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(04/10/21 1:00pm)
By Conner Tighe
Actor and artist Darren Criss released his latest music piece, “F*KN Around,” which centers on Criss’s days as a young wannabe star. I originally thought the piece was a larger project, and it turns out it is. But it would not be in an album but a start for more music, which is yet to come. Diverging from his other works like EPs Human and Homework, “F*KN Around” comes with a comedic, fun vibe that makes the singer sound like a half rock star and half pop star.
Criss grew up in California, mainly doing theater work for Team StarKid. He was always into the music scene, playing alongside his older brother Chuck. The two never went into full stardom until 2017, when they released EP Lost Boys Life under the name Computer Games. Perhaps what Criss is most well known for is his time in the spotlight as character Blaine Anderson on Fox’s Glee, which lasted for six seasons. He was one of the first openly gay characters on the show, an act completely different from Criss’s real life as he married his wife Mia Swier in 2019. He’s continued working for shows under Ryan Murphy’s handling, like American Crime Story: The Assassination of Gianni Versace and Hollywood.
(04/09/21 6:05pm)
By Blake ChapmanEarl Simmons, aka “Dark Man X” or “DMX,” has died at the age of 50 after suffering “catastrophic cardiac arrest” according to a statement from his family.The Yonkers-born recording artist, famous for songs like “X Gon’ Give It to Ya,” “Ruff Ryder’s Anthem,” and “Where The Hood At,'' was rushed to White Plains Hospital in New York early April after suffering a heart attack following a potential overdose, which remains unconfirmed. Soon thereafter, he was reported to be in critical condition and placed on life support.News of DMX’s condition was met with support from all around the music industry including artists like Missy Elliot, Rick Ross, and Chance the Rapper. In a statement to TMZ, a representative for Simmons said, “the overwhelming outpouring of heartfelt love, encouragement, support and prayers for Earl. Earl is someone whose life and music have been a source of inspiration and strength to so many people around the world. It is reassuring to see his fans return that same passion and energy to him during his time of need."https://twitter.com/chancetherapper/status/1378412368393277444?s=20Along with a lengthy discography and filmography including three Grammy Award nominations and 19 movie roles, Simmons' legal issues and health issues have also been numerous. He spoke openly of his crack cocaine addiction in the past, and claimed he suffered from asthma and bipolar disorder. Over the course of his career, he racked up multiple arrests for reckless driving, animal cruelty, and drug possession. In July 2017, he was charged with 14 federal counts of tax fraud for failing to file income tax returns between 2010 and 2015.He is survived by his 15 children, mother, and fiancé Desiree Lindstrom.
(03/30/21 6:01pm)
By Conner Tighe
The Peach Tree Rascals released their first EP/album, Camp Nowhere which combines all the fun the band has had and morphed it into an alternative-Indie blast of a joyride. After an initial run-through, I found nothing entirely exquisite but, all the same, a good time. Those familiar with the Indie genre will recognize the slight inspirational sound from Foster the People, Poolside, Surfaces, and MGMT. The Peach Tree Rascals have never been one for deep, thoughtful essence in their art, but want to have fun doing what they love. Camp Nowhere continues the band’s adventures of combining the band’s cultural and musical backgrounds into a diverse mix of music OGs will come to love.
Jorge Olazaba (creative director), Tarrek Abdel-Khaliq (singer/rapper), Isaac Pech (singer/rapper), Joseph Barros (singer/rapper), and Dominic “Dom” Pizano (producer/mixer) met in high school. The five began producing small-time projects demonstrating what each member was capable of until they released their single, “Mariposa”, in 2019, which launched them to fame. The song talked about personal growth and accepting who you’re meant to be and used the Spanish word “mariposa” for “butterfly” to project that symbolization of change. The band has released 18 singles going back to their first single, “Glide”, in 2018.
A diverse sound
The band has diverse backgrounds in music, including Mexican, Filipino, and Palestinian. With their presentation of hip-hop, rap, and Latin-inspired sound, the album provides that mix of sound that most bands can’t offer. The Peach Tree Rascals are an example of taking unique backgrounds and forming them together in the name of not love, but music. Track one, “OOZ”, exemplifies hip-hop while track four, “Change My Mind,” has pop inspiration, and track seven, “Pockets”, sounds like a track from a John Mayer album. Those familiar with the pop, folk, and Indie genres will see through this transparent case of past musicians getting their due where it’s deserved.
