Friday, October 7, 2011

The Gold Standard Hip Hop Show Gets Childish


Last night, Gold Standard Hip Hop Show hosts El Blanco Nine and White Lightning (me) packed up and hit the road to Nashville to see rapper/comedian/life connoisseur Childish Gambino. Childish, known by some as Troy from Community, and others as stand-up comedian and writer for 30 Rock Donald Glover, and others still as that dude in Bro-Rape, raps with an intensity equal to Wu-Tang and as sexual as Prince. His rhymes are intricate and getting better with every release, his beats are original (using samples from the likes of Grizzly Bear, Adele, and Sleigh Bells), and his vocal talent is starting to be a bigger part of the music he makes. While he is a bit new the The Rock, he is a favorite of GSHH's head honchos.


After rocking out to R. Kelly, Fred Durst, and Outkast on the ride up, we pulled into the Cannery Ballroom, grabbed our passes, and waited for Childish to start up while his opener, DJ SiiK, threw down some nice tracks featuring samples of 90's classics and current hits. When the lights went down and the words "SIGN UP. FOR. CAMP" (Camp being the name of Childish's third album (but his label debut), the crowd went wild and Gambino opened up with a killer rendition of "Hero" off of his second LP, Culdesac. Following up Childish ran through hits like "Freaks and Geeks", "I Be On That", and "Let Me Dope You". Halfway through the set, Gambino and his talented live band led the audience in the jamie xx remix of Adele's "Rolling In The Deep" before ripping into his verse nearly twice as fast as the recording. Throughout the night Childish ran through his verses at lightning speed, showcasing his quick skills especially in the new track "UCLA". "I'm on my Polynesian everyday. Asian girls everywhere; UCLA" rang through while he spit three solid verses with moments as quick as Busta Rhymes. Childish also ran through a sick version of the single off Camp, "Bonfire", afterwards admitting that it was the first time he had run through the whole thing live. Gambino wrapped up his regular set about 12 songs in and came out for a freestyle encore over his track "F**k it All". The whole show was a blast, and Childish Gambino rocked the house.


After the show, me and El Blanco headed backstage where we got to meet the man himself. He was a really nice guy, despite sounding like he was about to collapse, and we will be doing an interview for the show sometime this week. Stay tuned to Gold Standard for more info on this. In the mean time, sit back and enjoy this video of Childish in LA. The concert was a blast. We'll be talking about it on the show this week, so stay tuned Sunday Night from 10-12 for more on his set. White out.

Monday, June 27, 2011

Portugal. The Man talks to WUTK about their new record and seeing live bands at Bonnaroo Music & Arts Festival

With a spot on many sold-out festival line-ups and a new album on a major label, Portugal. The Man has been on the tip of everyone’s tongue lately. Their psychedelic approach to indie rock has been gaining them followers for years, but new album “In the Mountain, In the Cloud” is sure to please an array of fans. WUTK DJ and BLANK writer Brittney Bryant sat down with bass player/vocalist Zach Carothers and keyboardist/percussionist Ryan Neighbors at Bonnaroo this month to talk about the new record and more.

(Left to right: Zach, Brittney and Ryan)
Portugal.The Man WUTK interview by bbryant3


BB: Where does the name Portugal, The Man come from? I kind of get puzzled looks when I say your name.
PTM: It’s an interesting name, I guess. It is kind of an alter ego like Ziggy Stardust and Sgt Pepper. It’s our character to represent us as a band. In picking a country’s name, it was one name that represents a group of people. It made since for a while, but we have regretted it ever since that day (Laughs).

BB: Is there a reason for the pronunciation and spelling of Portugal, period, the Man?
PTM: We did that to state that Portugal was the man’s name and he is the man; he’s the shit.

BB: How did all of you get together? Are all of your from Alaska or just a few of you?
PTM: Me (Zach) and our singer are from Alaska and we grew up together. We were in another band before this. The band started with a couple other guys from Alaska in Alaska, but then we moved down to Portland. We started doing some touring, and then lost a few members. Ryan and Jason played in bands that we played with a lot in Portland, so we took them on tour. We ended up really liking them and had them join the band.


BB: You don’t really hear of many bands that say they come from Alaska. What was it like trying to formulate a band there and how did living there influence your music?
PTM: We were raised on everything our parents gave us, so it was a lot of Beatles, Pink Floyd, Led Zeppelin. Also, my parents listened to a lot of 80s pop. There was just radio then. It was before the Internet, so we had no idea about the smaller music scene out there. We moved down to Oregon, and I went to college there. All my friends started taking me to shows and I just got flooded with all of this new music. So, it was kind of a mix of everything we were raised on and everything that we see today.

