 10 at the Eyedrum Art Gallery
in Atlanta. I highly recommend you go there
ready to dance, dance, dance.
OVERALL GRADE: B+
BEST TRACKS: “Wet WIngs”, “Build Voice”,
and “Get Older”
-Charlie Watts
JUNIOR
BOYS
Begone Dull Care
[Arts & Crafts]
It should be self-explanatory, especially by
the third album. But, I’ll make it clear to all
recording artists out there anyway. If you’re
going to make a boring album, please don’t put
the word “dull” in your album title. The review
will basically write itself from there.
Junior Boys, who have thus far built a career
on the kind of sublime techno-pop found on
late night dance floors, XM radio, and really hip
elevators, fail to stir up anything worth caring
about on Begone Dull Care, their third studio
album.
After their debuts Next Exit, an eccentric and
scatterbrained lesson in avant-garde minimalism,
and So This Is Goodbye, a more tightly focused
and darkly pop-ey work, Junior Boys chose to
opt for an album so efficient and so streamlined,
it becomes banal.
Instrumentally, Begone Dull Care adds
nothing inventive to Junior Boys’ back
discography, and even the album in itself
feels repetitive. Each song on the album is
interchangeable, with unfortunately few
exceptions. The band pelts listeners with breathy
keyboards and computerized percussion, leaving
behind Kraftwerk-ish notions of experimentation
in sound. After cutting out their instruments
from under them, Junior Boys have little to
stand on, offering mediocre lyrics and hookless
melodies.
The album opens with “Parallel Lines,”
Junior Boys’ electronic ode to “tears, fears…
odds, ends” and one-dimensional geometric
structures (although my hunch tells me the
song is probably about a girl or something,
too). Greenspan’s lyrics are more impressive
and expansive here than anywhere else on the
album. His whispering vocals complement his
band mate Matt Didemus’ infectiously ambient
instrumentals, recalling earlier hits like “High
Come Down” or “Birthday.”
Yet in later tracks, especially “Sneak A
Picture,” the band attempts a soundscape along
the lines of soothing techno artist, Stars of the
Lid – to unimpressive results. The content of
the track fails to fill the seven-minute length of
the song, using repeated verse structures and
melodies that border insidious. While an album
like Stars of the Lid’s Avec Laudenum is a treat to
relax to, Begone Dull Care simply puts the listener
to sleep.
All too often, Junior Boys hit the same notes
too many times. The droning tone of many
songs becomes irritable. There are no tracks like
“In the Morning,” Junior Boys’ bleak, basspumping and genre-bending hit from their last
album.
Even in the album’s obliquely titular track,
“Dull to Pause,” which opens with a pleasant
and refreshing keyboard track, ends up providing
nothing that would stop a listener from hitting
pause on their music player.
Junior Boys’ previous albums will stand
In a couple of the songs, like “Queen of
Nothing,” it seems the band just decided to run
a drum machine and flit lyrics across the top
without much care for the overall quality of the
song.
Marina was by far my least favorite track
March
as the
band30
attempts a quiet love song. The
Womanbya Tired
Man Walked
PJ Harveyenergy
that wasA created
Eyes andByThe
Hours You Keep through massive crescendos
March 31
is nothing
like this quiet song that lulls the
PetertoBjorn
listener
sleep.& John- Living Thing
The lyrics that are in the songs are not very
April 7 either. I have listened to this album
memorable
CoathangerstenThe
times
through andScramble
I still couldn’t sing along
Black
Repoas words are muddled
with
mostDiceof songs
Bat For
Lashes- Two
behind
synthesizers.
ThisSuns
might be what the
TheisThermalsNow
We Can See
band
going for but
I personally
love nothing
AlligatorsPiggyout
& some
Cups lyrics at the top of
more
than pelting
my lungs going 50 mph down Pounce de Leon
Rd.April 9
Lady SovereignJigsaw
Reading
about this
band made me much more
excited about it than their actual music as they
April
14to be at the heart of Indietronic music
seem
Metricculture
andFantasies
they use a lot of clarinet. And I can
The Juan
MacLeanThe Future
WillThe band
always
go for
some wicked
clarinet.