Pocket full of sunshine/Flowers help me find my way/Before the sunrise
Nothing is too serious or deep in this album, and it appears like the band wants to keep it that way, most likely to appeal to their younger audience. The Peach Tree Rascals are a fun, lighthearted group of guys who – you would assume – would describe themselves as “chill”. With inspirations from Kendrick Lamar, Frank Ocean, The Beatles, and John Mayer, my respect for the five is that much stronger. Camp Nowhere pays its respects to the greats who came before them.
Stacking against the rest
Like many other artists in today’s age, the Peach Tree Rascals speak to the youth culture and this sense of coming of age appeal. It seems like the band is still on their own journey of self-discovery, and the lyrics expressed in Camp Nowhere speaks to a universal sense of confusion and what it means to be young. Drugs and musicians seem to coexist as you look more and more into the creative processes and personal stories. Tracks like “OOZ”, “JoJo”, and “LEAVE ME” speak about drugs as both a coping mechanism and piece of youth, while tracks like “papá” talk about growing up in a changing world.
See, I don't know and I never did/I'm on a road that'll never end/All my control flying with the wind
Top tracks:
OOZ
Pockets
Change My Mind
Recommended if you like:
MGMT
Foster the People
Poolside
Sources: Daily Bruin, Ones to Watch, Elicit Magazine, Spotify, BMI
Featured Image: Genius
(03/26/21 2:00pm)
by Conner TigheIt’s been an exciting and anxious time for fans of young artist AJ Mitchell. In 2015, Mitchell was discovered via social media while living in his hometown of Belleville, Illinois. He released his first single, “Used to Be” in 2017, after writing it at the age of 13. He has collaborated with musicians like Meghan Trainor, Cheat Codes, Ava Max, and Ella Henderson. Mitchell is a candid, free musician, taking inspiration from his life and shaping it into worthwhile lyrics. I got the chance to speak with Mitchell about his writing tactics, inspirations, and upcoming album Skyview, set to release soon.Conner Tighe: What was your inspiration behind "Camera's On?"AJ Mitchell: It came to me about three years ago, which is when I originally wrote the song. Basically, I was inspired to write that because I was in this situation where I was surrounded by people where it just seemed like a fake environment. It seemed like people were wearing smiles, people were saying “I love you” when they didn’t mean it, so I felt like a weird dynamic which I’ve never experienced before. That was when I first came out to LA. So, I wrote the song about how as soon as the camera’s on, everyone switches up. The “never with you” part is the music side and my family and friends and the people that make it worth it, and that’s what the songs about.Image from FacebookCT: What do you find most difficult when writing music?AM: The music part is easiest for me. I write songs every day, like I love it. I mean, I could write three songs in a day. But the most difficult part for all of it, I would have to say, is the emotional part. I’m promoting the songs and going on social media, doing all that stuff because honestly, I’m not great at social media. I try to give the fans what they want, but when it comes down to promoting the music, I’m like, “I don’t know what to do. I’m just going to take a video from a song and post it up.”CT: What was your childhood like?AM: I would say my childhood growing up was very free for me to explore, adventure, and live my life the way I wanted to as a kid. I was from a really small town. There wasn’t much to do at all other than write music all day because I was bored, and I just wanted to play on the piano and learn and practice. It was fun for me. Or I’d be outside with my friends, riding our bikes around town, exploring abandoned buildings, sneaking into this college down the street so we could play basketball. We were super adventurous kids, and I just wanted to have fun. I was the type of kid where if I was bored, I wanted to do something. I wanted to go on adventures. I wanted to go in the woods. I wanted to have a thrill with my friends.CT: Who were your musical inspirations growing up?AM: When I was growing up, my first inspiration was my dad. He was writing songs and practicing the piano, and when I saw that, I wanted to do it myself. He was one of my first inspirations. Then after that, I loved The Beatles, Lil Wayne, Eminem, Bruno Mars, Coldplay, Adele, Whitney Houston, Etta James. Honestly, I drew inspiration from everywhere. I wouldn’t say there’s one artist that’s my favorite. I’m that type of person that doesn’t have a favorite anything, because I love so many different things.CT: How did writing songs at such a young age impact your life?AM: I loved it. I was writing songs all the time. I only knew a couple of piano chords, but with those chords, I was writing songs all the time.CT: Where do you get your inspiration from when writing music?AM: I get my inspiration from life, I think, just life experiences. Honestly, the inspiration can come from anywhere. If I’m walking down the street with a friend and we’re just having a real conversation about real life, and something pops up, and I’m like, “Honestly, that’s beautiful. This would be such a beautiful topic to write about.” And I’ll take it to the studio, and I’ll write the song. That happened one day with the song “Growing Pains,” which is going to be on my album Skyview. I had a wild night out, and the next morning I woke up like, “Oh, I’m growing through growing pains,” so I know I’m going to do that again. You know what I mean? And that’s how everything works out. I’m inspired by real-life situations, and it’s either with my relationships or life lessons that I’ve learned that I want to share with other people. I like my music to be motivational or happy.CT: Is there a past performance that comes to mind where you were extremely nervous?
