May 2013 - The Cut Magazine

C H U C K
R A G A N
volume6.issue5.may2013
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2
volume6.issue5.may2013
FEATURED ARTICLES
they might be giants.14
frightened rabbit.18
chuck ragan.22
IN EVERY ISSUE
letter from the editor.04
music news.07
steel city start-ups.12
mixtape.25
concert reviews.28
album reviews.32
essay.36
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LETTER
from the
EDITOR
To say that The Cut Magazine means a lot to me is an understatement.
If it wasn’t for this magazine, I wouldn’t be the person I am today. But
let’s save the clichés and the waterworks, I just want readers to know
the impact this magazine has made on me. I remember when I was an
elitist, naive freshman—I listened to punk, hardcore, and then more punk
music. Freshman me never would have put Big Sean on the cover of a
music magazine, or interviewed Tokyo Police Club on the third floor of
the UC while eating cheddar bunnies, or fallen in love with experimental
princess Grimes from an album review. People keep telling me ‘never
say never’, and I’ve come a long way since freshman year.
The thing is, I’m just one person in this magazine full of amazing people. It
truly amazes me how many of us come together because of our passion
for music. While recently cleaning out old magazine archives, I visually
saw The Cut go from covering local CMU acts to landing interviews
with cover artists like Less Than Jake, Bombay Bicycle Club, and Minus
The Bear. I could go on for days about the bands I’ve interviewed or the
work I’ve done, but none of that would have been possible without the
support of my staff. For every article you’ve written, for every article idea
you’ve given me, for your constant dedication to this magazine I love so
much, I just want to say thank you.
And so I have no fears about leaving this magazine in the hands of staff
who are very passionate and capable. For anyone that has ever wanted
to join this magazine or that will ever want to, don’t hesitate because
you might regret it. I almost left The Cut as a freshman when I saw the
magazine had misprinted someone’s name in my article. At the time I
thought, “Really? It’s not even a misspelling, he has an entirely different
name. How does this happen?” I had decided I didn’t want to write for
a magazine that made such careless mistakes, although I’ve learned it’s
very easy to make those mistakes sometimes. I ran for Assistant Editor
and decided I’d either get in a position to better the magazine or I would
stop writing for them. Luckily for me not only did I get the position, but
next year I was Editor-in-Chief and it’s been the most humbling position
for the past two years. Also, the best one.
Kristen N. Swanson
Editor-in-Chief
The Cut Magazine
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If there’s ever something you don’t like or won’t stand for, do something
about it. I hope in some way this magazine inspires you the way it has
inspired me.
Editor-in-Chief
The Cut was the first thing at Carnegie Mellon that gave me
a home. Carnegie Mellon is a weird place—talking robots that
scare me, experimental performance art that I don’t understand,
30 other languages people are speaking that I don’t know because I’m from Kentucky—and frankly it intimidated me my freshman year. But somehow I found The Cut, where the people are
still that special kind of Carnegie Mellon weird, but they love
music—listening to it, talking about it, and experiencing it. The
Cut took me in and I found a home.
Kristen Swanson
And though the people in The Cut are awesome, it’s not just
about the people. Of course, it’s about the music. Music digs
deep—it simultaneously fuels and mitigates your teenage angst,
it makes memories memorable, it changes who you are. I can’t
even tell you how many musicians and albums The Cut has introduced to me, musicians and albums that I would point you to
and say, “This is music that describes Zach Branson.” Because
The Cut has introduced me to so much music, in many ways it’s
changed and defined who I am.
Copy Director
I hope while reading this issue of The Cut you’ll find something
that will change who you are. Maybe it’s that artist you’ve never heard of, or that album you’ve been meaning to listen to, or
that sentence that perfectly describes that song that leaves you
speechless. We don’t put all this work into a magazine just because we love music—we want you to feel the love, too. Or at
least listen to it.
I’m sure even as Editor-in-Chief next year I will still discover a lot
of new music through The Cut. With every issue my whole music
landscape changes—new artists, new emotions, new ideas, and
thus, a new me. I hope this issue shapes who you are as much
as every issue of The Cut has shaped who I am.
Assistant Editor
Zach Branson
Art/Layout Director
Sarah Gorman
Photo Editor
Samantha Ward
Mike Ryan
Marketing and Publicity Chief
Leela Chockalingam
Public Relations Coordinator
Christopher Skaggs
Web Manager
Jake Kushner
Writing Staff
Rachel Asbel, Ryan Black, Zach Branson, Leela Chockalingam, Lindsay Corry,
Allison Cosby, Hannah Dellabella, Vanessa Frank, Kayla Heglas, Lisa Kessler,
Chloe Lula, Nicole Marrow, Arun Marsten,
Christina Mitas, Danielle Peters, Alec
Resende, Mike Ryan, Christoper Skaggs,
Kristen Swanson, Samantha Ward,
Zach Urbach, Rebecca Warshofsky
Photo Staff
Lindsay Corry, Samantha Ward
Art/Layout Staff
Kathy Lee, Lizzy Nolin
Editing Staff
Zach Branson
Incoming Editor-in-Chief
The Cut Magazine
Rachel Asbel, Kairavi Chahal, Leela Chockalingam, Hannah Dellabella,
Holly Fitzgibbon, Will Lush, Danielle
Maly, Danielle Peters, Jordan Stephenson, Rebecca Warshofsky
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RECOMMENDED ALBUMS
10 SONGS YOU NEED TO HEAR
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1.Broken Wing
Alkaline Trio
6. Get Lucky
Daft Punk
2. Revival
Deerhunter
7. Deliquesce
Bodhi
3. Young & Beautiful
Lana Del Rey
8. Howl
Beware of Darkness
4. Switch Up
Big Sean
9. Rich Girls
The Virgins
5. Brothers (ft.
King Chip and
A$AP Rocky Kid Cudi
10. Entertainment
Phoenix
MUSIC NEWS
compiled by Allison Cosby, Arun Marsten, and Leela Chockalingam
•
•
This month Austin, Tx. was taken over by hip 20-somethings
for its annual South by Southwest film, interactive, and music
festival. And if you weren’t hip enough to hear about it, the
festival featured shows by every band you’ve ever heard of and
closed with Depeche Mode debuting new songs and Prince
performing a nearly 3-hour-long set.
Always in the news for something, Morrissey made
it once again this month for cancelling his remaining
21 North American tour dates due to health issues; he
was recently hospitalized with double pneumonia and
has had esophagus and ulcer problems in the past.
•
A new Jim Morrison documentary is in the works! Before the
End: Jim Morrison Comes of Age will give a look at the life of
the late Doors singer—up until his untimely death at age 27—
and will feature interviews with Morrison’s family and friends,
unreleased home movies, and unseen photographs of the singer.
Let the obsession continue.
•
Lil Wayne was hospitalized for nearly a week after a series
of seizures brought on by too much codeine. Not sure about
anyone else, but I liked him better when he just smoked weed.
•
Madonna called for the Boy Scouts to lift their ban on gays in
a speech at the 24th annual GLAAD Media Awards. Recalling
her own experience (unsuccessfully) attempting to join the Boy
Scouts, she said, “I can build a fire. I know how to pitch a tent. I
can rescue kittens from trees. Most importantly, I know how to
scout for boys.” (Did I mention she was wearing a Cub Scout
uniform during the speech?)
•
Ever the tease, Vampire Weekend has released two
singles from their new album, “Step” and “Diane Young.”
You didn’t hear this from me, but they’re fantastic.
•
Bombay Bicycle Club announced that they have begun work
on a new album at their St. Patrick’s Day show in Dublin and
played a song from the album titled “Carry Me”.
•
The Postal Service have announced tour dates for this
summer. Check out the dates and locations at postalservicemusic.
net. Do it quickly; they’re selling like hotcakes.
•
Arcade Fire has finally confirmed that they’re working
on a new album. They’ve been working on it in DFA studio
in New York and hopefully it will be released soon.
•
Get excited, because apparently the Backstreet Boys are back
in the studio and recording. Recently Howie Dorough tweeted, “In
LA today with bsb recording a smash with Max Martin. He wrote
the majority of our biggest hits. Great to have the dream team
back again!!” Grab your favorite slap bracelet, the golden age may
yet be upon us.
•
John Mayer confirmed his breakup with Katy Perry on the Ellen
Degeneres Show. Mayer won’t be drowning his sorrows with
alcohol, though, since he’s dialed back his drinking after recent
health issues. “I’m a little more boring now,” he told Degeneres.
•
Baz Luhrmann’s remake of The Great Gatsby will feature
a star-studded soundtrack, including tracks by Jay-Z, Andre
3000, Beyonce, Lana Del Rey, The xx, Jack White, and more.
•
Daft Punk released the first track from their upcoming album
Random Access Memories; the track, titled “Get Lucky,” features
sultry vocals by Pharrell.
•
After visiting her museum in Amsterdam, Justin Bieber
announced that he hoped renowned Holocaust victim Anne Frank
would have been a Belieber. The comment was shocking to the
Internet community, but in reality, Frank was known to be a pop
culture fan, so perhaps Bieber’s claim wasn’t such a stretch.
•
Beach Boys fans, save up! Lost Beach Boys memorabilia—
including the band’s first royalty check and handwritten scores—
are up for auction, and the Fame Bureau (the firm leading the
auction) expects to rake in several million dollars for the items.
•
If you don’t know who Frank Ocean is, you have been
living under a rock for the last year. And that rock was
inside a cave on a desolate mountainside. The ubiquitous
R&B artist’s latest accolade was the Webbies person
of the year. So the entire Internet decided he was the
most important person of the last year. Props.
•
Neutral Milk Hotel officially reunited at the end of April to go
back on tour, to the rejoicement of hipsters everywhere. Broken
up since 1999, they are already scheduled to headline the
Mountain Oasis Electronic Music Summit festival in Asheville,
North Carolina from October 25th-27th.
•
Fred Armisen recently played a musical bit on the
Vince- Vaughn-hosted SNL episode. Armisen’s band
has released its own EP for free download dedicated to
Margaret Thatcher’s memory. The music is surprisingly
strong, despite or because of its absurdity.
•
As if enough people had not already looked at Psy’s
dance moves, they will now be inscribed in comic book
form. Starting with the phrase “Has he fallen from the
sky? Has he risen from the earth?” the book describes
Psy’s ascent to mega-fame. I’m sure the dramatic prose
will complement the glossy self-obsessed pages well.
•
The Steve-Buscemi-directed webcast/concert by Vampire
Weekend has finally been released after weeks of viral
video hype. The concert featured six out of the twelve
songs from their upcoming album “Modern Vampires of the
City”, and should be worth a listen. Also Steve Buscemi.
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LYRICALLY SPEAKING:
by Hannah Dellabella
Lately, mental illness has
become a bit of a hot button topic
around Carnegie Mellon while
we all debate the stress culture.
For me, it’s been on my mind
because I’m writing a Dietrich
Honors Thesis about mental
illness, and I’ve been researching
tons of stuff by poets who all
coincidentally (and tragically)
committed suicide. And so, this
month I’m going to talk about my
favorite songs and lyrics about
mental illness.
Struggling with something like
depression or anxiety is difficult
for many reasons, but it’s often
really hard to deal with because
it feels like no one understands
what you’re going through. Of
course, just like there are lots of
songs to help the heartbroken,
there are plenty of songs out
there for those of you just trying
to get by. Andrew McMahon,
frontman of Jack’s Mannequin,
penned some of my favorite
lyrics on mental illness: “And
my friend calls me up / with her
heart heavy still / she says, ‘Andy,
the doctors prescribed me the
pills / but I know I’m not crazy
/ I just lost my will / so why am
I, why am I / taking them still?’”