Come
does succeed in their Indietronic endeavors
DntelWorks
for Me If It and
Works
for
as theyEarly
blend
both traditional
electronic
You II
instruments together quiet nicely.
+/- was formed in 1991 and has two other
April
21 out under the indie labels Teen Beat
albums
Mean
Everything
Manchester
OrchestraRecords and
Absolutely
Kosher,
which are
to Nothing
some of my favorites as they sponsor such
Art as
BrutArt Brut
vs. Satan
bands
Sunset
Rubdown.
+/- started when the
Depeche
Modeof was
the Universe
owner
of Teen
BeatSounds
Records
impressed by
Rick
Deeper
Than the
Raplead singer, solo
someRossof James
Baluyut,
work. The first album was primarily a solo gig
April
but 28
he Baluyut picked up Patrick Ramos as
Box
CutterArecibo
Message
a from
the band
Versus
as a guitarist, Chris
Deaner on drums, and Margret McCartney
May 5on bass who would later be replaced by
I FeelChris
Cream
PeachesTony Zanella.
Deaner is an interesting
Freeway- Philadelphia
Vol.for
2 Kelly
character
as he is now Freeway,
the drummer
Akron/FamilySeta‘Em
Wild,
Set to
‘Em
Clarkson- not
sellout
thing
doFree
at all.
St.
Actordefiantly has it moments but
Xs Vincenton Your eyes
Yusuf IIslamRoadslinger
(ToXs
Warm
YouEyes
overall
am left
unimpressed.
on Your
Through
was notThe
my Night)
favorite album but I will give it
Yearsthis: it Years
would be a great album to get laid to.
UPCOMING RELEASES
May 19
Passion Pit- Manners
Apostle of Hustle- Eats Darkness
the test of time much better than Begone Dull
Care will. There will probably be an appropriate
follow-up to the critically lauded album So This
Is Goodbye – but this album just isn’t it. Junior
Boys know how to make music; hopefully, their
next album will have a less self-prophesizing title.
May 25
Phoenix- Wolfgang Amadeus Phoenix
May 26
Grizzly Bear- Veckatimest
June 1
Patrick Wolf- The Bachelor
OVERALL GRADE: CBEST TRACKS: “Parallel Lines”, “Dull to Pause”
-Geoff Schorkopf
21
P
E
R
E
R
U
T
L
U
EC
HLANTA PSYCHICS
T
AT
BY CHARLIE WATTS & LAUREN LADOV
This issue’s culture report took a somewhat different turn when Charlie and I delved into the mystical world of psychics.
We decided it would be interesting to see what’s what in the psychic field and see who’s real and who’s just bullshitting — and who is just really good at bullshitting. We asked them all similar questions, wore similar outfits each time and
tried not to give too much away through our body language or speech. For each one, we also asked a fake question,
one that revolved around our imaginary bands, to see if they could really see into our “past, present and future,” as they
all claimed they could. Our findings were pretty unexpected, forming a new appreciation for the psychic culture, though
we were still left a bit skeptical.
PSYCHIC CASEY
DAHLONEGA
Method: Tarot cards, you pick from deck (free at
DUC, 20+ usually)
Ambiance: Moons and stars cover the tablecloth. A large conch shell, crystals and a knitted
witch’s hat also adorn the table.
Quote: “I’m making love to the world. I made
a lot of mistakes in my life, but I had a good
time!” or “I’m 53, and I’m still gonna go join the
circus!”
Her wrist jingled as she spread out the deck of
cards. It was hard to tell where the tablecloth began and her clothes ended. Psychic Casey could be
your grandma, that is, if your grandma had long
curly hair down to her butt, and was a wiccan. She
spoke to us, in her sweet southern accent, as if she
was having us over for dinner. She told us one by
one to ask her a question. It could be about any22
thing, but could only really deal with the next year
or so — psychic powers with an expiration date.
We then picked a card from the deck, flipped
it over, and she would have at it. She examined
each card for some time, and then spewed out answers that seemed to run in circles and were more
like crazy grandmotherly advice than the typical
psychic’s answer you would expect. “If a man, no
matter how beautiful he is, if stupid comes out
of his mouth, uh-uh
[wagging finger] no
way.” Then sometimes, she would
break into fortune
cookie-like expressions: “Unlock the
you that is inside.