BB: I just saw the video you released called “Sleep Forever,” and it is really beautiful. What was the concept behind that video? Did you just want to show the beauty of Alaska?
PTM: Yeah, it is supposed to show how alone you really are up there and how secluded everything is. All of that was pretty much filmed in John’s backyard. We just wanted to show our home, and we are lucky to be where we are from. We wanted to show what it’s like up there because many people don’t get to see that side of it; they see Sarah Palin’s Alaska.
BB: That’s so true.
PTM: We tried to get her, though (Laughs).
BB: “In the Mountain, In the Cloud” comes out next month on July 19th. What was the story behind this album? I know usually you all have some sort of concept behind them.
PTM: We never really set out to make concept records because normally we record them so fast. It’s just a month out of our lives, so it’s just what is going on then. John will just start writing about one thing and then kind of go with it. This one has a lot more into it because we spread it out over seven or eight months. It’s a little bit of everything—growing up, living, dying, and reincarnation. Bunch of stuff, but a lot of reincarnation.

BB: You were on Equal Vision Records, and now you are releasing this album on Atlantic Records. What was it like moving to a big label?
PTM: Pretty crazy. There’s a lot of help, which is awesome. It’s a definite change. We’ve been on our own label for a long time, and we just partner up with different labels to release our records. We’ve been doing everything ourselves, and we kind of got to the point where we decided that it was the next step. We work all day every day and there was literally nothing else we could do, so we needed to step up. Atlantic was really cool, and it allows us to have more hands in the cookie jar.
BB: That always helps. I bet the financial support was nice, too.
PTM: We opted out of a signing bonus or anything, but it’s nice to not have to pay for our own records anymore. Normally, we would tour all year long and save up money, then spend all of it on recording a record. Now, Atlantic pays for our recording and we can go to better studios, so that’s pretty cool.

BB: You are at Bonnaroo now, and you were at the Orange Peal in Asheville, NC. You went from a nice air-conditioned venue to this insane outdoor heat. Besides the temperature change, what’s the difference of playing to a festival crowd in comparison to a small venue?
PTM: In a small venue, everyone’s there to see you. You know that because they paid for a ticket. A festival gives you more exposure to different people. Also, at our own show we get to set up lights. We like it all; they are both really cool.

BB: You played two years ago at Bonnaroo, right?
PTM: Yes, and that was our first major show at a festival, so this place holds a special place in our hearts.
BB: I remember going to that show, and it was so packed that I couldn’t even get in the tent.
PTM: We were very surprised by that. We walked out and were like, “What the F***?!” It was pretty crazy.

BB: You have put out so many albums. Personally, what is your favorite Portugal. The Man record?
RYAN(PTM): My favorite one is the new one “In the Mountain, In the Cloud,” but prior to that was “Censored Colors.”
ZACH(PTM): I agree. “Censored Colors” kind of started it off. We learned a lot from that record, and the recording experience was absolutely ridiculous and fun. We are really happy with this new record. I’m sure every band says that, but it’s weird because when someone asked, “Is 'American Ghetto' your favorite album?” I would be like “No, It’s 'Censored Colors.”


BB: You know, what I have heard of this new album reminds me of “Censored Colors.” Was that something intentional?
PTM: I think so. We got the same cello player, so that definitely adds to it. He put a lot of the same vibes into it.

BB: You’re here two days at a festival with all of these great bands, but you’re usually on tour. Is it nice to go out and see some live music?
PTM: Yeah, we are going to go check out a ton of things. Primus, Arcade Fire, Buffalo Springfield. Eminem also.
BB: Oh really, are you Eminem fans?
PTM: Not really fans, but we like him. You have to lose yourself in the music (Laughs).


BB: What music are you guys listening to right now? What are you jamming to in the tour bus?
JOHN: As far as new stuff, I love Lykke Li. “Wounded Rhymes” is such a good album.
RYAN: I listened to “Astral Weeks” by Van Morrison last night. I know its not new, but I really like it.

Wednesday, May 25, 2011

DJ Matt of Simmer Down talks with Rymo of Slighty Stoopid!

An Interview with Rymo of Slightly Stoopid





Slightly Stoopid has long been touring across the globe, producing albums, and playing with some of the biggest names in modern reggae music. Only a week into their spring tour, the band performed at The Valarium for a crowd of almost 1000, playing their high-energy style throughout new and classic songs. I had a chance to speak with drummer Rymo by phone on the eve of their annual 4/20 show at The Greek and the beginning of the new tour.

Q: How has the break from touring been and are you prepared to start back up?

A: We’ve been home the last 3 weeks, which is long for us, as we are normally on the road pretty consistently. We’ve just been at home, working on the new album. Tomorrow’s 4/20 show with Bad Brains and Barrington Levy kicks off the new tour and we are excited to make our way to you guys in Knoxville.

Q: How has recording the new album been going? When can we expect a song or album release?

A: It’s been going really well. We’ve been taking our time. Last year we had the opportunity to get a studio of our own, and we’ve been building up and customizing that as we’ve gone along. It’s been a killer process. We’ve got to take our time, work on music and not worry about money. It’s a new step for us in terms of the recording process, and I think it’s going to really pay off. The music we’ve been working on has sounded more developed and planned, and we are really excited to get it done and out.