The lyrics come from a beautiful
song called “Hammers & Strings
(A Lullaby),” and McMahon sings
them with the perfect balance
of melancholy and desperation.
Aside from being a lovely song,
those lyrics tackle something
important: Having a mental illness
does not necessarily make you
“crazy.”
As for my favorite song about
mental illness, that would have to
be “Modern Chemistry” by Motion
City Soundtrack. The song is
about being medicated for
depression and anxiety, and lyrics
like “I barely have the motivation
/ they say I suffer from a lack of
serotonin synapses” reflect that
struggle. From pre-medication
to post-medication, lead singer
Justin Pierre laments the use of
psychiatric drugs that leave you
feeling not quite right. The song
is pretty short, but the lyrics are
packed with emotion.
If you’re looking for more
songs about mental illness, I
suggest “The Church Channel”
and “Surgically Removing the
Tracking Device” by Say Anything
(frontman Max Bemis suffers
from bipolar disorder), “There,
There Katie” and “Swim” by Jack’s
Mannequin, “Hurt” by Nine Inch
Nails (but also check out Johnny
Cash’s cover that is infinitely
better), “Everything Is Alright” by
Motion City Soundtrack, and “Still
Searching” by Senses Fail. And
remember, you’re never alone
when you have music.
PLACES WITH WEIRD MUSIC:
Diving into the Soundtrack of CMU’s “Dive” Bar
by Christina Mitas
You know PHI. You may not
be 21 yet, you may steer clear
of its shady exterior at all costs,
but you’ve heard the acronym.
“Phi” is the nickname for the
Panther Hollow Inn, a staple
establishment for this campus,
frequented by your pals, your TAs,
and the employees working at La
Prima’s coffee stand alike.
PHI bar is a place of wonder, a
place that on weekend nights can
pack too many individuals into a
small space and make memories
happen. But right now, it’s 4pm
on a Thursday, the lights are up,
and a Pitt basketball game is on.
Though the floors seem clean
at night, when it’s bright in the
afternoon you can see the scars
of Friday nights past on the
wooden paneling that lines this
8
small joint. The paneling and its
accompanying padded booths
have become infused with the
scent of cigarettes and old
grease from years of smoking
and cheese fry manufacturing.
I say with no shame that
this is not my first time at PHI
on a weekday mid-afternoon.
Usually you’re graced with the
sounds of Pittsburgh’s finest
Bob FM, whose tagline is “We
play anything!” or perhaps 94.5
3WS, “Pittsburgh’s Classic Hits.”
I approach the middle-aged
bartender, the only employee
in sight, and inquire about the
origins of the modern electronic
and rock I hear sometimes in this
place. He replies, “The younger
bartenders put their iPods on and
play their stuff.” But sometimes,
a bold individual will engage the
jukebox. “That takes precedence
over anything else,” states the
bartender.
The digital jukebox is perhaps
the most renowned object in the
place. Its endless archive of music
allows any patrons, no matter
their tastes, to choose whatever
songs they like by virtually any
artist. Some patrons are pitiless,
trolling the system, subjecting the
other customers to sounds like
“Cotton-Eyed Joe” one moment
and anything by Nickelback the
next. You hold your breath as
a drunken stranger stumbles
towards the machine, praying to
any entity you can think of—God,
Jesus, Muhammad, Elvis—that if
they are a child of the 80s, they
will choose Queen over Journey
and U2 over Duran Duran.
As I finish off my personal
six-dollar pitcher of Yuengling,
the bartender starts singing the
chorus of “Sweet Caroline,” and
I consider how I will emerge
from this place smelling of
cigarette smoke and stale beer
to go to class. It’s almost 5pm,
The Panthers just lost, and the
bartender is quick to abate any
ensuing bitterness with the
assuaging sounds of artists
like Jason Mraz and the Sweet
(whose jumpsuits are amazing—
Google them for further delight).
The lights are being dimmed
for the evening, and I was just
informed there are free Wheat
Thins at Booth #1, so I take my
cue to go, grabbing a bag of
processed snacks on the way.
Band That You Haven’t Heard Of
by Samantha Ward
Photo Courtesy of Mark Battle
Air
Traffic
Controller
Air Traffic Controller, a poppy
a delightful punch of indie pop
has an energetic presence on
thank fans and supporters, and
indie group from Boston, Ma. is
with
stage and interacts with audience
they
on its way to the limelight, but
by synths, an occasional orchestra,
members
their
with their success (though no
hasn’t quite hit it big yet. The
and the nasal voice of Dave
CD-release party in July 2012
one else seems to be). They
seven-member group, led by singer
Munro.
stand-out
at the Brighton Music Hall in
began this lively interaction with
and former air traffic controller
tracks, “Hurry Hurry” and “You
Boston, the group was joined
fans when first fundraising for
Dave
Know
constructed
onstage by a small portion of an
Nordo.
in
around poppy drum beats and
orchestra in order to play the
successful
July 2012 to a slew of local
twangy guitar lines. Though ATC
songs to their fullest potential.
campaign, the album would not
praise, receiving positive reviews
focuses on a lighter sound, certain
Perhaps the best part about the
have been possible. It’s without
from
notable
Boston
tracks on Nordo such as “Blame” and
group’s limited notoriety is that
a doubt that their loyal fanbase
The
Boston
Globe,
The
“Magic” emerge with epic cello lines
they’re still accessible. It’s easy
will
among
and powerfully composed orchestral
to talk to them after shows or to
Traffic Controller. Even if they never
chosen
c
tweet at them and feel satisfied
hit it big, this band has delivered
knowing
and
some knockout singles for those
interaction.
lucky enough to have heard of them.
Munro,
sophomore
Phoenix,
Nordo
others.
one
of
their
Nordo,
album,
Boston
as
released
was
Newbury
bloggers,
and
comics’
every
h
track,
Their
Me,”
o
constructed
two
are
r
u
s
e
s
.
The band sounds great through
featured CDs this past summer,
headphones,
and
better live. Munro’s and bass-
the
group
is
currently
touring the New England area.
Their sound is catchy, delivering
player
Casey
but
they’re
Sullivan’s
even
with
that
appreciated
ease.
they
your
At
saw
seem
honestly
Without
continue
surprised
their
wildly
Kickstarter
to
support
Air
The band members are a
vocals
genuinely delightful bunch. With
are clean and powerful. The band
every success they gratuitously
9
lyrically speaking
with Hannah Dellabella
As a writer, I’m always trying to
a song. So now let’s look at some
songs. The first example that
would usually think of a smile, yet
find new ways to say things. Often,
successful (and not so successful)
comes to mind is the genius
it evokes such a specific feeling—
this
similes in songs.
duo of Lennon/McCartney in
you can tell that Cath’s smile is
is
accomplished
through
figurative language, but even that
Full disclosure: I don’t like Taylor
“Across the Universe.” “Words are
careful and perhaps a bit sad.
can become overused and clichéd.
Swift. One of the reasons I’m not a
flowing out like endless rain into
Another favorite is the titular simile
One of the most common forms of
T-Swift fan lies in her lyrics: they’re
a paper cup,” Lennon sings in the
from “Crooked Teeth”—“Cause the
figurative language is the simile. A
too clichéd. Let’s take her song
opening line. The Beatles have
sun at night in retreat / made the
simile is a comparison that uses
“Mean” for example. The song
taken a potentially clichéd phrase
skyline look like crooked teeth.”
“like” or “as” (for example “a face
starts out with several similes,
(flowing like rain) and transformed
That one is pretty straightforward,
like the moon” or “as quiet as
most notably: “You with your words
it into something else entirely;
but I’ve never heard a skyline
a mouse”). Figurative language
like knives / And swords and
something acutely descriptive and
described that way.
like similes can be incredibly
weapons that you use against me.”
imaginative. You can picture that
descriptive and often beautiful
Comparing words to sharp objects
cup, and it’s a beautiful image.
when
Next time you listen to a
song, look out for some similes.
many
is an effective description, but it’s
Death Cab for Cutie has also
Who knows—maybe you’ll just
songwriters incorporate similes
entirely clichéd and unimpressive.
produced some beautiful similes
be disappointed by clichés. But
into their lyrics. As a poet, I’m a
As a songwriter, Swift should
in their lyrics. In their song “Cath...”
perhaps a songwriter will give
sucker for some good figurative
strive to be more original.
Ben Gibbard sings, “She holds a
you a whole new way of seeing
something.
used
well,
and
language, but an overuse of
Of course, some songwriters
smile / like someone would hold
clichés can really turn me off to
use similes brilliantly in their
a crying child.” It’s not how you
places with weird music:
Steel Away to Shadyside: The Strange Sounds of Steel Cactus
by Christina Mitas
Ascending the steps to Steel
Cactus on Walnut Street on a
10
the boisterous conversations of
else seems to notice as they let the
I’ve been here before on a
seasoned Happy Hour patrons.
innocuous 80s tunes wash over
weekday night, and it seems like
beautiful spring early evening, sun
Unlike a restaurant that attempts
them nostalgically, spooning salsa
after 8pm it’s routine for the musical
still shining in the sky, I could hear
to create some sort of atmospheric
and frozen booze lackadaisically into
selection to stagger back and forth
muffled 80s power ballads from
consistency with its music, this place
their mouths.
unceremoniously from genre to
upstairs. The sounds encouraged
could not be bothered to give any
Don Henley’s haunting rhythm in
genre, unaware of its audience. I
my firm determination to devour
kind of crap about that. They are far
“The Boys of Summer” starts to eke
was on my first date with the love
guacamole and cocktails relentlessly,
more concerned with being hip and
through the speakers, but is suddenly
of my life and we were all cliché-
which I assure you is a socially
refreshing with their décor. When the
muted, and after a moment’s silence,
like lost in each other’s eyes, falling
accepted standard on this street
weather is nice like today, they open
Justin Timberlake’s “Suit & Tie”
in love, etcetera, but it was still hard
that no one was surprised to see
up all the windows and it feels like
replaces it. Disoriented, I check my
not to notice the anti-mood music in
me accomplish. I promptly ordered
you’re dining on a balcony, a balcony
watch and realize its nearly eight
the room. It jumped erratically from
a drink entitled the “Yinzerita”—a
that conveniently has a ceiling, a bar,
o’clock—time to ready the place for
Missy Elliott to Steve Miller Band to
giant goblet full of frozen margarita
and a Yinzerita machine.
the night’s activities.
Skrillex and so on into the night, but
mix with a full Corona bottle dipped
My waitress is sweet, nervous,
After JT’s sexy single, the playlist
that didn’t really seem to matter. As
upside-down into it—the kind of
heavily Eastern European accented,
momentarily backtracks in style to
long as you’ve got the right company,
gaudy beverage you’d buy if you
and clearly new, so I don’t pester her
Tom Petty’s “Free Falling,” but some
you’re guaranteed a Yinzerific time
knew you only had one day left to
with questions about the musical
employee is quick to fix the mood to
here.
live.
meanderings of this establishment’s
some sultry hip-hop song featuring
George Harrison’s “Got My Mind
playlists. “Hot Time in the City” by
Chris Brown as another employee
Set On You” begins playing behind
Triumph takes over, but no one
dims the lights.
HOW PEOPLE FIND NEW MUSIC
REBECCA WARSHOFSKY
Seeing your favorite bands live is obviously the best way to experience them. So then it makes sense that seeing bands
that you don’t know live would be the best way to experience them too! Festival season is right around the corner, which
means there are many opportunities to see bands you never would have seen otherwise. Just walking from stage to stage at
a festival can expose you to so much because you never know what genre of music will come floating into your ears next. It’s
a great way to discover something totally unexpected, and you never know—you might even find yourself a new favorite.