Happiness is an inside job.” She started
almost every sentence
stating: “If I may be
so bold to say.” Every time she asked
this, we wanted to
say “no,” but alas,
we held our tongues.
As she spoke to
me, she rested her
hand on my knee,
completely unwelcomed, and yet gave
me the impression
she really cared about me, or wanted to catch a
feelsky while she could. Charlie posed the fake
question this time, asking whether or not she
should stay with her band (Oscar-worthy acting, mind you). Charlie reached for her card,
and as she turned it over, the tarot card could
not be more perfect, it read: “O the Fool”. O
the fool, indeed. Psychic Casey after seeing this,
immediately insisted that Charlie leave her band,
and strike out on her own. Wise words. Psychic
Casey was extremely patient throughout the whole
process, and entirely willing, almost forcing us to
ask more questions. I think she was just lonely,
and wanted to tell more people her catchphrases.
Overall Rating: 
Psychic Tiffany
Little Five Points
483 Moreland Ave, Atl
Sandy Springs
5170 Roswell Rd, Atl
Method:
Palm ($25),
Tarot ($40),
Psychic/”aura”
readings ($30)
and Chakra
Cleansings
Ambiance: Small
apartment, lilac
carpeting, pink
baby crib, simple
purple table
cloths, hip-hop
playing, wallet
kept in baby
basket
Quote: “I tell
past, present, and
future.”
From Little
Five Points, you’d
expect the local psychic to be a crazy, dreadlocked, hmm... what’s the word I’m looking for,
freak. But Psychic Tiffany really proved to be
none of the above. Unfortunately. A bit wary
walking up the creaking, water-stained stairs, I
knocked on the door, which just had the handwritten sign “open” on it. A quite large man
holding a baby that looked straight out the womb
opened the door for us, and we squeezed through,
walking into a brightly lit, simply decorated
room. Psychic Tiffany waltzed through the other
door and greeted us. She had an air about her,
something foreign in her manner. She took me
into the back room alone. She didn’t want more
:
T
R
O
P
than one person in there at time, for the auras
would get “confused”. Obvious physics. I got my
palms read (not because it was the cheapest option, but because she looked very good at reading
palms). She held out my hands, glanced at them
for maybe seven seconds, and then asked me if she
could tell me anything she saw, positive or negative. “Lay it on me” I responded. “First,” she said
squinting her eyes, “you’re a good person.” I liked
her instantly, though I later found out that she
told the same to my
friend. She continued by telling me to
make two wishes to
myself, one of which
I then had to tell
her, and the other I
kept to myself. She
proceeded to tell me
about myself, predict that something
very important was
coming through in
paperwork (whatever that meant),
and that in five to
six months I would
be having a very
important relationship. Why five to
six months? I didn’t
ask, but apparently
the palms revealed
it all. She was very
concerned
with
my love life and continued to ask me questions
that I couldn’t answer. To change the subject, I
asked her about my band — my imaginary band,
that is. I inquired about their future, and their
pending success. I’m not sure if she saw through
this well-acted lie or not, but she told me that
my position in the band was just a phase, one
that I would soon grow out of. Then she told
me I would never have a musical career. Well,
that’s just rude. She hasn’t heard me on the harmonica yet! Before I left she, very professionally, gave me her business card and insisted that
I call her if I had any questions, especially in the
next five to six months, not to mention, for free!
Overall Rating: 
Mother Margaret/
Madre Margarita
367 Candler RD SE, Atl
Method: Does what she wants, for $20
Ambiance: Everything you could want in a
psychic and more. Plush red carpet, ornate white
Versailles-esque couches, porcelain statues of
women, babies, angels and Madonnas covered in
Mardi Gras beads everywhere. Everywhere.
Quote: “Don’t be scared.”
The door creaked open, and this short, old
Latina woman, who could barely see past the
wrinkles over her eyes, was standing behind it,
grimacing. Mother Margaret we assumed, yet
she made no introduction, and just told us to sit
down as she shuffled
off, not returning for
another 20 minutes.
But we needed
those 20 minutes
to take in the scene.