Q: How do you think that process will that make the album different or standout?

A: A lot of times we would have tunes already done (whether we wrote them on the road or whatever) and ready to record. We would go into the studio and just cut them down real quick. With our new facility, we can record stuff, then listen to it, discuss it, work on it it, etc. I think it ends up being a better end result.

Q: Will you be playing some new tunes on this road trip?

A: We are definitely mixing a handful of brand new material that no one has heard. We’ve kind of always done that in the past when we’ve been between albums. We are always tinkering with new ideas and working on new material. So we like to play music no one’s ever heard, along with the staples we play every night.

Q: You are touring throughout the spring and summer playing numerous venues and festivals, including Hangout Music Festival. How do you compare playing indoors and playing festivals?

A: At festivals, you get that perk of getting to hang out, play your show, and walk around to check out other artists or musicians that you’ve heard of, or you’ve never seen and want to. We get to see our friends who are also out on the road, which is a lot of fun too. It’s going to be really fun out at Hangout this year.

Playing live venues is great too. It’s just a different vibe. Your more playing for fans, where as at a festival, you have a chance to make new fans. Venues are also great as we have more time to set up and get our production together. They both have their pros and cons, but their both great.

Q: Is there any artist or musician that you would want to create music with, tour with, or just talk to that you haven’t had the chance to yet?

A: I would love to do some shows with Rancid. We grew up on all that punk rock stuff like Rancid and Operation Ivy. To be able to do a show with those guys, meet them, talk to them, would be great. We are open to working and touring with anyone as long as their cool people. We like touring with guys that are great musicians, but it’s equally important they are good, fun people.

Q: What does Stoopid Records mean to you personally, and what are the goals of that label?

A: We’ve been working on Stoopid Records for the past 4 or 5 years. We were fortunate enough early on to have bands like Sublime help us get started way back in the day around 1995 and 96. Now that we are able to extend a hand and lift up other artists that we really like, we want to do that. We’ve got a few bands, such as The Expendables, who have now put out two albums under that label.

Q: Slightly Stoopid has a very diverse sound and obviously draws from multiple genres of music. What would you describe the band’s sound as?

A: Reggae, rock, funk, punk. I think that’s pretty close. We try to pull from all of those elements and far beyond into hip-hop, ska and other influences.

Q: What can we expect from Slightly Stoopid in the future?

A: Slightly Stoopid is just going to keep on keeping on. We’re going to keep making music we want to make and maintain our own decision-making process in terms of recording and the business stuff too. Our shows will continue to be wild, high energy, and a lot of fun.

Wednesday, March 30, 2011

Sun Airway talks to WUTK about SXSW, the A-Sides and a new record

Jon Barthmus, the man behind Sun Airway, sat down with Brittney B and the Indie Aisle's Doug Johnson for an interview about all things music. Sun Airway rocked the Pilot Light last Wednesday with Asobi Seksu and Cults. You can listen to the interview or read it below!

Sun Airway interview with WUTK by bbryant3

WUTK: So, Why don’t you go ahead and introduce yourself.

Sun Airway: My name is John and I am part of Sun Airway. Patrick is kind of my second half of the recording part, but our live band is five people.

WUTK: Really? So two of you write it and then you have a full band?
SA: It’s mostly my project that I started with Patrick, but now its become a real band.

WUTK: How would you describe your music?
SA: Oh, man. You think I would have an answer for that by now. That’s always the toughest thing for me to say. The short answer, I guess, is electronic-pop. I’ll stick with that.

WUTK: I know you said you have been touring for a little while. How has it been?
SA: It has been pretty amazing. The first half was with Cults and Small Black. We all just got along really well, and kind of turned it into a rolling party.

WUTK: Then is this your first show with Asobi Seksu?
SA: Last night was our first with them and they were great. I’m psyched to see them for the next few nights.

WUTK: This is kind of like the ultimate indie music show, You get all different sides of the music spectrum.
SA: Yeah it seems like going to and from SXSW there is so many bands going that you can put together some really solid tours.

WUTK: Do you have any good stories from SXSW? You played eight shows in four days!
SA: Sadly, my main concern was just keeping my voice. It was such a blur. We had some definite good times. I ate a lot of good food truck food. Waffle tacos is all I’m going to say. Also, there’s a big thing in Philly called “Making Time” and they were doing something at SXSW that ended up being a big Philly thing. After us was Spankrock, and we has playing some of his new stuff. He just got everyone super into it.

WUTK: Are you working on any new stuff right now? If so, what kind of music?
SA: I am. We are trying to get out a 7’’ this summer, and then hopefully another album next year. So I’m just starting to write some music. I have one song done and a few in the works.

WUTK: From what we have read, you get a lot of comparisons to Animal Collective. What do you think about that?
SA: I’m okay with it, as far as reference points goes because I really like Animal Collective. But, I am also sort of confused by it because I don’t every really think you would confuse us with them. I think people need something to latch onto. It is a flattering band to be compared to.