The Vans Warped Tour is an example of a great place to do this. At Warped back in 2007, I was wandering around being sad
because Underoath’s set got cancelled, and I happened across a tiny stage featuring five particularly sweaty, hairy dudes shredding on their guitars and singing their hearts out. The combination of their sound and look intrigued me, so I stuck around. Turns
out I was in the right place at the right time. Just a few moments after my arrival, the singer started to climb a stack of speakers
that must have been 14 feet high. Then, during a crazy guitar solo, he launched himself off the top and into the crowd below. It was
nuts! I even got to touch his glorious, hairy, sweaty back. The band was Valient Thorr, and I’ve been rocking out to them ever since.
Rachel Asbel
Believe it or not, you can find more on YouTube than hilarious videos of slow-moving sloths. I have found this site to be my most
valuable resource when it comes to discovering new artists (and also obsessing over the artists I already love). Its straightforward
organization makes it ideal for stumbling onto new artists: You go to the site to watch the new music video of your favorite artist,
and suddenly your side bar is filled with a slew of videos where you’re guaranteed to find something interesting. In addition to the
amateur, home-recorded gems, you can also find some really great professional recordings. There are many series where bands are
recorded in a radio studio or other, more obscure locale (e.g., the middle of the woods by a lake). Some good series to check out
are KEXP’s live sessions, NPR’s Tiny Desk Concerts, and my favorite, La Blogotheque’s Take Away Shows. These shows capture
unique performances by indie artists in various Parisian, urban settings. In getting up close and personal with artists through these
videos, I’ve found that I’m able to connect with them in a way that I wouldn’t be able to with just audio recordings. Fortunately for
me, new videos are posted every day, so at least for now, YouTube will never run dry as a place to quench my musical thirst.
Leela Chockalingam
With the advent of Spotify Premium, my downloads had become reserved for the homebase of songs I needed immediate access
to when I woke up on the wrong side of the bed. And then someone turned me on to noisetrade.com. With an aim to connect great
people to great musicians playing great music, the website was right up my alley. It operates under the assumption that nothing
convinces you that music is good better than the music itself. Noisetrade releases up-and-coming artists’ music out to roam via free
downloads, like a bard spreading his tales while he wanders the land. The songs fall where they may, and all of a sudden someone
tells their friend about this great new song they heard. The music sells (or rather doesn’t sell) itself. I’ve downloaded countless
samplers and EPs and have been impressed more often than not. It’s a great alternative for the adventurous music fan who wants a
legal way to explore new music and expand their library. Getting added to many a mailing list and becoming part of the burgeoning
community of emerging artists is just a pleasant perk. All of you should take the unbeaten path; it could take you to a beautiful song.
Arun Marsten
I’m probably one of the biggest proponents of physical media, but I have to say that when it comes to finding new music,
the Internet is my best friend. For starters, there is an infinite number of music blogs. For the indie scene, there’s Pitchfork.
They’re incredibly pretentious, but they are very prolific. Then there’s Sputnik Music, which is essentially Pitchfork but a bit heavier. They also have slightly more down-to-earth writing, which can be refreshing. Finally, a site that’s not entirely dedicated to
music but is very close to my heart: A.V. Club. A.V. Club is a really cool site if only for their cover series. They bring in famous
bands to cover famous songs, resulting in a lot of cool music. However, blogs are only part of the picture. There are about a
million music subreddits which can show you music both new and old, some of which won’t make it to reviewers. They’ve taught
me about a lot of great bands that I’ve missed. Finally, there’s Daytrotter. Daytrotter owns a studio in Rock Island, IL, to which
they bring touring bands to record impromptu sessions that are better and more intimate than anything you’ve ever heard.
11
STEEL
CITY
STARTUPS
- K A Y L A H E G L A S -
It’s not too often that a high
school band sticks together and
grows as a group over many
years—so when Curt Rodgers,
the guitarist and keyboardist
from These Three Words, told me
their story, I was truly amazed.
The band has grown from
pop-punk beginnings to an indie/alternative rock sound.
When asked why their sound
has changed so dramatically in
the past five years, band member Rodgers said, “Karter [the
lead singer] wanted to change
the sound to something that
could be taken more seriously.” A song that shows this
change in sound is “Sanctuary,”
which after some revisions
became darker and heavier.
T H E S E T H R E
12
Photos Courtesy of Brian Turner
Among the five members, Dave
Pawlowski, Mike Law, Karter
Schachner, Johnny Tomaszweski, and Curt Rodgers, songs
are constantly being changed
and molded to find the perfect
musical balance. Rodgers said,
“We fight all the time, but it’s
a brotherhood thing—we don’t
hold grudges.” And thank goodness, because they all refuse to
change or replace members: “If
we swap out a member then the
sound and collaborative effort
would change,” Rodgers added.
it ends up working out.” More
specifically, “Lyrics don’t change
when the song is in the production phase because Karter is an
awesome writer, and whatever
he brings is good for us—he has
some pretty deep thoughts inside
his head.” But Schachner is not
the be-all and end-all in the production phase, because after the
lyrics are established, the band
helps re-orchestrate the song.
Although the sound differs
throughout their albums, they
all connect and have similar
ideas. Rodgers explained, “The
songs are written over a long
period of time, so the similarities are not intentional, but
E W O R D S
When speaking to Rodgers, it
was obvious that the writing process was what the band loved
most—it was the other aspects
like management and booking that he complained about,
saying, “Like, who wants to rip
down the equipment after a
show? It’s so fucking heavy!”
He had even more to say about
the “crazy” fangirls that this Pittsburgh band has gathered. Before
a recent show, “A 13 year-old
girl that was quite a nuisance
was tweeting at me [Rodgers] to
bring her a ticket, but didn’t actually need one. So the show rolls
around and she bought a ticket
at the door with her dad and we
found out that she was just using Twitter as an excuse to talk
to us.” There have been more
aggressive fans, but the band
tries to appreciate them all.
These Three Words talked a little about how their past albums
were created, which took a total of three years to complete.
Rodgers spoke about the timeline, saying, “We played a new
song at a show, then recorded
demos, but they weren’t good
enough, so we decided to hold
off till we wrote more songs to
create a full album.” They try to
match the sound from their recorded album to the sound of
their live performances. Rodgers
said, “The dynamics on stage
are so much more rich. You can
feel the bass drum and feel the
music. And that’s something
you can’t replicate in a recording, but we try to simulate.”
These Three Words is an upand-coming band with a selection of music that’s sure to
take over the music scene. You
can check out their awesome
sound on iTunes where their
album Wholes is available.
13
Interview by Arun Marsten
They Might Be Giants is a
bizarre used-to-be-duo
that’s relentlessly dived
towards many ends of the
music spectrum. The Cut sat
down with TMBG cofounder
John Flansburgh and talked
about playing cover songs
in sailor bars, the DIY
lifestyle, and unexpected
commercial success.
They Might Be Giants
The Cut: Do you remember what your backup or original plan
was if the band didn’t work out?
John Flansburgh: We weren’t expecting the band to work out.
There wasn’t really a backup plan, we just had jobs. I think we did
our first show together in the summer of ‘82 and our second show
in February of ‘83 as They Might Be Giants. After that, pretty much
every month we’d do a show in New York, and that escalated into
the mid 80s. By the time ‘86 rolled around we were playing pretty
much every weekend in New York. It was only then that the band
started having a citywide identity. There were three solid years of
toiling in obscurity, and even when we were taking off as a local
band, we were very much stuck at our day jobs. It was a very slow
evolution and took us a long time to get out of New York. We
started in ‘82, but we didn’t start touring till end of ‘87 beginning
of ‘88, so there was a long time for us to just think of ourselves as
a local band. We were very earthbound.
The Cut: If you guys had to give yourself a genre what would it
be? Do you even think genre is an important thing to label, or is it
more irrelevant today?
JF: I’m traveling a lot and so I often find myself in taxis in New York
City with my guitar and gear. Inevitably the driver will ask, “What
kind of music do you play?” My stock answer is, “I’m in a band.
We do original songs. It’s like the Beatles, but the lyrics are a little
different,” and if the taxi driver asks me what band I’m in I tell him
Fountains of Wayne.
The Cut: What prompted you to record a cover of “Istanbul,” and
were you surprised by how popular it became?
JF: It’s a strange story. We were going on our second tour of the
14
US, and we were playing at a place called the King’s Head
Inn in Norfolk, Virginia, which is basically a sailor bar. They
would have bands come in and play Allman Brothers’ covers.
It was a time when we took our contractual obligations a lot
more seriously than we should have, but I think we were just
nervous by temperament and had no idea how seriously the
contract would be taken. So, it said that we had to play two
hours of original material. We were a duo that played really
short songs and worked with a drum machine, so everything
was prerecorded, and I think if we played every song we
knew how to play we only had about 50 minutes of material.
Our show was only 40 minutes long at the time, which was
perfectly adequate for New York. So, we’re playing in this
crazy bar and we’ve got this contract and we don’t know
what to do, so we just learned a bunch of covers. We learned
the simplest covers we could think of. The truth is, “Istanbul”
is two chords, F minor and C. I knew it from my childhood.
This was pre-Internet, so when you did a cover of a song it
wasn’t always easy to find a recording of it. I’m not sure if we
even listened to the Four Lads version; we might have just
winged it.
The Cut: You guys always seem to be on the cutting edge of
different emerging technologies with things like Dial-A-Song
and the song “Fingertips”. Have any recent developments
got you thinking about making something similar?
JF: Like a lot of people I’m trying to figure out what on earth
this Vine thing is good for, besides adult-onset ADD. I really
love the world of podcasts. Between animators being able to
work on their laptops with stuff like Flash and After Effects
and other people putting together podcasts instead of having
to navigate their way through public radio or commercial
radio, I’m excited about where the culture is at. It’s cool to
me that there’s so much home-brewed stuff that is getting
into the world without some arbiter of taste or some cultural
gatekeeper giving it the thumbs up or thumbs down. It’s a
very interesting time. It’s a very noisy and dynamic moment,
and I’m just happy to be here. I don’t know what the next thing
is going to be. Some emerging technologies take too much
work. I have a hard enough time getting a DVD authored.
The Cut: Speaking of emerging technologies, what are your
thoughts on the advent of online music apps like Spotify and
Pandora?
JF: From a user’s point of view Spotify sounds like it’s a
great way for people to discover music that they’ll actually
like. A lot of the algorithms used to make recommendations
seemed very small-minded somehow. Saying you’re gonna
like the Kinks if you like the Rolling Stones isn’t going to
surprise anybody. It seems like the way Spotify works has
a much more wide-open, sparky design. I’m happy to think
that more people are going discover They Might Be Giants
through things like Spotify, because we’ve never been on
the radio that much and only had a brief, shining moment
on MTV, so if there’s any vehicles in the world for us we’re
happy. Ultimately, I don’t think Spotify and Pandora are going
to make any artist rich. Lady Gaga received her $24 check
a couple of months ago and I think she might have spent it
already.
The Cut: You’re known for being one of the first bands
to own your own online store. How successful was it, and
would you encourage other bands to do the same?