(03/23/21 7:36pm)
Ball State Daily · Remixed and The Coven: To the Beat of Feminism
Welcome back to another episode of Remixed! On this special crossover episode with the Coven, join us as we discuss women's place in the music industry, female music icons, and the current state of feminism in the music industry. Tune in for all this and more on this special crossover episode of Remixed and the Coven!
Hosts: Sam Shipe & Shwetha Sundarrajan
Edited by: Sam Shipe
Graphic by: Emily Hanes
(03/22/21 9:50pm)
By Conner Tighe
Justin Bieber released his latest album, Justice, this past Friday and if you hyped this up like his last album, let me save you the trouble. Justice doesn’t achieve the same lasting effect as Changes. Like his last album, there’s a heavy inspiration from faith and Martin Luther King Jr. If this sounds strange, it is. It’s so out of place and is the first piece of audio you’ll hear on track one, “2 Much.” The singer is already receiving mixed feedback on the album, with some not appreciating MLK’s addition while others see it as a timely thing.
Bieber has come a long way from his pop and purple-dressed, shaggy hair-wearing days dancing for the girls. Justice solidifies his stance on religion and how faith can be life-changing as it has been for him. The artist acknowledges that much of the world is suffering, especially with the recent social injustices that have plagued this nation for decades. He provided a sense of truth and hope by incorporating his faith in Changes and continues to do so in Justice, although the overall experience comes across as a little stale.
A sense of truth
Nothing is heard in this 16-tracklisting that isn’t premeditated or signifying some other pop-Esque vibe that we usually hear every day. Bieber wants to stand out not only from other stars, but from his past self as much of the album is about moving on from past mistakes and celebrating the two people that have stood by him: his wife and his faith. To me, the listening experience was a clone of Changes and did little to differentiate itself from its predecessor. As Bieber talks about throughout, there are moments of weakness and temptation, but he continues to rise above it all through music. Few tracks stand out from others in the album except for his “Peaches” collaboration with Daniel Caesar and Giveon.
MLK returns for track seven as an interlude, talking about social injustice followed by more tracks about Bieber’s wife. The tone shifts when MLK is introduced intermittently to something serious and then we go back to the artist talking about Hailey Bieber. I understand that MLK signifies and talks about living with passion as better than not living with a passion — which Bieber uses to show his passion for music — but something about it didn’t sit right with me and was unnecessary. I can’t say the album is entirely about his faith, as there are pieces about his wife and the undying love he expresses for her.
Your touch blurred my vision/It's your world, and I'm just in it
Lack of inspiration
It's clear that much of his inspiration comes from his wife, but it seems tiring at this point. Bieber attempts to make his messages universal, like with “Somebody” talking about having a shoulder to cry on, or “Lonely” with the struggles of depression and mental health. The artist is moving away from rap, it seems, although slowly. His 2020 collaboration with Quavo on “Intentions” is a recent example; yet, even on this tracklist, he appears beside Chance the Rapper (“Holy”) and Khalid (“As I Am”). The R&B just doesn’t seem like who he is anymore.