WUTK: You were part of the A-Sides. How did the A-sides morph into Sun Airway?
SA: Well, basically everyone but the drummer quit. Not out of any real reason. We were kind of over touring. So, I mostly just wanted to make music. I had been messing around with electronica music and samples and I wanted to just really try to dive into it and make a record of it, so that’s what we did. Oh and now the Sun Airway band is 4/5ths of the A-Sides.

WUTK: So now you all just came together and made a new and improved A-Sides?
SA: Yeah pretty much. People left and did their own thing, but by the time Sun Airway got around to playing shows everybody wanted to get involved again.

WUTK: The Sun Airway stuff sounds pretty different than the A-Sides. Do you think on a touring basis atleast that you will start to sound a little like the A-Sides?
SA: The good thing about the A-Sides was that everyone was just really good at what they were doing. But, I think there is a lot of times in a live show everyone’s strengths in what they play really come out like they did in the A-Sides. So, maybe there is a little something there.

WUTK: Did the guys in the A-Sides help you with your newest album, Nocturne of Exploded Chandelier?
SA: No one helped on it. It was kind of make the music first and then do it live.

WUTK: When did you start working on the album that came out in October of last year?
SA: We started it in August of ’08, so it was kind of a long time coming. A lot of that was just building a studio and trying to learn how to use all the gear.

WUTK: How did that album come together? What was your inspiration?
SA: I guess it was coming from a lot of places. Most of it I had written already. It would probably have been the new A-Sides record, but once we started Sun Airway I was recording them all in this new context. The inspirations of a few songs were based on the book Norweigan Wood. And then I just took a lot of the themes that were involved in those and tried to elaborate on them for the rest of the stuff. I wanted to make something really cohesive. I started taking the moon and the night as the main reference points.

WUTK: You can hear that on the album. It sounds a little dreamy.
SA: Yeah, I like for it to be very mysterious. Something you can really immerse yourself in.

WUTK: You’re going to be at the Pitchfork festival. Were you excited to be one of the first bands announced.
SA: That was definitely a surprise to us, as much as anybody else. I’ve always wanted to go, but never had a real excuse. This year it’s on and I can’t wait.

WUTK: You’ve done a lot of remixes for Here We Go Magic and Caribou. Can we expect more of these?
SA: Probably a couple more, but I’m definitely going to be slowing down on those.

WUTK: Anything else you’re working on?
SA: I am doing something awesome for a charity that’s benefiting kids in Southern India. It’s made from a library of samples of those kids singing. There are a lot of other really cool artists involved. Other than that I guess I’ll just focus on my own stuff for a bit.

WUTK: The last album you said took you two years. Do you think that next one is going to take as long?
SA: I would really like for it to take a lot less time. But it’s hard to say. It depends on how much free time I get.

WUTK: What bands are you really into right now?
SA: I got a recent EP of Zola Jesus that is really good. Also, the new Pains of Being Pure at Heart. I also listen to a lot of electronic and dance music from the past 10 years. I’m really excited for the new Cass McCombs and Dirty Beaches, too.

WUTK: Is there a band you are really hoping to see, perhaps at Pitchfork when you are there?
SA: I’m psyched to see Fleet Foxes.





Monday, March 28, 2011

Cider House goes old school

On Friday night, the Cider House was warped back to a time when music required talent and singers relied on their vocal ability—not an auto tuner. Three bands came out to woo the audience and prove that they were worthy of the stage: Johnny Astro and the Big Bang, Jonathon Sexton and the Big Love Choir, and The Black Cadillacs. Judging by their performances, it appeared that each band was aware that a new era had begun. By the end of the night, it was clear that gone are the times when big record labels suddenly swoop in, throw money at a band, and make them an overnight sensation. Now there is a new standard, and that is the performance.If a band is primed for success, they must enthrall the audience. The rules of a live show are simple for a band—they must leave it all out there on the stage and (most importantly) they need to successfully solidify themselves in the hearts of the audience.

Johnny Astro and the Big Bang took the stage at around 9:45, charged with the difficult task of unifying each group throughout the club, while helping them shed away the burdens of the daily grind.


Johnny Astro began their set with the song “Black Blade” and, immediately, the crowd began to gravitate towards the stage. The band played with full-bravado as if they were playing not to a crowd of roughly 100 people, but to a stadium full of adoring fans. After the first song ended, the crowd barely applauded in manner that is usually reserved for church services. Instead of being discouraged, the band went straight into the second song with even more energy than the first—this got heads bobbing.

Johnny Astro played a set that was both surprising and refreshing. Though the band consisted of four young University of Tennessee students, the complexity of their music and maturity of its lyrics made it crystal clear that these guys mirror old souls. Their songs are reminiscent of a time when music was a poor man’s therapist and an outlet through which one released his demons.