JF: Well, we live in a DIY world now. People are selfpublishing on every level. Some bands are doing a very
good job of managing their own careers without record
companies, and that’s perfectly healthy. When there’s a
novelty scenario, and this goes for us as well as anyone
else who’s introducing an idea into the culture, whether it’s
Radiohead or Louis C.K. or Amanda Palmer, anybody who
has a good angle on introducing themselves to the culture in
a fresh way is going to do really well. The truth is sometimes
it’s hard to even repeat that yourselves. I’m not sure how
many specials Louis C.K. will be able to launch that way or
how many name-your-own-price projects Radiohead really
wants to do or how many Kickstarter campaigns are worth a
million plus for Amanda Palmer. It’s certainly not something
where anybody can just say, “I’ll have what Amanda Palmer’s
having, thank you.” You don’t get to decide what’s going to
be a phenomenon.
The Cut: What gave you the idea to do children’s music?
And along those lines do you even see your albums as being
for children?
JF: The kids albums that we’ve done are very specifically for
kids and the other albums we’ve done are very specifically for
ourselves. There are a lot of themes that aren’t really appropriate
for kids on the “adult” albums. Not to say that people haven’t
played our adult music for their kids, and that’s something we
don’t think about very much, but it’s not necessarily a bad idea.
We started in kids stuff the same way you might do a Christmas
album or any other kind of one-off. When we made our first
children’s album it seemed like that would be the only children’s
album we would ever do. Because it was such a big hit with
people the idea of working in that world came up. It wasn’t like
it was something we had decided we wanted to get into in a big
way; it was a happy accident that turned into a parallel career. It
took no work on our part to have a hit kids album—that was the
weird thing. We’ve been working for 15 years to be a successful
rock band, had gotten to the middle of the music business, and
then we put out one kids album and in three months we’d sold
100,000 copies. We’ve never had to work so little to find success
as in the world of kids stuff.
The Cut: TMBG has been together for over 30 years now. Have
you found that there’s a key to keeping the band together this
long, or is it still a learning process?
JF: We’ve learned the same things over and over again. We were
in our twenties when we started—we weren’t teenagers. We didn’t
have giant expectations. John [Linnell] was coming out of a band
that had a much keener eye on commercial success, and he was
interested in figuring out how to crack the code commercially.
What we were doing was personal to us. It was important that
it be fun and, at the risk of sound, completely self-preoccupied
and artistically satisfying to ourselves. Musicians are dreamers,
but different people have different dreams. I don’t think ours were
so much about commercial success or finding a big audience as
just letting our freak flags fly.
Photos by Lindsay Corry
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T
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k
a
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Photo by Kristen Swanson
Interview by Ryan Black
FRIGHTENED
RABBIT
Frightened Rabbit are a Scottish indierock group from Glasgow, founded in
2003. Drummer Grant Hutchinson took
The Cut through their ongoing tour and
recent progression of the band’s sound.
GROUPLOVE
The Cut: What’s your favorite city that you’ve been
to so far while on tour?
Grant Hutchison: I love Seattle as a city. That’s
one of my favorite places in the world. And that
was a really good show, actually. But, to be honest,
I’ve enjoyed
theSkaggs
past week where we’ve done the
Interview
by Chris
Midwest. We did Lincoln, Nebraska, Cincinnati,
sort of smaller places that we’ve not been as often
as we have touring the coasts and Chicago and
whatnot. It’s been surprising—well, not surprising—
but, we didn’t know what to expect in going there,
having not been there for a long time, or maybe
never having been there. So yeah, they’ve been
really good fun.
The Cut: How does touring in the US compare to
other countries in Europe or the UK?
GH: The main difference between the US and the
UK is the obvious one: just the sheer size of the
US, which is really a big factor. You’re lucky if you
do a drive in under seven hours. Now, we have a
bus, and that happens overnight. We’ve done a lot
of tours in a van and that’s a big difference. It can
be exhausting, but I think because of that the cities
are all quite different. It’s exciting traveling that far
and seeing a completely different culture, a feel, a
different atmosphere.
18
The Cut: Frightened Rabbit did another tour
less than a year ago with the release of the State
Hospital EP. What caused you guys to do that tour
and then this tour so soon afterwards?
GH: There were a few reasons for doing the tour.
One, to get some new songs out live, try them out
and see the reaction to that, and in support of the
EP, because we felt like it was a strong EP. It wasn’t
just a collection of tracks that we threw together.
And also the tour was a reminder to our fans that
we were still here, because we understand as much
as anyone that people are quick to forget. And we
played smaller venues than we normally would,
which meant the whole tour was sold out, and that
was great. It was nice to be at some of the venues
that we hadn’t been to for a few years. And I think
that there’s a feeling around it, that people who
were seeing us perform felt like they were seeing
us in a more intimate setting that they wouldn’t
normally get to for a while.
The Cut: What are some of your favorite songs to
play on tour?
GH: I’m really enjoying playing the new songs, it
breathes new life into the set. Not that the old set was
tired, but when you play the same songs for a few
years it’s great to inject new life into it. And you get
that nervous feeling again that you lose sometimes
when you get used to the songs. In particular, it’s
taken a while for the fans to get to know the new
record, especially because we started the tour in
the UK the week of the new album’s release. So
you’re obviously not going to get the reactions to
the new songs as much as the old ones because
people haven’t had time to listen to it. The best one
for me at the moment is probably “The Oil Slick”—it
seems to be going down as the best of the new
tracks. And “Acts Of Man” is another one, because
of its position in the set—we’re rocking it well.
The Cut: You guys were at SXSW two weeks ago.
How’d it go?
GH: It was our fourth time there, and it’s a love/
hate thing with SXSW, to be honest. What I like
about live music and what I feel like fans in general
like about live music is not really that present at SX
anymore. The whole point of it is live music, and
now bands don’t even get sound checks or a full
set. The PA gets turned off if you run over your time
limit. So gigs can sound mediocre at best. And you
do so much that bands get tired, and you’re pissed
off, and it’s just a frustrating time. Like I said, we’ve
done it four times, so we’re used to it and just get
on with it, but I sometimes feel like we’re cheating
folks because they get to see five songs, and
although the parties are free, people have flown in,
bought a wristband, and are paying for a hotel for a
week, the prices of which have been marked up for
that week. It loses the charm of live music and the
idea of a festival, when all you can see are sponsors
on billboards. But again, it is what it is, and we all
really enjoyed playing the actual songs to people,
because that’s what it’s all about.
The Cut: Do you have any dream collaborators? Is
there anyone you would like to do a song, or even
an entire album, with?
GH: One thing we have spoken about is doing
an album or a collection of songs with different
collaborators. Not one album with the same person,
but an album with Frightened Rabbit and some
people we admire. But who knows who that would
be. I know that Scott would absolutely piss his
pants if we got to do anything with Wilco. And we’d
love to do something with the Felice Brothers. It’s
something that we’re constantly talking about and
trying to do. But right now we’re busy enough doing
Frightened Rabbit. It could be something next year
we’d like to do, but, again, it’s about finding time to
do it, more than anything.
The Cut: Your albums have been slowly sounding
more produced and less raw (if you compare Sing
the Greys to Pedestrian Verse, for example). Is this
a conscious decision?
GH: It’s something that we’ve always strived for and
tried to achieve, but we’ve been restrained from doing
that because we didn’t have the financial means.
Being on a small indie label, we had a smaller budget
and you have to prioritize. And that means certain
things we’ve managed to do this time we couldn’t do
in the past. In making Pedestrian Verse we had much
more time to prepare the songs before going into
the studio than we have in the past, and we rented
a studio for four weeks this time. The difference
between previous records and this record was
having that time and being able to get it right. We
had the time to be picky, so we got picky, and we got
the sounds that we really wanted every single time.
Tchad Blake recorded the drums for us, and Leo also
brought a lot to it. But Leo had ideas before we went
into the studio because he spent a lot of time with
the demos, and he really made a huge difference in
making the album. The record came out sounding like
we wanted it to. And the previous records, not that
we felt disappointed with any of them—I think they all
represent a certain point in the timeline of Frightened
Rabbit that’s really important—but I think we all feel
that with this one we’ve actually reached a day that
we’ve been attempting but have fallen slightly short
of in the past.
The Cut: You’ve said Pedestrian Verse was a more
collaborative effort. Was that a good thing, and is the
band going to continue with this method on future
endeavors?
GH: Yeah, we’ve found that it works. It’s not something
we’ve done before, so we didn’t know how it was
going to go. It’s previously been Scott bringing fullyformed and arranged songs to the studio and to me
to add the drums. I still did a lot with the drums, but I
was playing to songs that were not going to change
thematically or structurally. For Pedestrian Verse I
was playing along to much more bare demos, with
Scott humming the melody along, or just one acoustic
and an electric guitar part. It was difficult for Scott to
loosen the reins, difficult for me to be playing along
to the bare-bones of songs, and having to be a part
of the creative process was quite difficult, having
not done it before. I think it’s something that we will
continue doing in the future, because with this album
we’ve reached a point where we’ve got a sound that
we like. And that’s because everyone has their own
input into every aspect of the song.
19
Photo Courtesy of Tim Richmond
L
20
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A
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E
Photo by Lindsay Corry
S
C
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21
C H U C K
Chuck Ragan is a man of many talents. You may know him as a vocalist in the punk band Hot Water
Music, the founder of the acoustic collaborative Revival Tour, or, if this is your first time hearing about him,
you can sure as hell bet it won’t be your last. This man doesn’t just sing and perform passionately, but he
lives passionately. If you’re looking for any kind of inspiration, you’ll want to know more about him. Ragan
sat down with The Cut to discuss the dynamic of Revival Tour, the harsh realities of being a musician, and
even his similarities to Bob Dylan.
The Cut: This is the sixth year of Revival Tour, and I was reading how American Songwriter compared it to the spirit of Bob Dylan’s Rolling Thunder
Revue, and I have to agree. There’s something inspiring about folk music
and the way it creates an atmosphere of camaraderie and collaboration. Is
this what Revival is like for you?
Chuck Ragan: Very much so—in a lot of ways I can relate to that. We’re essentially pulling together people from so many different necks of the woods,
from all over the world. We’ve had up to 75, if not more, different artists on
the tour in the past six years. Every time we set out on the road we never
know what’s going to happen, because we have a group of people and we
coordinate and work on songs, but that changes day to day. So not only
does the lineup change from tour to tour, but the show changes from night
to night. It really pulls people together and it builds wonderful relationships
all through music.
The Cut: Going along the lines of Dylan and older music, the songwriting
process was a borrowed art form—musicians covering each other’s songs,
rearranging songs, joining forces—this seems to take place on Revival and
almost gets back to the roots of music before computers and technology.
Does it benefit you when you guys part ways and make your music separately?
CR: This tour, more so than any tour I’ve ever been on, is the most inspiring and challenging way of presenting and learning music that I’ve ever
experienced in my life. Through the course of the tour we’ll have up to 24
different artists, and we’re learning anywhere from two to four to six songs
from each artist throughout that tour and period of time. We’re learning stuff
on the bus, on the way here, we’re sitting around at night learning stuff,
and sometimes we’re literally backstage two minutes before we’re going
to walk on and play that song. That’s just the spirit of this music and the
way we’re sharing it. It always puts you on a fire and gets you charged to
handle it. Sometimes you mess up and sometimes you pull it off—it’s more
about having the guts to just get up, handle it, and have fun doing it. That to
me translates to the people, it translates to each other, it creates this really
infectious, positive atmosphere that for us is undeniable. It’s hard to get on
stage and not have a blast when everybody around you is just completely
cutting themselves open and having a wonderful time.
The Cut: You have this great ability to express so much passion on stage,
and I know you’ve stated before that music is like therapy for you. So is
Revival a form of group therapy?