Top tracks:
Die For You
Off My Face
Anyone
Recommended if you like:
Shawn Mendes
Ed Sheeran
Selena Gomez
Sources: New York Post, TMZ, YouTube, The New York Times
Featured Image: Genius
(03/18/21 8:40pm)
By Liz Rieth
While it’s a mesh of gospel, blues, and folk, this album is all heart at its center. These 13 brings together the best of Jimbo Mathus and Andrew Bird. Released on March 5, the pair stretches to new heights lyrically and musically with this soul-strung song collection.
Decades of collaboration
The makers of These 13 met decades before they collaborated on this album. In 1994, Mathus’ band, the Squirrel Nut Zippers, had just begun to become known for their style that encompassed everything from jazz to folk. While at the Black Mountain Music Festival, the band first ran into Bird. A few years later, the band invited Bird to play on 1996s album Hot, and after that, Bird recorded and occasionally toured with the Zippers throughout the ‘90s, though he never became a core member he focused on growing his own career.
These 13 is not Bird and Mathus’ first time playing together since then — in fact, Bird even played on their album Lost Songs of Doc Souchon just last year. But, this year’s album is the closest collaboration they have had, with the duo recording these songs around a single mic.
Both somber and easygoing, These 13 draws from a range of styles, but at its core, it’s a gospel album. The duo sings from their hearts as they meld their styles to create a rural and wild sound. Bird’s music has typically been folk music that runs wild, while Mathus, on the other hand, has stuck to traditional country and blues. These 13 mixes the meandering chords of Bird with the traditional roots of Mathus to create a sound all its own. The twangs of their voices mix as they sing sobering lyrics that cause the listener to turn inward and reflect.
Soul-stirring lyrics
The album starts off the tone in the track “Poor Lost Souls,” a song that tells of the homeless situation in Los Angeles. They sing of potential that could have been in these men and women who are “just a lump of coal” when they “could have been a diamond.” The song is simple — the harmony of their voices and slow strumming guitar and fiddle — nonetheless, it effectively conveys the crushing poverty of the situation.
Not every song sets this sober of a tenor, “Sweet Oblivion” reflects more of Bird’s style with its quickened tempo and racing melodies. The foot wants to tap as they sing of the sweet oblivion of how “we were so very young.” The high notes of the fiddle remind of the times of youth.
Overall, the theme of mortality runs rampant throughout the album. In the track “Stonewall (1863),” the chorus resounds, “Let us now cross over the river,” as the pair look at the crossing from life to death. The album ends with this difficult theme in “Three White Horses and a Golden Chain,” which describes horses as they come to take the dead away. The song resounds, “You’re gonna need somebody when you come to die,” to convey the deep friendship the two artists have even till the end.
“My darkest night will turn to dust. Let the daylight have what it must. I'm alone, but I'm free”
Each track seems as if it were set in the wooden pew of a rural church. It could be something stumbled upon by a lonely gospel choir. Mathus and Bird offer up desperate prayers with each song. They implore, “in my life, how can any man be the unlucky guy so eternally?” in “Beat Still My Heart.” These are the melodies found in souls that wander the country.
These 13 was created out of the depth of a long-time friendship. The collaboration of two talented artists created a sound all-together innovative and new. Their bond shows in the lyrics that speak to the core of the soul. These are songs that can only come from the heart.
Top tracks:
Sweet Oblivion
Poor Lost Souls
Three White Horses and a Golden Chain
Recommended if you like:
Jeff Tweedy
M. Ward
Monsters Of Folk
Sources: Pitchfork, The Real Jimbo Mathus, Paste Magazine, Spotify, Jam Bands
Featured Image: Garden & Gun
(03/17/21 9:25pm)
By Conner Tighe
After a five-year hiatus between his last album, Last Year Was Complicated, and now, listeners will find much to love with Nick Jonas’ latest album Spaceman. This is the artist’s fourth solo album following his career, which started back in 2005 with his first album, Nicholas Jonas. After an initial listen-through, I was honestly impressed with every track, and this is coming from someone who is a moderate fan of Jonas. Spaceman is a huge step up from his 2016 album due to its more uplifting, fast-paced tempo and catchy lyrics. From the surface, the 11-track record is impressive, but as I got into the nitty-grittiness of the work, the waters became murkier as to how Jonas pulled off a valuable piece of art.