Despite it’s normal
exterior, the living
room we were sitting
in was just — well
we could not stop
saying “wow” — if
that paints a good
enough picture.
The eyes from the
hundreds of statues
stared at us sitting
on the oversized
Baroque couches,
possibly yearning for
escape, or possibly
for capture. Mother
Margaret, out of
nowhere, reappeared,
and took Charlie
into a back room, which was marked off by those
glow-in-the-dark stars you put on your ceiling
as a little tike. The room was dark. A narrow
pathway lined by Madonnas, led the
way to a table with unlit candles and
more Madonnas on top of it. As
Charlie sat down, Mother Margaret
in her heavy Spanish accent demanded that Charlie “take out $20, put
it in your hands and make a wish.”
Straight to the point. Mother
Margaret was a capitalist true at
heart. “You’re a good person,” she
told Charlie. Well either we are both
these “good” people or there seems
to be a theme here.
Mother Margaret then bestowed
upon Charlie her fortune: she would
be happy, successful, have kids and
a rich husband in the future. More
original fortunes could be found on
Bazooka Joe Gum wrappers. She
did however, repeat similar aspects of
Charlie’s future as our first psychic,
Casey, did. When Charlie inquired
about whether or not she should stay
in her band, adding
the (true) anecdote
of her music major,
Mother Margaret
looked skeptical. She said that
Charlie should do
what she wanted
and that she was
going to be good at
whatever she ends
up doing. Lame.
Mother Margaret
did add, though,
that God would
open many doors for
her. Good, because
Charlie had no intentions of opening
any doors herself.
We left disappointed. All the statues,
bizarre furniture,
and peculiar manner
of Mother Margaret herself pointed
to greatness, nay
perfection. Mother
Margaret, like her
plastic Madonnas,
was a complete
sham, who dangled
her wackiness in
front of our eyes as
she stole our money from our hands like the little
witch she pretended to be.
Overall Rating:  (it would only be one
moon, but those Madonnas were out of sight!)
23
WMRE
wmre show profile:
ATL EMPIRE
You may be guilty of living under a rock if you’re a fan of WMRE and haven’t heard of ATL Empire. Many may be well aware of their ubiquitous
weekly e-flyers that feature guest rap artists. And many may often ask, “How did they get them on their show?” It is because the show’s DJ’s StatiK (Liam
Greenamyre) & Burnsteen Bear (Santosh Reddy) hustle. They hustle hard.
“What makes ATL Empire special is the hard work we put into it,” DJ StatiK explains. “We’re not content to be like other shows, and we’re not willing to
accept that the radio at Emory isn’t a big deal. We put in the effort to make sure that we have the hottest guests every week and are playing the best music out
there.” ATL Empire’s guests run the gamut from the popular Southern-fried rap of lyrically heavy, conscious artists Killer Mike and Nappy Roots, to the “tearda-club-up” sounds of DJ Unk and Young Dro. Though its focus maybe on the Dirty South scene, you’ll hear a variety of sounds on their show.
“We don’t just stick to one part of rap, we try and get with it all, from snap music like Unk to more meaningful music, like Nas, to trap music like Gucci
and Oj,” says DJ Burnsteen Bear. Tune in to the self-proclaimed “dopest [show] on radio,” ATL Empire, every Thursday 6-8 p.m. for a crunktastic experience.