CR: [Laughs.] Yeah, I think you nailed it. Revival Tour is more or less group
therapy for music.
The Cut: Tour life is always interesting to me—full of ups and downs. What
keeps you still pushing through those lower times while you’re out on the
road?
CR: Home—what’s at home. My wife, my dogs. Just staying in tune and in
touch with my loved ones, my family, and my friends. Just trying my damned-
22
Interview and Photo by Kristen Swanson
R A G A N
est to constantly look deeper and reflect and remember why I’m doing this
to begin with. Also remember everything and everyone who helped me get
to where I am right now. If it wasn’t for my friends, my family, and the fans
who supported me along the way, I wouldn’t be here. For that I’m in their
debt and very grateful; that to me is always grounding and humbling as well.
The Cut: Revival is a more acoustic, stripped-down approach to songs,
and seems to bring a wider audience to shows. Do you think it’s more liberating than playing with Hot Water Music, or does it give you another sense
of musical freedom and this attracts more people? Or maybe it’s just more
eclectic and in a sense has something for everyone?
CR: It’s definitely a broader spectrum. The Revival crew—there’s a lot more
age groups involved, there’s a lot more different walks of life that come
around as opposed to a Hot Water Music crowd. I could never say this is
better than that, to me I feel really blessed and really grateful to have in my
life the two best worlds of music. I love playing acoustic music and I love
being part of an extremely eclectic tour. Sometimes I’m playing my music in
front of an audience where there are five artists and there’s a percentage
of the audience who came to see that one particular artist, but when we’re
all up there together we’re playing to all of them. We all end up gaining
more fans, it’s almost like doing a support tour and a headlining tour all at
once. With Hot Water Music, we have a very dedicated, amazing fanbase
that we’ve built over the past 19 years, and we love them like family. They
are family, we grew up together, but it’s very focused and it’s all about Hot
Water Music. Granted we go on tour with other bands and it works in the
same way, but usually it’s just slotted in the punk rock genre and it’s loud,
it’s on 11, it’s just pedal down. I mean, we throw out a lot of energy on this
tour and it’s not your everyday coffee shop folk show. It’s acoustic, but this
is a rock and roll show, it has the energy of that.
The Cut: You’ve had a really successful career and you’ve seen so much
of the world and played with so many musicians. I guess to unintentionally
bring up Dylan again, do you think you’ll be 70 years old and still putting
on shows?
CR: As long as my hands and my brain are capable of writing and picking
a tune, and as long as I’m enjoying it and it’s fun, absolutely, I’d do it until
the day I die. As far as touring goes, I’ve beat myself up on the road for
years and I don’t necessarily really like touring. I love the people and I love
the communities that we visit, but then there’s the other 22 hours of the
day that you’re getting through. I could never complain though, I’ve worked
a lot of really terrible jobs and I feel really lucky to be where I am. Even
though sometimes people see us in a big venue, they see a tour bus, they
see all this gear and this nice stuff, and they see us in magazines, but what
they don’t realize is that, man, we’re still living hand-to-mouth. Living in the
music business, there’s not a whole lot of security in it unless you go get
it yourself. And that’s extremely tough to do when you’re doing everything
you can just to get food in the fridge and keep the lights on. Especially
nowadays when record sales have completely plummeted and all of our
record stores are closing down; people are acquiring music for free, and
that’s how we made our money in the old days. Nowadays we play shows,
but to be honest we’re more or less a t-shirt business. Seriously. That’s how
a lot of bands even make a living. It’s tough to continue that grind, especially
as you grow older and you have responsibilities. I would love to write and
play music until the day I die, and I aim to do it, but I’m just doing my best
to life in the moment, to live for today. As far as the grind of the road, who
knows. Maybe that’s part of the reason I play every gig like it’s going to be
my last one.
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SUMMERM
Lindsay Corry
Firefly
Dover, De.
Survival Kit: Bug spray, camera, sunglasses, thin blanket, water!
Firefly Music Festival returns for its second summer in Dover, De. from June 21-23. The headliners are Red
Hot Chili Peppers, Tom Petty & the Heartbreakers, Vampire Weekend, Foster the People, along with 67 other
bands! The venue is awesome: There are four stages with hot air balloons in the fairground and a lounging area
full of hammocks. There is also a vineyard, brewery, arcade, photobooth, and a tent to design a personalized
pair of Toms. Sticking with the traditional music festival ideals, there is camping, though it is slightly improved.
There are different options of how you wish to rest in between sets; including camping in sites like the Grove or
the Hideout, glamping (glamorous camping in an air-conditioned safari tent), RV camping, and of course, local
hotels. The first Firefly was a success, beginning with cold, cloudy weather and ending hot and sunny. So go out
and enjoy the second, which is bound to be even better!
Samantha Ward:
Boston Calling
Boston, Ma.
Survival Kit: Sunglasses, camera, sunscreen, ironic fanny pack, red sox hat!
News was released in late February of Boston Calling, Boston’s first larger-scale summer music festival. It’s
about time that a town that boasts big names in their multitude of venues year-round hosts what looks to be one
of the best mid-sized festivals of the year. Scheduled rain or shine for May 26 and 27, the fest’s lineup includes
indie-rockers like the Shins, Of Monsters and Men, Fun., the National, Marina and the Diamonds, Young the Giant,
and Matt and Kim, among others. A total of 18 popular artists have been announced to show, and one can only
imagine the hip crowd of followers that these artists will draw.
Since this is the first year of what could become a glorious tradition, Boston natives and indie-rock fans should
relish the opportunity to join in on the kickoff of Boston Calling. For $130 fans can get a two day pass, lather up
in sunscreen, and spend two days swarming City Hall Plaza. The only downside is finding somewhere affordable
to stay in the pricey city, but with great music, a stellar environment, and the chance to be a part of something
new, who could care less?
Nicole Marrow:
Outside Lands
San Francisco, Ca.
Survival Kit: An empty stomach, a CamelBak, walking shoes, antibacterial wet wipes, and tons of cash!
Even though the lineup still hasn’t been released (my predictions: Phoenix, the Postal Service, Tegan and Sara,
and Vampire Weekend will all perform, and there have been rumblings about Paul McCartney stopping by), Outside
Lands will undoubtedly cause people to flock to Golden Gate Park from August 9-11, and with good reason. Apart
from hosting festival draws in the past, such as MGMT, Tom Petty, Arcade Fire, and Radiohead, Outside Lands has
made an impact throughout the past five years by giving smaller favorites like Portugal. The Man, the Dead Weather,
Big Gigantic, and a pre-“Thrift Shop” Macklemore time to shine.
What makes this festival special is its appeal to a more cultured crowd than some of its more hyped-up counterparts.
With a plethora of “Lands” scattered throughout the park’s 1,017 acres, each offering the best food, wine, beer, art,
and (get ready for it) chocolate from the Bay Area and beyond, this festival quite literally is what dreams are made
of, as long as you don’t mind a layer of dust covering every inch of your body at any given moment. While you do
have to book a hotel to stay in for the duration of the festival, shuttle services into the park are offered to help you
forget about the literal miles between attractions. The beer and wine tasting tents might just help you forget, too.
24
MUSICFEST
Chloe Lula
Detroit Electronic Music Festival
Detroit, Mi.
Survival Kit: Earplugs, cash, dancing shoes, your moves, glowsticks
Detroit Electronic Music Festival (DEMF) is an annual electronic dance music showcase held in Detroit each
Memorial Day weekend. Since its advent in 2000, DEMF has featured performances by musicians and DJs,
emphasizing the progressive qualities of the culture surrounding electronic music. Indeed, the headliners are
not those that you would typically see at raves or large electronic-inspired festivals; instead, they are lesserknown techno, experimental, and dark house musicians. The artist selection certainly appeals to a more specific
cross-section of the electronic music fanbase, so if you attend, expect to expose yourself to new and unfamiliar
producers.
This year’s festival runs from May 25-27, offering fans a variety of bigger names such as Brodinski, Gesaffelstein,
Moodymann, and Totally Enormous Extinct Dinosaurs, as well as lesser known DJs including Truncate, Brendon
Moeller, Nicolas Jaar, and Ben Klock. In totality, the lineup comprises a diverse selection of artists who are true to
the roots of Detroit, the city considered to be the predominant birthplace of techno in the United States. There
will be over 100 artists in total performing at Hart Plaza in downtown Detroit. At $80 for three days of amazing
acts, there is no reason not to go.
Rachel Asbel
Governor’s Ball
New York, Ny.
Survival Kit: Headband, sunhat, your personalized lineup, your dancing shoes!
If you’re going to be anywhere near New York City this summer, then there is no excuse for missing this
awesome festival. In only its third year, the festival has announced its most extensive and exciting lineup that
has something for everyone. It’s one of the most well-balanced listing of artists I’ve seen, with big names such
as Kanye, favorite indie acts like Grizzly Bear and Local Natives, as well as a slew of totally obscure acts you’ve
never heard of but will probably fall in love with. If you don’t spend the entire weekend just hopping from one
amazing performance to the next, you can partake in some of the festival’s other quirky activities such as the
“Silent Disco” (look it up). Currently only three-day passes are being sold with no promise that single day tickets
will ever go on sale. This is the one frustrating part of the festival for those on a budget, since the full weekend
pass (in addition to the ferry ticket you’ll need to actually get onto the island) is going to cost you a pretty penny.
Better start saving up now, because if you’re looking to treat yourself this summer, what more could you ask for
than a musical weekend on picturesque Randall’s Island, NYC?
Chris Skaggs:
Lollapalooza
Chicago, Il.
Survival Kit: Sunscreen (not the aerosol kind), lots of water, cheap plastic poncho (this can be converted
to a makeshift tarp—you will make lots of friends), extra shoes (You’re going to lose those flip flops or
ruin your sneakers), caffeine, paper fans (It’s HOT in Chicago and there’s no breeze in the crowd)!
I’ve gone to Lollapalooza twice now, and I’m in the process of planning to go back for year three. Every year I
go with my best buddies from high school, and it’s always the best time. As a festival it is pretty commercial, and
the lineup always leaves a little something to be desired. But the festival is extraordinarily organized and well
run. Food, shops, and bathrooms abound. Sunscreen is free if you know where to look for it. The festival emptied
because of a freak thunderstorm this past summer. They had the park shut down and emptied, and then set back
up entirely within a three-hour span. Then at the end of the day when you’re hot, sweaty, tired, and you smell like
the underside of that hippie dude that was next to you at Black Sabbath, you can go home and shower in your
hotel and eat a meal in downtown Chicago instead of being trapped in the desert or on a hilltop in Tennessee. I
won’t lie: In my humble opinion, the basic creature comforts afforded by the location in downtown Chicago are
the best part of the whole festival.
25
“Closer To The Sun” - Slightly Stoopid
This is the perfect song to listen to while relaxing in the
sun and dreaming of the beach. I recommend setting
this song as your alarm clock to start the day off right.
-Lindsay Corry
“Birds” - Margot & The Nuclear So and So’s
Despite Margot’s dark undertones throughout this
song, singer Richard Edward’s sings “Let’s have a
party” 12 times in a row and goddamnit, if that’s
not enough to wake you up I don’t know what is.
-Kristen Swanson
“Lotus Flower Bomb” - Wale feat. Miguel
This song is about flowers and also about having sex,
those are spring time things. It’s also pretty damn good.
-Sarah Gorman
“Awaken” – Dethklok
Sure, Dethklok is just a fictional metal band on Adult Swim,
but they have some hilariously great songs. They originally
wrote this to awaken an ancient demon king, but you can
use it too. You can wake up every day to Nathan Explosion
growling, “The time has come to awaken him,” followed by
a shouting, “RISE! RISE! RISE!” and various guitar solos.