Paul Wakefield, lead vocals and guitar, sang with passion and acted as a conductor between the enthusiastic energy of bassist Mike Carroll and the laid back mellow groove of lead guitarist Jackson Collier. The group's drums are hammered on by Zach Gilleran whose whole body keeps time with the music’s rhythm. Johnny Astro's performance did not leave the crowd wanting and, in the end, caused the apprehensive crowd to warm up.

Up next was Jonathon Sexton and the Big Love Choir—this is a band where shoes are optional but entertainment is not. Prior to going on stage, Jonathon could be found hobbling around on a cane and thanking audience members for attending. Normally this would be a bad omen, but Jonathon Sexton proved otherwise.


Sexton took the stage looking like Willy Wonka’s rock and roll brother. But, unlike Wonka, Sexton took you on a journey into yourself, and depending on who you are, the journey would most likely not end with you being carted away by malicious little orange men.

The band began their set with upbeat songs to lift the spirits of the crowd and the crowd responded with a form of dancing that mirrored a hybrid between Ska dancing and a good old fashion hoedown two-step. Between each song Sexton interacted with the crowd, telling quick stories and drawing into his web. By the fifth song. the journey took a turn toward something a little more serious. The song “Anybody” combated the rather personal subject of the feelings that everyone has that disconnect us from our peers, and leave us feeling alone.

Throughout the show, each song was unexpected. You never knew if it would be upbeat and carefree,or if it would rip away your carefully constructed barricade. In the acoustic song “Take These Days,” emotions were raw as Sexton sang about the inevitable time in everyone’s life where the pains of adulthood collide with the inadequacy of youthful wisdom.

During the set, the band made a smart move by playing two cover songs. This allowed newcomers of the band and old fans to unite. The covers got the audience involved and enhanced the shared experience of all. Finally, the time that the entire crowd had been waiting for when Sexton announced that he would play the crowd favorite “Babylon.”

The entire performance that Sexton and company delivered was energetic and passionate. The music swelled around and surrounded the audience like an embrace from an old friend. The lyrics were poignant and the songs marked a specific time in someone’s life. The music from Jonathon Sexton and the Big Love Choir that mirrors the human existence’s joys and woes. And the fact that, while you never know what tomorrow will bring—the band will entertain you.




The night ended with the Black Cadillacs, who played a two-hour long set. The crowd began at the stage and rocked along with them for the entire set. The band successfully mixed together the sounds of old school rock ’n roll and old-fashioned blues. Providing a perfect end to the night, the crowd danced and enjoyed the band's unique sound. The group featured songs from their first CD, as well as songs like “Run Run,” from their soon to be released second CD.

The entire evening was filled with good tunes and good times. The bands displayed their A games and enticed the crowd.

Monday, March 21, 2011

WUTK SXSW Recap


"So...will I see you in Austin?!" No.
....
"Hey Carey, wanna meet up in Austin and grab a drink?" Nope.
....
"Dude, I'm so excited about the SXSW tUnE-yArDs show." I'M NOT GOING TO SXSW DAMNIT!!!
....
The week before SXSW is always bitter-sweet at WUTK. After spending countless hours chatting with promoters about the ins and outs of the festival, it becomes borderline impossible not to slam down the phone and hook-up a makeshift IV of margaritas to ease the pain brought on by the fact that WUTK completely lacks funding from the University and therefor, our staff is left sloshing through the streets of Knoxville half-drowning in a pool of lukewarm PBR's instead of taking in the sights and sounds of the fabled festival.

But even though the festival is over and all is back to normal, the videos of Austin's best performances continue to pop-up. So, if even if you were lucky enough to make it to Texas but can't quite piece together where Starfucker began and Middle Brother ended...check out some of WUTK's favorites below.

Wild Flag

 tUnE-yArDs
Starfucker

Tennis

-Carey

Saturday, March 19, 2011

My Pact with Music

First song on first mix tape received - Bikini Kill, "This is Not a Test"

I can not think of a major moment in my life -- past the age of 12 -- where music was bereft from the background noise. When I was 10 years old the present wrapped in gold was a Sony boombox (with tape and CD player). I don't really consider this the same keystone event as my first tape Walkman due mostly to the fact that the first CDs I owned (Spin Doctors Pocket Full of Kryptonite; Paula Abdul Greatest Hits) were not indicative of my musical taste two years later.



First break-up album - 1996 - Modest Mouse This Is a Long Drive for Someone with Nothing to Think About

The day I bought my first tapes and broke out of the hand-me-down music that I borrowed from my parents (James Taylor; Carley Simon; Cat Stevens; Indigo Girls; Strength in Numbers) was the day that I never wanted my life to be without music ever again. Ownership Hole's Pretty On the Inside, Miss World, and Nine Inch Nails's Pretty Hate Machine were the single personal-political events that served as my justification in declaring war on silence. As I lay in my bed that night, headphones on and volume maxed out, I thrashed violently on a twin-sized water bed while clumsily playing air guitar to "Credit in the Straight World" in the darkness.