Floating in music ecstasy
Jonas introduced a new side of himself with his R&B-inspired Last Year Was Complicated, and that tradition continues with Spaceman; however, it's in moderate doses this time. The artist knows how to carefully balance his pop roots with R&B, and I would go so far as to say he includes some soul-inspired hits like “Sexual” and “Deeper Love.” Accompanying the tracks comes brilliant piano work, moderate drums, and of course, Jonas’ vocals to solidify the A-plus-quality journey of sound. Spaceman is not an album for background music: The album is above that level of mediocrity and is for bass-playing technology and loud atmospheres. I can personally see more than one track here winning an award or two.
It’s assumed Jonas worked on the album during the band’s revival and his marriage to Priyanka Chopra back in 2018; explanation as to what lies underneath the words. The tracks “Don’t Give Up On Us” and “Heights” talk about the conflict Jonas had with Chopra, although it’s unclear when. However, roughly 75 percent of the album is a love ballad to his wife, and he admits to taking inspiration from Stevie Wonder and the Bee Gees. Any sign of his brothers and the story behind their rehash remain out of the album, perhaps for privacy. One thing is clear, and that is that Jonas is at the highest point in his personal life.
This is Heaven / And I don't know how this could get much bettеr (Yeah) / Than you and me, herе right now
Better off alone
Jonas and his brothers, Joe and Kevin, collaborated on their 2019 album, Happiness Begins, which touched on their heartfelt reunion after years of divide. Happiness Begins, as well as the brothers’ other collaborative projects, have been sparks of pop fun, but frankly, they aren’t comparable to Nick’s solo works. Jonas has proved himself more worthwhile to listen to besides Joe and Kevin, and Spaceman further proves that point. Jonas cares about the care and presentation of his vocals and sound, which are beautifully represented here. No single track feels rushed or created for a quick cash grab of sales. That’s why the album knocks his brothers’ work down some pegs.
Top tracks:
This Is Heaven
Sexual
Deeper Love
Recommended if you like:
Miley Cyrus
Demi Lovato
Justin Bieber
Sources: BuzzFeed News, Seventeen
Featured Image: Genius
(03/15/21 2:00pm)
By Conner Tighe
AJ Mitchell’s latest single, “Cameras On,” presents another beautifully crafted piece of artwork differing from the rest of his music. “Cameras On” talks about Mitchell’s loneliness and reality check he faced at the beginning of his singing career in 2017. When the cameras are on, as he talks about, everyone is friendly and happy, but when the cameras turn off, things change. Mitchell talks about the entertainment industry's fakeness and inner workings through his personal experiences and what it means to be famous.
Excellent production
A dramatic piano opening with Mitchell’s soft vocal turns all ears in this heartfelt single. Many of his singles like “Slow Dance,” “Like Strangers Do,” and collaboration “Hate You + Love You” with Cheat Codes include those sweet, intimate verses talking about his struggles with love and stardom. “Cameras On” goes for a different performance, with Mitchell not focusing on love but on the music industry's reality. After listening to the single, listeners will find no better way to proclaim sadness and inner truths unless it’s with bittersweet vocals.
Cameras on/And I see the faces changing/I wanna run, I wanna run/Cameras on/Now I'm friends with every stranger/I wanna run, I wanna run
Harsh realities
“Cameras On” is a courageous delivery of patience and servitude to Mitchell’s self-care. The single was a three-year project in the making, and the final delivery is astonishing. The artist’s vocals, usually the main focal point, are only a side matter in his latest single. It’s rare in the pop genre and with Mitchell’s track record to focus on something felt more worldwide rather than individual pain. It’s been confirmed that “Cameras On” is a small peek into Mitchell’s upcoming album Skyview, which was inspired by his hometown Belleville, Illinois. Since the hype and anticipation have been ongoing for some time, it’s possible the album will blow us all away.