-Zach Branson
“Chop Suey!” – System of a Down
What better way to start your day than having some
crazy Armenian dude screaming at you to WAKEUP! GRABABRUSHANDPUTALITTLEMAKEUP!? If Serj
Tankian’s explosive vocals aren’t enough motivation to
get you out of bed, then I don’t know what will be!
-Rebecca Warshofsky
“Swim” - Jack’s Mannequin
Getting out of bed is not as hard when Andrew
McMahon is singing “Just keep your head above,
swim.” This song makes me feel a little better when I’ve got a long day ahead of me.
-Hannah Dellabella
“The First Days of Spring”- Noah and the Whale
This song narrates Charlie Fink’s depression after
Laura Marling dropped him, but it’s also a great
song for leaving something behind and starting
something new. Listen to this in the morning if last
night was no good, and you want a fresh start.
-Kaytie Nielsen
“Don’t Wake Me Up” -The Hush Sound
Why wouldn’t you want to wake up to a song
with this title? The song doesn’t start abruptly,
allowing for a comfortable awakening, and it is
upbeat enough to get you going in the morning.
-Kayla Heglas
“Intimate” - Friendzone
A song to wake up to and go to your balcony and observe the cosmos rising into
fruition. Or just, like, walk to your morning class while getting major chills.
- Alec Resende
“Quality Control” - Jurassic 5
If listening to J5 doesn’t wake you up and make you
want to leap out the front door and dance in the street,
you might want to reevaluate your life. But actually.
-Will Lush
“How Can You Swallow So Much
Sleep” - Bombay Bicycle Club
With its well-paced buildup and appropriate title, this has to
be one of my favorite songs to wake up to. Halfway through
the song you will have gotten out of bed without noticing.
-Arun Marsten
“Australia” - The Shins
This bright upbeat song jump-starts my mornings more
times than not. With lyrics that urge you to embrace your
freedom and just go for it, this song will successfully get you
out of your rut and take that crazy leap for your dreams.
-Leela Chockalingam
“Daylight” - Matt and Kim
This peppy song has been waking me up for the
past year. Surprisingly, I can still listen to it when
it’s not blasting from my iPhone alarm in the
morning, which is the true test of a good song.
-Sam Ward
SPRING AWAKENING
Songs to wake up to
26
road trip stories
Bombay Bicycle Club / London, England / August 2011 Arun Marsten
During my junior year of high school, before Bombay Bicycle Club had gotten popular and certainly before they started doing US tours, my
family was planning our summer vacation. A few days earlier I had seen on Bombay Bicycle Club’s website that they were going to headline
a festival in Hackney, London in August. I hadn’t really given it a second thought since there was no way I could get there. Sitting at the mapcovered kitchen table it suddenly clicked and I blurted out, “We should go to London!” It was perfect. My parents would have no problem going
to London for a vacation. I could “find out” about the concert later and ask to go since we were already there. To my amazement, my plan
worked. A few months later, after making my way across the city, I found myself in a sea of people I didn’t know, listening to a band I had, until
then, only dreamed of seeing live.
Christopher Skaggs Coldplay / Lollapalooza / August 2011
My best friend from high school and I are obsessed with Coldplay. They have been our favorite band for maybe 10 years now. The album
X&Y is more or less single-handedly responsible for my love of music. In our senior year of high school, Coldplay was announced as a headliner
for Lollapalooza. We’d been talking about going for years, and suddenly knew that we needed to do it now. His parents are the most amazing
people, and they bought him two VIP passes which included a week in a fancy hotel in Chicago and two Amtrak tickets so we could go
together. The train itself was an adventure, as was the rest of the festival. I saw so many great bands. I won’t even lie though: One of the
highlights of my young life is seeing Coldplay perform “Everything’s Not Lost” live at Grant Park. I’ve always said that the piano is my favorite
part, and Chris Martin did about two minutes of that as a prelude to the actual song. The fact that I was about to start college and was in
Chicago with my best bud made it even better.
Crystal Castles / Columbus, Ohio / October 2012 Rebecca Warshofsky
Five friends, a car, a beautiful autumn day, and a water bottle full of bottom-shelf whiskey. These are the ingredients that ensured that much
hilarity and disaster would ensue on our trip to Ohio to see Crystal Castles. During the three-and-a-half-hour drive, everyone in the car (except
the driver, of course!) was pre-gaming in preparation for an insanely intense Crystal Castles experience. But somewhere between Cleveland
and Columbus, the girl in the passenger seat probably chugged about half her weight in whiskey. She was only at the venue for 30 minutes
before she got herself kicked out. While outside smoking a cigarette, she fell on her face and cut her hand, so I took her to the bathroom to
clean the blood that she had gotten all over herself. On our way out of the bathroom there were three security guards waiting to tell her that
she was way too drunk to stay. I walked her back to the car where she settled in the back seat, puked on herself, and passed out. I cleaned her
up, gave her some water, left the back window cracked open a bit, and went back inside to see the show. (It was awesome.)
Zach Branson Explosions in the Sky / Charlottesville, VA / June 2012
I never got the whole “listen to the band’s music while you drive to their concert” thing until I went to see Explosions in the Sky. I was in
Richmond, Va. for the summer, and the concert was in Charlottesville—about an hour-and-a-half drive away. I decided to put on Explosions
to kill time. Halfway through the first song it started pouring rain, and I wasn’t about to turn down the perfect crescendo blasting through my
1998 Camry speakers to concentrate on the road. I cranked up my windshield wipers to match the volume, but I could still barely see through
the thick rain. Normally I would be freaking out about driving down the highway in a giant storm in middle-of-nowhere Virginia, but I was on a
record-breaking adrenaline rush from Explosions and the possibility that I could die at any second. I think I would have been okay with that,
dying then with Explosions, but somehow I survived. It was still storming when I got to the show, so much so that the thunder shook the tiny
venue we were all cramped in. You couldn’t tell if you were feeling Explosions in the Sky or explosions in the sky, and for the second time that
night I would have been okay with dying then.
Sufjan Stevens / Buffalo, NY / December 2012 Zack Urbach
I drove three hours from Cleveland to Buffalo back in December to see “Surfjohn Stevens Christmas Sing-A-Long: Seasonal Affective
Disorder Yuletide Disaster Pageant on Ice.” I cranked Illinoise and Silver & Gold on the ride there and was lost in thought. I tackled issues in my life and
meditated on the future. The trip had turned into some sort of pilgrimage. I went alone and Buffalo greeted me kindly at a small soul-food joint
and the warmth of a renovated church. Sufjan came out dressed in a cape, Captain America costume, and ski goggles and said, “I’m Captain
Christmas and this is Christmas on acid,” and jammed out. I wanted to lose myself in the chaotic beats and melodies like I had in headphones,
but I couldn’t get to that point. He came out at the end in a balloon Christmas unicorn outfit (it’s real, Google it) and rocked out to that ridiculous
but magical song. Giant balloons and bubbles filled the room as the chant “I am the Christmas unicorn” erupted all around me. I forgot about
trying to find myself, and I left having found the absurd fun and reckless abandon that life needs at times.
27
CONCERT REVIEWS
GRIZZLY BEAR
by Rachel Asbel
Grizzly Bear, the famed indie rockers from Brooklyn, finally
graced Pittsburgh with their presence after over four years.
I got the chance to see them at the Carnegie Music Hall, a
gorgeous venue literally footsteps away from campus.
Opener Owen Pallet and his troupe actually have a history
with Grizzly Bear—they toured together when both bands were
unknowns. Pallet’s style is similar to the psychedelic sounds of
Grizzly Bear, although he is not quite as successful in making
that sound into something both catchy and intriguing. Pallet’s
performance did show ingenuity, though, using loops and
distortion pedals to create sounds I had never heard from a
violin.
Grizzly Bear took the stage soon after, going right into
some tracks off their new album, Shields. One of the great
things about Grizzly Bear is that even though their live
performance is record quality, they don’t necessarily perform
each song exactly as it appears on the album. They switch
up the instrumentation, change the tempo, and give us new
interpretations of their old songs. Highlights of their set
included fan favorite “Two Weeks” as well as their new single
“Yet Again”. This is one of their most up tempo songs, and it
has an awesome catastrophic breakdown at the end, made
even more dramatic by the flashing strobe lights.
This leads me to another striking part of the show—the lighting.
While I have a fondness for the men of Grizzly Bear and their
humble demeanor, it doesn’t make for the most compelling stage
performance. They’ve more than made up for that by investing
in the best lighting design I have seen at any show. It was all
thoughtfully choreographed with each and every song, from the
strobes, to the colorful glowing, buoy-like objects cloaked in
fishing nets hanging as their backdrop.
I’ve heard Grizzly Bear’s critics find the band’s sound too
solemn or too much of a drag. People with this attitude surely
would not have enjoyed this concert. But for the rest of us, it was
an unreal experience. It was not the typical jump-up-and-down
kind of vibe (and don’t get me wrong, those concerts are great
too), but rather the audience stayed seated for most of the show
while maintaining an undeniable energy that the band felt and
appreciated. Singer Ed Droste entertained us throughout the
evening with his cute, timid dancing that only he could get away
with. He also thanked us profusely for “spending our Saturday
night with them,” although I can’t imagine anyone would have
rather been anywhere else.
28
Photo Courtesy of Tom Hines
Tyler, The Creator
by Vanessa Frank
Rapper, producer, filmmaker, and leader of hip-hop group Odd
Future, Tyler, the Creator finally made his debut performance in the
Steel City. The sold-out show had an outdoor line that wrapped clear
around the back of Mr. Smalls. All the quasi-hipster teenagers of
Pittsburgh attended, decked out in their $30 tee shirts and distinctly
surreal Odd Future merchandise.
It was over an hour and a half after doors opened before fellow
Odd Future member and Tyler’s DJ for the tour, Taco, came out to do
a short set before the main event. Packed wall to wall, the anxious
crowd was not thrilled by the continued postponement. Chants of
“wolf gang,” “trash wang,” and “fookie bookie” were but a futile effort
to make their idol appear.
The delay only made for an even more intense response from the
crowd when Tyler finally came onstage. The rowdy attendees were
extra aggressive and the fragile ones were especially whiny, which
made for a generally unhappy group.
Though the crowd made the experience less than ideal, seeing
Tyler live was incredible. Due to the lack of Odd Future members on
this end of the tour and the conceptual nature of his albums, the set
list was fairly predictable. He played the most easily performable
and audience-pleasing tracks like “French,” “Yonkers,” and “Sam Is
Dead.” The darker, more sedated songs like “Fish” were especially
memorable, as Tyler closed his eyes and took the audience with
him as he carefully flowed through the words. He also played a
handful of tracks from his upcoming album Wolf, including “Get
‘Em,” featuring Pittsburgh-native Mac Miller. For this song Miller
made a brief but animated appearance onstage (in a Mario Lemieux
jersey, of course).
It was a fun and unique privilege to witness part of the Odd
Future crew interacting and performing live. The audience was full
of dedicated fans, and he was clearly fueled by our enthusiasm.
While checking my Twitter feed after the show, I was pleased to see
that Tyler had tweeted “PIT WAS SICK.” I can only hope that this
hints at more Odd Future performances in Pittsburgh.
by Rebecca Warshofsky
Have you ever ended up having a total blast at a concert that
you didn’t even know you would end up going to? That’s what
happened to me when my friend texted me a few nights ago
saying, “Afroman is playing at the Rex. I’m going. You in?” At first I
was skeptical. I mean, the only songs I knew by Afroman were the
two that everyone knows: “Because I Got High” and “Colt 45.”