First slow dance and kiss - 1994 - Grant Lee Buffalo, "Mockingbirds"

When 1998 rolled around, I was in 8th grade. Farragut Middle School took a band-wide trip to Washington D.C. -- the whole ride there I blasted Sebadoh's Bakesale and various Smashing Pumpkins albums. My close friend Lauren Anderson sat next to me and we traded tapes back and forth. On the drive back to Knoxville, Disney movies playing on the televisions and streetlights passing in a way that made shadows on the bus appear as sundials fast-forwarding, I listened to my first Sleater-Kinney albums (Sleater-Kinney, Call the Doctor, Dig Me Out) and followed up with Bikini Kill's The C.D. Version of the First Two Records. Within a week I was digging through the network that would later coagulate into the file-sharing application, Napster -- listening to Team Dresch and trying to rationalize singing along to lesbian Queercore lyrics as a pubescent male.



First disc trade - Marilyn Manson's Portrait of an American Family for Offspring's Smash

The years after this are a blur. Napster was a fine service if you knew what you wanted, felt the urge to fill out missing tracks in your collection, were looking for rare tracks from an artist, or if you felt like using wild card searches for documents that people had inadvertently shared ("pass*.*"; "*log.doc"). Around the halfway mark between Napster's first release and the first media faux pas it created -- another service popped up called AudioGalaxy. The novelty with AudioGalaxy was that the search and GUI portions of your browsing were inside of a browser: click a button next to the track on the web page and a program specific URL would queue the song for download in the stand-alone program. The nice part about this was that AudioGalaxy allowed for the option to sort by genre, pull up obscure genres, and then sort by download popularity -- a feature it also allowed when browsing by artist. This was during a pretty heavy Aphex Twin binge. I knew most major Aphex Twin releases and side projects (from Caustic Bubblebath/Joyrex to Mike and Rich) -- and that led to Boards of Canada, Plaid, and Squarepusher. The genres of music I paid the most
attention to were Illbiant and Downtempo.

Most valued artist find - 1999 - Nick Drake

There was a popular VW ad in 1999 called "Milky Way". This was one of the first major uses of solid non-mainstream music on a prime-time advertisement -- a far jump from the more common use of Iggy Pop's "Lust for Life" on Carnival Cruise commercials. In the commercial, a group of friends drives through a series of back roads between dusk and night -- making good use of the Cabriolet's retracting roof to admire the night sky while Nick Drake's "Pink Moon" played in the background. The car pulls up to their intended destination, a party with one drunk staggering back inside, the passengers look at one another -- and then continue to drive into the night. The next day I called VW to get the information on the song that played. Two years later, undergoing massive dental procedures that would later result in the removal of more than half my teeth in the slowest and most painful manner possible, I found myself on my couch -- drugged, sore, and depressed -- listening to the Pink Moon album. And then Five Leaves Left. And then Bryter Layter. And then old demos scrounged up from the Internet ("Been Smoking Too Long"). Someone else had felt this low before -- and knowing that helped me keep my level of self-pity below flood stages.



First album won - 1996 - 94.3 FM - Tripping Daisy I Am an Elastic Firecracker

I've made out to Jimi Hendrix's "Angel" sitting in a car at the entrance to a neighborhood in the pouring rain, walked into a bar to reconcile a fight with my father with "Hey Joe" playing on the jukebox, shared the first kiss of a relationship to the initial chord strike of "The Bends", and sat in the back of an Astro van -- my first golden retriever, unable to walk and with failing kidneys at 14-years-old, with his head in my lap -- listening to Smashing Pumpkin's "French Movie Theme" on repeat as we drove to the vet to put him to sleep. I have been pulled over three times for speeding to "Geek U.S.A." in Knoxville and one time to JUSTICE's "D.A.N.C.E. Pt. 2" on A Cross The Universe in Sydney, Ohio. I had the best cigarette of my young life sitting on top of my car at Bonnaroo after being lost and alone for roughly five hours -- blasting Jethro Tull's "Sweet Dreams" from my stereo at 6 in the morning. I've pulled up to the FHS marching band summer dance in 2000 in a black Jag convertible with Slint's "Breadcrumb Trail" pouring out of the speakers like an erupting volcano. A driver slammed into the car I was in going 50 MPH while New Order's "Temptation" played, I was T-boned to Presidents of the United States of America's "Mach 5", and the first song to play in my replacement car was Cash's "Folsom Prison Blues". I got violently ill and lost the contents of my stomach on Justin Timberlake's lawn in Georgia while a still-running car played Spacemen 3's "Losing Touch With My Mind".

Most played soundtrack - (tie) - The Crow (1994 - 1997) // Kids (1998 - 2002) // subUrbia (1996 - 2001)

When I was 12 years old I signed a pact with music in blood. My ears would forever ring as a testiment to my war on silence and every sound above the threshold of ringing would make the sound less noticeable. I reap the fruits from that contract on a daily basis.