Recommended if you like:
Justin Bieber
HRVY
Shawn Mendes
Sources: Facebook, Totalntertainment, Tmrw Magazine
Featured Image: Genius
(03/12/21 10:30pm)
By Brandon Carson
Metal-core/pop-punk band, A Day to Remember (ADTR) has been around the block before. They’ve written teenage pop-punk anthems like, “Have Faith in Me,” metal-core ragers like, “Sometimes You’re the Hammer, Sometimes You’re the Nail,” and of course emo ballads like “If I Leave.” They were on many Vans Warped Tours and helped put metal-core into the mainstream with records like Homesick and the almighty Common Courtesy. Unfortunately, ADTR flopped hard with 2016’s Bad Vibrations, full of filler and basic metal-core songs. However, throughout their career, the band established a sound and used it as much as possible. But You’re Welcome is a true anomaly. The record is an attempt to bring ADTR back into the mainstream. Every song feels like the band is trying to do an impression of popular, radio-friendly, rock bands. The songs feel too produced, repetitive, bland, and forgettable. But the biggest headache of You’re Welcome is that it has no idea what it is.
Familiar faces
ADTR has always held a recognizable sound and mainstream qualities. Homesick saw the band hone in on what makes ADTR great: the catchy hooks, hard-hitting riffs, brilliant pop-punk screams, and vocals from Jeremy McKinnon. What Separates Me From You pushed their boundaries further, bringing the band deeper into the mainstream and on the radio as well as Common Courtesy. But on You’re Welcome, they keep trying to sound like other popular mainstream rock bands, when they already are one. “Bloodsucker” takes a page from Imagine Dragons’ book with a big “Woahs” and “Ohs” chorus and heavy percussion. “Last Chance to Dance (Bad Friend)” starts quite promising with a heavy, Code Orange-esque riff. But then, out of nowhere, McKinnon does his best Ivan Moody, of Five Finger Death Punch, impression with the lyrics,
“Twist the blade/Leavin' a wound that never heals inside me/Twist the blade, let it die/Vengeance is hereby mine.”
“Resentment” is what probably happened when ADTR listened to Bring Me the Horizon’s newest record, POST HUMAN: SURVIVAL HORROR, and “High Diving” has Twenty One Pilots written all over it. The problem here isn’t that ADTR has modern influences, but they get so washed up in them that they barely try and stay original with their sound.
Generic madness
ADTR has never shied away from their clichés. Their sound contains many metal-core and pop-punk clichés. But in their earlier records like Homesick, What Separates Me From You, and even Common Courtesy, they would balance that with excellent hooks and creative breakdowns. They would have plenty of generic, relatable qualities, but the way they crafted a song around it was interesting and unique. You’re Welcome is the complete generic package: with no unique qualities, filler tracks, repetitive structures, and an overproduced mix. The first offender is “Only Money,” which begins the song with the tried and true, “My momma called me…” The song is basically every radio ballad you hear on the radio. The lyrics are bland and repetitive, the definition of filler. “F.Y.M.” is equally as generic and bland, not even sounding like the same band. The third offender, “Mindreader,” is the band on autopilot, with the same structure that every song on the record contains. Among the fillers in the record are: “Resentment,” “Degenerates,” “Permanent,” and “Re-Entry.”
But the biggest misstep on the record goes to the closer, “Everything We Need.” Not only is the instrumental a bland, overproduced mess, but the lyrics are painfully dull and clichéd. It sounds like the first chorus they came up with for the song and never wanted to make it any better.
“Cuz I know I got you/And you know you got me/We got everything we need/We got everything we need/I know I got you (I know I got you)/And you know you got me/We got everything we need/We got everything we need.”
To give credit where it’s due, “Last Chance to Dance (Bad Friend),” and “Resentment,” have some explosive, heavy moments that blend well with the new songwriting style. It should also be acknowledged that they are taking a big risk, changing their sound from something pop-punk/metal-core to radio-friendly hits.
No identity
This record suffers the most from having no identity or vision with its bland lyrics and instrumentals, each track sounds completely different from the next, and not in a way that still connects it all as a whole. The result is that the record suffers an identity crisis. It’s constantly changing moods and styles, but still managing to contain the bland and annoying mainstream clichés. It jumps from the seemingly Imagine Dragons inspired, “Bloodsucker,” to “Last Chance to Dance (Bad Friend),” to “F.Y.M.,” in a row! Then the filler tracks arrive and throw off the pacing of the record near the end. Fortunately, “Last Chance to Dance (Bad Friend)” has a brutally heavy riff.