24
WMRE
SUNDAY
12- 2pm
2-4
4-6
6-8
8-10
10-12
12-2am
MONDAY
2-4pm
4-6
6-8
8-10
10-12
12-2am
TUESDAY
8-10am
12-1
3-4
4-6
6-8
8-10
10-12
12-2am
WEDNESDAY
1-2pm
2-4
4-6
6-8
8-10
10-12
12-2am
THURSDAY
9-11am
1-2
2-4
4-6
6-8
8-10
10-12
12-2am
FRIDAY
12-2pm Color My World: Matt Wiegel & Jane Choe music and colors
4-5
Der Mikronprofessor: Jonathan Jackson german
5-7
‘Lil Bit of Orange: Pam Sterling & Alex Mogul indie
7-9
Money Hungry Radio: Malcom “DJ Greedy” Forde & Corey “Mr. Money” Moore hip-hop, reggae, r&b
9-11
Ibiza Nights: Brenno Valerio & Steven Siegel techno, house
SATURDAY
WMRE Programming
Eric and Becca’s Winning Variety Hour: Eric Santos & Becca Cozad variety
Transfer Sluts: Sammi Sinsheimer & Peanut Jones pop and emory gossip
The Afternoon Show With Fahad: Fahad Chughtai british, irish, australian, international, variety
PIMP: Geoff Schorkopf indie
Coast To Coast: Chris Hintz & Carson Dimick talk, sports, politics
Mixed Race Babies: Patches Buntichai & Friends indie, R&B, pop, electronic, alternative
The Deep Dish: Josh Booher & Margaret Spear celebrity gossip
Damn Hipsters Are F***ing Everywhere: Madison Poche & Lauren Ladov indie pop/rock
Jazz On Funk: Jason Shimiaie & Jassel Majevadia jazz, funk
The Bedinge Hours: Adam Hoffman & Reid Sandler jam band
Galactic Booty Hour: Jenna Mullet & Kyle Wright indie, pop
Ebony and Ivory: Andrew Sears & Alyssa Collins R&B
The Fuzz: Greg Taillet & David Michaels rock, electro
Open Heart Surgery: Leah Lamoki inspirational
LI Ups the Punx!: Julien Feldman punk, ska, indie
Cyrus’s Show: Cyrus Parlin variety
Sun and Moonshine: Martin Holland & Kylie Petti folk rock
Radio Reloj: Aida Curtis latin, international
Pop! Zombies: Anneka Reid & Tarik Trent bringing 60’s pop, 70’s punk, powerpop, and rock n’ roll oldies BACK FROM THE DEAD
If That’s What You’re Into: Alice Cho, Victoria Alden, & Nicki Janes indie, sexytime
No One’s Listening: Nicholas Kentros, Justin Liu, Adam Rogoff, & Amar Medic eclectic, obscure, mainstream rock
Bollywood Funk: Satwant Singh bollywood fusion, bangrah
There’s No ska in Gaff-town & Use Protection: These Indie Boys Are Hot: Lara Kesler & Charlie Watts indie, folk
Unforgivable Wednesdays: Peter Brody & Justin Soleimani indie, electronic, dance
Myxomatosis: Wyatt Wilson & Graham Hadley remixes, acoustic. live
Radio on the TV: Mclean Crichton, Ben Friedman, & Mike Silwanowicz post-pogressive, nü age metal
Xpressway to Yr Nun: Eliot Johnson power pop, punk
Wonder Mike Radio: Michael Duryee-Browner rap, hip-hop, reggae, funk
War of Agression: Brad Massey oldies
Real Rhymes: Zayir Malik hip-hop, R&B
ABCs & 123s: Genna Scheuerell & Olivia Seeley rock, indie, alternative
Mike, Ike, and Johnny: Mike Blau, Johnny Lippincott, and Ike Privitera 70s, 80s rock
ATL Empire: Liam Greenamyre (DJ Statik) & Santosh Reddy (DJ Burtsteen Bear) atlanta hip-hop
Tasty Grapes Radio Presents...: Sean Hallarman, Brendan Munzer, Frank Lemmon, & James Poole rock n’ roll
Music Johnny Likes: Mark Kunzman 80s, 90s, and today
Kloset Kommunists: Shreyas Sreenath & Ogy Dharmar rock, indian, jazz, experimental
12-2pm
2-4
4-6
6-8
8-9
9-11
11-1am
The Bistro: Anish Shah & Aru Murthy bollywood fusion, world music
Saturday Curbstomp: Laura Bakewell hardcore
All That: Megan Watters & Elliott Marks 90s alternative rock
Gravity Box: Martim S. Galvão electro mash-up
Sublimaze: Steve Sherrin post-rock, prog-rock, indie
Proper Nouns: Chelsea Douglas & Jamie Nussbaum indie, pop
The Love Shack: Malcolm Tariq & Jayme Chen funk, pop, rock
If you are interested in becoming a DJ, Learnlink Andrew Crichton, Programming Director.

Latest Issue: 23 - Spring 2009

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