First concert with a girlfriend - Moby

If cigarettes were numbered and I could name them like milestones -- "Oh, I remember #13,492. We were speeding through the back roads of Cumming and my girlfriend at the time had Ride the Lightening thundering in her car that she called Blitzkrieg" -- maybe this would have played out differently. Probably not. I only remember my bank account number due to the obsessive number of times I check it online. I'd just end up with a wallet full of faded papers with numbers on them and no recollection of why I felt the need to keep them -- much like the debit receipts from restaurants and bars currently.



Matthew Smollon (Spider Jerusalem) - Music Life Coach

Sunday, February 20, 2011

Bass Center...Ultimate Proof We Love Our Bass

As myself and fellow electronic music lovers traveled across the beautiful mountains on this past Saturday, I knew the sold out Bass Center, featuring Bassnectar, Glitch Mob and Ana Sia would be a massive event—A sold out show at the Asheville Civic Center will give you that impression. But this experience may be the most concrete proof we have to date that the southeast loves electronic music— particularly dubstep.

To no ones surprise, the crowd was full of Knoxvillians.
As we gazed at the license plates on vehicles at the hotel and in the parking garage, we were in awe at how far some had traveled to experience the party—AC Entertainment's Ashley Capps even made an appearance. But what always prevails true is that Bassnectar, Glitch Mob and Ana Sia all knew it was epic, and performed to their highest levels.

I ran around the place. From back right, to front left, to balcony center, and on, I was never short of the realization that electronic music conjures happiness, unity, love and the will to party like never before.

For this, we at WUTK salute the electronic music scene that you have all helped create and allow to prosper.

- Matt Miller

Tuesday, February 1, 2011

Dr. Dog Visits WUTK's Studio

I've always associated Philly's Dr. Dog with Springtime. I'm not exactly sure when or how the two became involved in this odd, yet mutually beneficial relationship, but whenever I hear the the band's psychedelic-tinged pairing of Americana and harmony-driven rock, I can't help but lazily drift into a warmer state-of-mind. This weird observation is why it was so fitting that when the band paid a visit to WUTK yesterday, the temperature was freakishly above-average for February.

I had seen Dr. Dog a couple of times, but both took place at music festivals with minimal stage set-up, so when Brittney B. and I headed to the Bijou to peek in on the sound check and pick the guys up, I was shocked at their lavishly bright stained-glass themed backdrop and how well their vocals translated into the Bijou.

Once we arrived at the station, the entire band (not only 3 members as was originally planned), graced our studio with four acoustic tunes and an interview. It's always difficult to predict how bands will react to WUTK's tiny basement headquarters, but Dr. Dog was especially awesome and took the time to stick around and record a few station ID's as well as chat with some of our new DJ's.

Needless to say, that nights show at the Bijou was fantastic. Opening band, Seattle's The Head and The Heart, took the audience by surprise—and earned a standing ovation—by delivering song after catchy song full of string accompaniment and guy/girl vocals. Both the Head and The Heart as well as Dr. Dog can be heard in WUTK's daily rotation.

For those of you in the Knoxville area, be sure to tune into UTTV (channel 194) for video and audio of Brittney and I's interview with Dr. Dog as well as other performances recorded live in the WUTK studio!

-Carey

Photos from Brittney B. to come...

Monday, January 24, 2011

No Age at The Pilot Light 1-23-11


Things are looking up for Knoxville's live music addicted, drunken lyric screaming, and overall irresponsible middle-of-the-week concert-going elite. We are the few, the proud, and the perpetually sleep-deprived.

The next few weeks are packed with so many awesome shows, that I'm starting to wonder whether or not my grades will take a hit (not that it's ever happened before...).And, perhaps as a preview of my commitment to academic diligence, last night's rock-neck inducing No Age show at the the Pilot Light was not very conducive to my 9 A.M. aerobic swimming class.

Armed with mediocre expectations and an overwhelming desire for pizza, WUTK's Music Director, Brittney B., and I headed to the Old City at around eleven to find that the first of the three groups on the night's bill hadn't even taken the stage. Not that the Pilot Light is known for their punctuality, but at the time, a 2 A.M. night seemed like some sort of magical quest involving dragons and several cans of Red Bull. A few beers in and two hours later, we headed into the venue just as No Age was warming-up. I should have know that our eerie punctuality was a preview of the night's eardrum-numbing outcome seeing as I am NEVER on-time for anything...ever, but my introduction to the band's live show a few years back really wasn't anything special. One mosh pit, a Black Flag request, and a few ruptured PBR's later the previous show seemed more like a strategically placed warm-up in comparison.