So I texted back saying, “I was gonna see Afroman at the Rex, but
then I got high…” to which my friend responded, “Why not see
Afroman at the Rex and get high?!”
So I did get high—from the amazing energy at the show! (Heh
heh.) Anyway, Afroman doesn’t sing about weed and Colt 45 all
the time for no reason. During the show, the adorable, chubby,
middle-aged rapper downed an entire 40 oz. bottle of Colt 45,
started drinking another one, and puffed on the dozen or so blunts
BROWN BIRD
AFROMAN
that were passed to him from the avid fans in the front row. The dude
was so faded he hardly ever even opened his eyes! But despite all
that smoking, his singing voice was still really impressive—he sounded
like someone that would be comfortable belting out gospel verses in a
Southern Baptist church. As for his musicianship, all he had in terms of
instrumentation was his iPod, which he hooked up to the speakers so
that he could rap/sing along with his songs, and a double-neck guitar,
of which he only ever used one neck to play a few crazy solos. But the
music was great and the crowd sang along while everyone drank and
smoked and was merry. Afroman was chill as fuck, and his carefree
attitude onstage spread good vibes throughout the crowd, ensuring
that everyone was able to have a blast. Oh yeah, and at the end of the
show he signed a dollar for my friend by giving George Washington a
huge afro leaving us with the best impression.
by Zack Urbach
Brown Bird played at Club Café in South Side in early this
month. They are an alternative folk group with an eclectic mix
of influences ranging from Middle Eastern harmonies to rock
guitar licks. When David Lamb and MorganEve Swain came
out on stage, I was surprised to realize that the group was just
the two of them. Their music is so layered and well-balanced
that I had expected an entire group to come out.
Watching them perform live is a spectacle because they
capture the same balance that they do in their studio-recorded
music. Lamb plays guitar lines and harmonies, sings lead
vocals, and has a bass drum, tambourine, and clave on foot
pedals. Swain sings harmonies as she switches between
violin, cello, and bass. The talent and coordination that goes
on is incredible and adds so much to the already impressive
songs they put together.
The duo played foot-stomping folk tunes like “Bilgewater,”
“Down by the River” and more complicated songs from their
recent album Fits of Reason. Lamb prefaced the song “Hitchens”
by saying “I am not sure why I did this to myself,” before diving
into playing conflicting patterns on his feet and guitar. He then
sang a slower melody of cryptic words taken from a Christopher
Hitchens novel.
I still have not fully taken the time to understand and appreciate
the work of Brown Bird. This concert showed that with a beer
and small company, the complicated and intertwining music still
resonates.
29
CONCERT REVIEWS CONT’D
BOB DYLAN
by Christina Mitas
As a fresh convert to Bob Dylan, having devoured
as much of his music, words, and interview footage
as possible in recent weeks, I entered the California
University Convocation Center with a surreal sense of
wonder. I took my seat, surrounded by a polarized crowd
of college students and baby boomers; it was as if every
kid there had decided to bring their parents to a concert,
or vise versa.
A small woman came out onto the stage and asked
the audience to sit down and put away any semblance of
technology so that everyone could enjoy this little shindig
“unencumbered by arms, legs, and little lights around
you.”
Bobby swaggered calmly out onto the stage wearing
an off-white Cordobés hat and a black suit with white
stripes down the outer seams of his pants. His band,
whom he did not care to introduce, was wearing
matching suits opposite of his color scheme. Without any
ado whatsoever, Dylan swung right into a song from his
album Time Out of Mind. With a voice as tender as gravel
running through a paper shredder, he sang some favorites
TRISTAN PRETTYMAN
by Lisa Kessler
Although I’m graduating, I still let out a middle school girl squeal
at the prospect of finally seeing Tristan Prettyman after eight
years of avid listening. Despite the fact that none of my friends
shared the same enthusiasm, I bought a ticket to see the acoustic
singer/songwriter/surfer San Diegan at Mr. Smalls.
As the concert began, I settled in at the bar to enjoy the opener,
Satellite. The old church’s acoustics complemented the powerful,
raw vocals of lead singer Steve McMorran. The Nashville duo
played a melancholy and evocative set mindfully crafted to create
an extremely cohesive 40-minute musical statement.
Prettyman took the stage, beginning with “Say Anything” off her
2012 release Cedar + Gold. She easily commanded the room’s
attention with her grace onstage and comfort while engaging
with her band and the audience. Explaining the long road she
had taken, from a broken engagement, a two-year hiatus from
music, world travels, and vocal surgery, she humbly described
how thrilled she was that even five people came out on a Sunday
night after so long. She prefaced each song with its background
so intimately that I felt like I was catching up with an old friend.
30
like “Tangled Up In Blue” and “All Along The Watchtower.”
As he growled, the wide brim of his hat shadowed his face
from the soft glow of four giant amber lamps that washed the
performance in sepia.
I sat in awe as I beheld the 71-year-old man before me,
swaying his hips casually back and forth, howling on his
harmonica. He played a lot of material from his most recent
album, Tempest, and switched back and forth periodically
from piano to center stage. He gave the audience nary a word
of recognition, but his legend alone sufficed for many to soak
up, awestruck like myself.
He encored with “Ballad of a Thin Man,” I swooned, and
it was all over. And though occasionally some 60-somethings
got up to shimmy in the aisles and some 20-somethings
recorded footage on their iPhones, I don’t think anyone there
felt encumbered by limbs or little lights. We were all just happy
to be there because, seriously, it’s Bob Dylan.
The majority of the songs, mostly newer tracks, were a
mixture of heartbreak, flirtation, retrospection, and moving on.
Prettyman’s artistic maturity was extremely evident, as the
vulnerability, emotionality, and strength in her performance
radiated and reflected in the faces of the crowd. Almost
deafening silences during the fragile “I Was Gonna Marry
You” were followed by laughs during “The Rebound,” which
chronicles sexcapades with a fellow Trader Joes patron. She
did equally stellar covers of Rihanna’s “Stay” and John Mayer’s
“I Don’t Trust Myself With Loving You,” and played old favorites
like the upbeat single, “Love, Love, Love”.
This semester seems like a finale for so many things, and this
concert was a culmination of all the emotions and experiences
I associate with Prettyman’s music. By the end, I was able to
remember how much has changed but remained constant over
the years. Her show was both a familiar and novel experience,
and that idea is comforting as we get ready to move beyond
Forbes Avenue.
Photo Courtesy of Stephanie Bassos
MARGOT & The Nuclear So and So’s
by Zach Branson
I started listening to Margot when The Cut covered
them two years ago, and ever since I’ve been confused
why they don’t get more attention. They’re simply too
good, but there they were at tiny Brillobox.
Opener Household Stories, a local band we had also
covered in the past, got onstage first. When I started
listening to them about a year ago, I thought they were
good enough to get me interested, but honestly not
much more than that. When they started, though, I was
shocked. They had spent a year writing new material
and sharpening their craft—drummer Frank Hebda
pulled off some fills that made my jaw drop, and guitarist
Matt Zeoli got me as lost in his riffs as he was. It was
beautiful to watch a Pittsburgh band grow. If they don’t
get more attention soon, I’ll be just as confused about
them as I am about Margot.
Margot came on next, with everyone in the music
collective carrying at least two beers in hand. The
audience compressed together to get a bit closer to the
band, who were already compressed themselves on the
tiny stage. I was grateful to be that close to Margot and
everyone else—Margot probably won’t be playing shows that
small much longer.
They played all their greats: “Books About Trains,”
“Shannon,” and even my favorite song at the time “Birds.” I
say at the time because after “Birds” they played “Will You
Love Me Forever?” so well that I thought, “No, this has to
be my favorite song.” I actually thought that after most of the
songs that night, so who the hell knows anymore—I’ll love
them all forever.
Halfway through the show, everyone except lead singer
Richard Edwards walked offstage while he played some
acoustic songs. It was sweet and intimate the way an
acoustic show should be, and then I realized that this was
just a ruse for the band to get more beer and bring it back
onstage. Everyone clapped, both for the band’s and beers’
return, and everyone was satisfyingly intoxicated by the
bottles and vibrations for the rest of the night.
I saw two amazing bands, one fulfilling its potential and
the other refining its perfection, both I discovered through
the magazine I love. What more can I say?
31
ALBUM REVIEWS
If you haven’t heard every second of the crooning, wailing goodness
that is the prodigal son’s return to music, where he so clearly belongs (I’m
looking at you, The Love Guru), then honestly what have you been doing
with your time? JT is back with The 20/20 Experience, and I suppose his
time as an actor did him some good, because the old-Hollywood vibe
that he embraces somehow couples with Timbaland’s R&B-based jams
brilliantly.
In the same way that Timberlake redefined pop music with FutureSex/
LoveSounds in 2006, he defies the concept of genre in his latest release,
melding soul and electronic influences to create a collection of groovy,
retro musical statements. “Pusher Love Girl” is everything I could ask
for in an opening song—drug references, orchestral intro, and all. The
seduction inherent in “Strawberry Bubblegum” really can’t be put into
words, and neither can the little rhythm section in the middle, but you’ll
be into it. “Mirrors,” complex and glitzy, makes us all wish we were Jessica
Biel, which is obviously a huge testament to the power of the song.
Timberlake’s a different performer than he was in his boy band days, or
even when he was bringing sexy back; this is as much an entirely unique
approach to pop music as it is an experimentation of sounds and textures.
At his best, Timberlake will get you out of your seat for one reason
or another, and he doesn’t seem to care if it means dancing vertically or
horizontally. At times, however, the fact that each song averages around
seven minutes becomes very apparent, and the barrage of beats can
wear on the casual listener. However, this does not detract from this
album’s status as one of the greats of 2013, and hopefully it will move
pop music toward a new and exciting place. 21-year-old Sam Ray’s musical output oscillates wildly from deep ambiensoundtracking ambience (Heroin Party), to noisy-punk (Teen Suicide), all
the way to forward-reaching beat-music (Ricky Eat Acid). His latest musical
outing, a band called Julia Brown, ditches the recklessness of his Teen
Suicide outfit for a more considered indie-pop vibe.
On first listen you’ll probably wonder, “Why does it sound like it was
recorded on a crappy tape? What the hell I thought everyone owned ProTools and expensive mics.” That’s because it was recorded on tape, and
therein lies much of the pleasure of listening to Julia Brown’s blown-out
sound. You really get the feeling that these guys (and one girl) actually
exist—in breathing, non-Internet form. Luckily, there’s fantastic songwriting
going on here too.
Songs like the lovely piano-waltz of “Virginia” really benefit from how they
were recorded. The subtle stereo-panning Ray applies to certain words—
as if to highlight them—creates this striking, fluttering effect that messes
with your ear’s depth perception. For me, it just feels good. On the excellent
“I will do this for the rest of my life,” layers of toy instruments, backwards
guitars, and bells pile on top of each other as Ray repeats “I guess you mean
(more to me).” The swirling resonance gives out as he mutters, “I’m trying
not to feel anything,” and I’m left wondering if he’s addressing a humanbeing or a chemical.
Nowhere on the record does the band sound like they are jumping up
and down for your attention. Vocally, it’s like he barely has enough energy
to communicate the beautiful imagery of the lyrics. These songs have a lot
of heart to them, though, and I’m glad to have them mumbling in my ears
this spring.