Besides surpassing my expectations and raging through tracks from 2008's Nouns as well as 2010's Everything in Between, the group played nearly every request that was drunkenly tossed their way. And by showcasing their bare-bones punk influenced sound much more prominently then on any of their recordings, the LA club staples managed to build the once stagnant crowd's subtle head-bobbing into a full-out explosion that wavered in-between a fairly tame mosh pit to looks of undiluted (besides the beer) awe within 10 minutes of starting their set. I've seen a handful of bands who's lead singer is stationed behind the drums, but I couldn't look away from No Age's Jeremy Villalobos. The drummer's technical skill, seemingly perfect posture, and ability to articulate the group's lyrics for the entirety of the set, all while rocking the fuck out, won me over after only a few songs. Overall, the show ruled.

Now...if only Smith Western's and Dr. Dog would hurry-up and wreck my already skewed sleep habits...

UPDATE! Here are the photos! No Age @ the Pilot Light, Courtesy of Brittney B









-Carey

I Miss Rocking Out.



Remember when washed out sounds were a novelty? When the wet-effects vocals and echo were a new thing? It felt like summer, the sound and lyrics sticky on your skin and in your ears.

Now, two years later, it's still there. It's the dub-step of indie and it won't go away. It feels as if we have hit the Horse Latitudes of Indie Rock.



"Horse Latitudes?"

Yes. Allow me to explain.




Let's look to our good friend Wikipedia ::
"One theory, of sufficient popularity as to be an example of folk etymology, is that the term horse latitudes originates from when the Spanish transported horses by ship to their colonies in the West Indies and Americas. Ships often became becalmed in mid-ocean in this latitude, thus severely prolonging the voyage; the resulting water shortages made it impossible for the crew to keep the horses alive, and they would throw the dead or dying animals overboard."






That, I feel, is where we currently are when it comes to the state of the Indie Rock genre. We are stuck in a place with low winds, balmy breezes, and no movement. We need to push some of the dead weight off of the ship to make progress. There is an addendum to the etymology of the word, though ::

"However this is extremely unlikely since horses would have been eaten and not thrown overboard."





That'll do fine, too. That is also how music has worked in the past. Once the pool becomes stagnant enough, the animals begin to cannibalize. Sounds, idea, concepts -- everyone works off of one another. In our current state of music, it seems as though in the process of eating one another -- some sickness has been transferred between the bands, keeping the symbiotic washed-out-effects trait dominant. We need this to be a recessive gene to get back to where we once were.



Even if the wet effects were just turned down 4 notches from "15" to "11" -- that'd be a start. Echo effects are not an excuse to play whatever you want and not worry about moving lyricism and technical ability with your instrumentation. But it sometimes feels like that's the direction we are heading towards.



I didn't get involved in music because I like feeling like I'm trapped in some dreamy soundscape 24/7 -- but Indie Rock is my genre. It's the genre that pulled me through many hard times. It's the genre that keeps my feet moving to a drum beat when I'm walking up hills on campus at 7am in the morning. It's what compliments my coffee and goes well with my cigarette. It's what I like. And to see that genre in this shape is a lot like seeing grandma sick in bed and knowing she hasn't got much time. I really want to enjoy our time together before it's over -- but she smells like tuna and coffee-breath.



I grew up to The Strokes, Sleater-Kinney, Sonic Youth, The Pixies, Bikini Kill, Interpol, McLusky, Built to Spill, Sad-Sappy-Sucker era Modest Mouse. And I'm not hearing anything that really reminds me of that kind of sound these days. I dare say that Indie Rock is getting fat. Getting obese on the sweet sugary sounds of dream-pop, echo, and wet effects. And that's no way to live as a genre. You'll have heart problems. That's no good.



What I propose is a diet for Indie Rock.
An exercise regiment for the genre to return it to the formerly noble status that it once held. For Indie Rock to once again be able to bench 400 lbs. of PBR. I want to see that day. I want to live for that day. I want to be part of the night where my feet start moving again to music that I can't stop from shaking me from the spine outward. And each night when I pray to Stephen Malkmus, I ask for the blessing of Elliott Smith - for Sleater-Kinney to reunite - and for Indie Rock to once again find it's spine. To once again be unafraid of being reckless, wild, and willing to shred a guitar. I also ask for the protection of JEFF the Brotherhood -- as they may be one of the last bastions of hope in this desolate Indie Rock atmosphere.



---
I said, "Kiss me, you're beautiful -
These are truly the last days"

You grabbed my hand
And we fell into it
Like a daydream
Or a fever
---






Let's jump into it.


- Matthew Smollon, Indie Rock Cynic

Wednesday, January 19, 2011

Are Cats Taking Over College Radio?

In some inexplicable wave of cat-nip induced psychosis, cats have been steadily purring their way past dogs as pop-culture's animals of choice (squirrels are in a close second). Could this surge in popularity be because of their irresistibly cuddly faces, their penchant for all things fuzzy, or their teeny little paws? Naw...it's all due to keyboard cat.


Cats of the moment include:

Snacks, who proudly owns Bethany Cosentino of Best Coast...



The cover-star of British band The Klaxons new album "Surfing the Void"...


And the model who inspired the cover of Wavves most recent album "King of the Beach"




Holy Fuck!

-Carey