- Nicole Marrow
- Alec Resende
4.5 SCISSORS
32
4 SCISSORS
✂
✂
✂
✂
To Be Close To You
Julia Brown
✂
✂
✂
✂
✂
The 20/20
Justin Timberlake
II - Unknown Mortal Orchestra
5 SCISSORS
✂
✂
✂
✂
✂
This band reminds me of Charlie’s Angels. Not in the female crime-fighting sense, because
they’re just a couple of guys from New Zealand, but they’re clearly an unstoppable force for good.
Their “Charlie” equivalent must be a time traveling wizard, because it’s the only way I can explain
all their influences and the recording equipment they clearly stole from the 60s. They’ve decided
to leave out some of the baroque sounds from their previous album and bring in a more soulful
R&B influence. Despite its lower energy, it transitions beautifully within a wide range of moods and
leaves you feeling either contemplative or ready to tour the country in a VW bus.
- Arun Marsten
Amok - Atoms for peace
4 SCISSORS
✂
✂
✂
✂
Amok is the first album from Atoms for Peace, a supergroup consisting of Thom Yorke of Radiohead,
Flea of Red Hot Chili Peppers, producer Nigel Godrich of Radiohead, Joey Woneker of Beck, and
percussionist Mauro Refosco. The album plays like a Thom Yorke solo album, but takes a heavier,
beat-oriented approach in contrast to 2006’s darker The Eraser. Songs take Yorke’s ethereal voice in
and around heavy basslines, clean guitar lines, looped latin percussion, and slightly distorted casio
synth sounds. Each member comes through in the album this way, but it is all held together by Yorke’s
distinctive sound and vision. The collage of sound rises to beautiful chaotic moments in songs like
“Unless” and the closer “Amok”. Amok does not introduce any ideas we haven’t heard before, but
rather mashes them together in strange and playful ways that make for a great listen.
- Zach Urbach
Lesser Evil - Doldrums
✂
✂
✂
✂
Many of the new sounds that helped define the music of 2012 originated from the laptops of hypercreative Montréal-ites. I can’t help but imagine artists like Grimes and Purity Ring smoking a blunt and
then hitting up Blue Hawaii to come jam—birthing whole new trends for the blogosphere to, like, blog
about. Then there’s the weirdo who didn’t get invited at all, Airick Woodhead, aka Doldrums (Just kidding.
I’m sure he got invited too.)
Given the creative environment from which it was born, it comes as no surprise that his latest album,
Lesser Evil, delivers on the promise of his earlier material, upping the pop ante, as if egged on by Claire
Boucher herself. The first real song, “Anomaly,” gets better with each listen. “She Is The Wave” is the weirdest
trap-like song ever, and “Egypt” somehow makes the word “TV” sound dark. “Holographic Sandcastles” and
“Live Forever” only further his M.O., proving that extremely experimental music can be just as enjoyable
and hooky as the songs coming out of your favorite pop star’s million-dollar songwriting camps. - Alec Resende
4 SCISSORS
The Next day - David Bowie
✂
✂
✂
✂
✂
After a 10-year hiatus, music demigod David Bowie has released his first new material in the form
of 2013’s fastest-selling album to date, The Next Day. The release contains an expansive 14 songs and
three bonus tracks, all of which prove that the artist will never lose his chameleonic style.
The album’s cover, the same photograph that adorned 1977’s ”Heroes” with the title crossed
out and a white square covering Bowie’s face, is a bold subversion of the singer’s legacy. With or
without Bowie’s roughly 50 years of legendary music, each track stands on its own here. From the
saxophone slow-jams of “Boss of Me” and “Dirty Boys” to the funky, uptempo “Dancing Out In Space”
and melancholy “Where Are We Now,” the album’s tracks are best placed in one incomparable genre:
David Bowie.
- Mike Ryan
5 SCISSORS
33
Save Rock And Roll - Fall Out Boy
3.5 SCISSORS
✂
✂
✂
✂
Rising from the ashes of hiatuses, solo projects, and fatherhood, which the raucously fun intro
song “The Phoenix” makes immediate note of, Fall Out Boy is officially back in action. That being
said, this isn’t the same band of angst-ridden misfits clawing their way from obscurity that you
sang along with at middle school dances. Now they have the likes of Big Sean, Elton John, and
world-class superstar Courtney Love featured on overworked tracks that manage to both impress
and depress the listener in true Fall Out Boy fashion. As always, lead singer Patrick Stump gives life
to Pete Wentz’s lyrics, which sort of stumble as he clings onto the band’s youthful energy while
trying to mature as a person and a songwriter. Though the idea that this album will Save Rock and
Roll might be a bit of a stretch, FOB continues to pack their unique and appreciated pop-punk
punch.
-Nicole Marrow
Guns Don’t Kill People... Lazers Do. - Major Lazer
4 SCISSORS
✂
✂
✂
✂
Major Lazer released eagerly awaited sophomore effort Free the Universe in the wake of the runaway
success of their first album Guns Don’t Kill People... Lazers Do. On both of these albums, Major Lazer
serves as a probing collector of world beats, mixing them into grungy dancehall anthems. This album
was a departure from his rootsy first, on which every featured vocalist was Jamaican. Contrastingly,
Free the Universe featured not only the likes of dancehall elite Elephant Man (on track “Wind Up”), but
also Amber of Dirty Projectors (on single “Get Free”). The featured artists were a who’s who of genre
diversity. This resulted in an album which sounds like a series of singles, without any thematic unity.
The songs are crazy catchy, with the weaker exceptions “Jessica” and “Bubble Butt.” The music would
be great for a sultry dance-party, but may not deserve a deeper listen. - Leela Chockalingam
4 SCISSORS
✂
✂
✂
✂
The comedown machine - The strokes
The Strokes return with another album full of that gauzy rock they have perfected. This new album is a
gauzy, atmospheric celebration of Julian Casablancas’ equally hazy voice. It’s been said that the Strokes
have a sound, and they are sticking to it. The band hit gold with their first album, and since then have
been meditating on their distinct sound. Overall I wish the album was more artistically adventurous. The
only song that jumps out as really adventurous is the last track on the album ,“Call It Fate, Call It Karma,”
which reminds me of a reinvention of Duke Ellington. The song is like listening to Julian Casablancas
through a phonograph. The slow, sleepy track is a quiet breath of fresh air delivered almost as an
afterthought at the end of the album. There’s much to be forgiven though. I’m not sure why, but there’s
something about the Strokes that makes them the perfect band for summer. Whether driving around
with the windows down, at a pool party, or as the soundtrack for a summer blockbuster, they’re going
to be a major part of my summer playlist. The Strokes are back with an album that can’t and shouldn’t be
overlooked. Standout tracks are “Welcome to Japan”—because they make fun of Lotus owners—“Happy
Ending”—because it’s the best track on the album—and “Call It Fate, Call It Karma.”
- Chris Skaggs
34
The expectations for Kid Cudi’s third studio album, Indicud, were very high after the groundbreaking
success of his previous albums. The expectations continued to mount after a tweet that said to mark his
words that Indicud “will be the greatest album ever made.” Unfortunately, Indicud did not live up to the
expectations that Cudi established. The album consists of 18 tracks, but three of those songs are sub-par
instrumentals and artists other than Cudi dominate another three. I would only claim that there are seven good tracks on the album, with the standouts being “Just What I am,” featuring King Chip, “Brothers,”
featuring King Chip and A$AP Rocky, and “Cold Blooded”.
Cudi produced all of Indicud with very little producing experience. His unfamiliarity with production
shows in the album’s repetitive beats, which do not compare to his more professionally produced tracks.
If Cudi did not try to challenge himself as much as he does, I believe he could create better music for his
fans. However, it is clear that Cudi does not cater to others and does what he wants. Overall, Indicud is a
good album but makes me uneasy over Cudi’s future direction. I only hope that subsequent releases can
compare to the Man on the Moon albums or even his first mixtape, A Kid Named Cudi.
-Ben Alderoty
3 SCISSORS
✂
✂
✂
indicud - kid cudi
blacklist royals
35
Photo by Kristen Swanson
ESSAY:
One of my first memories is of my father
singing “Yellow Submarine” to my brother
and me while we were in the bath. I can’t
remember a time when I didn’t know
who the Beatles were—my dad was always singing their songs, and they were a
staple on our long road trips. When I was
having a tough time adjusting to being
away at college, my dad told me to listen
to “It’s Getting Better.” I’ve visited Strawberry Fields in Central Park and seen the
place where John Lennon was shot. My
family saw the Beatles show by Cirque du
Soleil in Las Vegas. My dad has taken me to
see Paul McCartney play concerts in New
York City twice. So when I was accepted
to study abroad in England this semester,
I immediately started planning a trip to
Liverpool, the birthplace of the Beatles.
A lot of my English friends turned their
noses up at the mention of Liverpool, but I
wouldn’t let that deter me. Almost as soon
as my friends and I were settled into our
rooms at Sheffield, I suggested we go for
a visit. We went for just two days, but it
was enough time to see everything I wanted to. On our first day there, we took the
Fab Four Taxi Tour, a tour that takes you
all around Liverpool to significant Beatles sights. Surprisingly, the sun stayed out
for our whole tour, which is a rare thing in
northern England (I can see why the Beatles wrote “Here Comes The Sun”—if I lived
here, I’d celebrate whenever the sun came
out, too). Our tour guide, Terry, showed us
how friendly Liverpudlians can be as he patiently took pictures of us at every site. At
one point, he even set the four of us up in
the same pose John, Paul, George, and Ringo are in on the cover of their album Help!.
Our tour took us to the childhood homes
of all four Beatles, the schools they attended, the bar that Ringo’s mother worked
in (also featured on the cover of his solo
album Sentimental Journey), Penny Lane,
Strawberry Field, the grave of Eleanor
Rigby, and the church where John and
Paul first met. While we drove from place
to place, Terry played a selection of Beatles songs. He was particularly impressed
when I told him I had already heard the
rare acoustic version of “Something,” but
I did have 250 Beatles songs on my iPod.
36
A
day
in
the
life
(of a
Beatles
Fan in
Liverpool)
By
Visiting Penny Lane was one of the
highlights of the tour, if only because the
whole song makes so much sense now.
Terry explained what each line meant,
pointing out the place on the street
that it was about. We saw the “shelter in
the middle of the roundabout” and the
Penny Lane firehouse. We even got to
visit the actual Penny Lane barber shop!
When Terry took us to the place where
John and Paul met, it was surreal. The
little red brick church has a plaque on
the exterior, declaring, “In this hall on
6th July 1957, John & Paul first met.” Every Beatles fan should be thanking Ivan
Vaughn for introducing Paul to John.
After our tour was over, we wound
up going to dinner with Terry (really,
the people in Liverpool are the nicest
ever), and afterwards he dropped us off
near the Cavern Club, where the Beatles
played over 500 times. While the original
club was torn down, it was rebuilt in pretty much the same spot. It’s located right
next to the Hard Day’s Night Hotel. The
(literally) underground club is dark, loud,
and tiny, but people still flock to see Beatles cover bands and buy merchandise.
The tour left me feeling giddy and
overwhelmed with emotion. The Beatles have been such a big part of my life,
and getting to visit all of these places left
me smiling so much my cheeks hurt. At
the same time, I felt a little conflicted. My
dad was the person who had instilled the
love of the Beatles in me, and who knows
if he’ll ever get the chance to visit Liverpool? Someday, I hope I can repay him by
sending him there. At the very least, I’ll
take him to Abbey Road when my parents
come to visit London in April. And when I
get married and have kids, I’ll teach them
to love the Beatles like my dad taught me.
Hannah
Dellabella
Art by Lizzy Nolin
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T
A
K AS H
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