Top tracks:
“Looks Like Hell”
“Resentment”
“Re-Entry”
Recommended if you like:
Pierce the Veil
Bring Me the Horizon
We Came As Romans
Sources: Revolver
Featured Image: Genius
(03/05/21 9:30pm)
By Brandon Carson
King Gizzard and the Lizard Wizard are no strangers to making multiple albums within a year. In November 2020, the band released K.G., which served as volume 2 in their microtonal series. It offered new paths and directions for their sound and style with the Middle Eastern sounding “Ontology,” and the electro bop, “Intrasport,” but fell short in grabbing and keeping attention throughout the record. King Gizzard has always tried to push their boundaries: changing their sound on nearly every album and experimenting, making their 17th record L.W. look like a step backward. But over time, it proves to stand out on its own amongst the rest, while playing as the sequel to K.G. The band offers plenty of new routes to take their microtonal tuning and songwriting, and the lyrics are some of the best in their career. But some of the jams here can stale over time.
New microtonal paths
With Flying Microtonal Banana, King Gizzard introduced microtonal music to a more mainstream audience, colliding it with their psych-rock sound. K.G. returned to microtones over three years after Flying Microtonal Banana, and while some tracks felt completely original, others felt lackluster, beating around the bush until they ended. L.W., however, opens with something entirely original. “If Not Now, Then When?” picks up right where K.G. left off, flowing right into each other. But after the intro, the song completely changes to a jazzy, softer tone. It’s catchy, gripping, and entirely Gizzard. “Static Electricity” brings back the Middle Eastern influences and includes off-kilter, intricate verses that keep the listener's attention.
There are standout moments in each song, like the cathartic instrumental break in “O.N.E.,” the psyched-out jam at the end of “Supreme Ascendancy,” and the seamless transition from “Static Electricity” to “East West Link.” But the mother of all songs on L.W. is the eight-minute, microtonal doom metal track, “K.G.L.W.” It’s a continuation of K.G.’s opening track of the same name, but a journey culminating the double-album experience of K.G. and L.W. Each riff in the song feels essential and is produced with a raw, uncut sound. If the band were to make another metal album, this would be the way to go. The production on the record feels just as good as K.G. with dense tones and incredibly tight drums. But there are also fun synth melodies that come up from time to time and vocal chants in “O.N.E.” that add more depth to the song.
Eye-catching lyrics
One aspect that stood out on K.G. was the introspective and timely lyrics of environmental issues and the pandemic. L.W. finds similar themes of pessimistic world views of where the human race is headed, as well as political affairs and the environmental challenges our society has dealt with and the doomed future ahead, a King Gizzard staple. But the way they write has a quality unique to them, it's simple, but can be looked into deeper.
“Drink the blood of that you spill/underneath the whippoorwill/one more piece of Jenga to pull/then Necromancer will thank us all,”
Political themes can be found in “Supreme Ascendancy,” an angry take on how people who obtain power abuse it, using the Catholic Church as an example.
“Satan in a cassock casting black magic/Childhoods tragically ripped from their shaking feet/Conscious yet inadequate,”
Retracing old steps
Besides Flying Microtonal Banana, L.W. is their most consistent of the three microtonal volumes. Not jumping too far off the rails like K.G., but still managing to be adventurous in areas. However, a few tracks here do not hit the same highs as songs like “K.G.L.W.” and “Ataraxia,” while lyrically intricate, they fall short due to the quiet, confusing vocal performance from Joey Walker. Overall, the song has a Tool-inspired instrumental, but eventually meanders to nowhere during the end of the song, never finding a new direction. “See Me” introduces a hypnotic beat that resembles “Open Water” from Flying Microtonal Banana. But the longer the song goes, the more it drags on. The songs on L.W. could definitely be interchangeable with K.G., which is the point. However, when songs become forgettable, it begs the question, “Why wouldn’t they just put the best tracks from both records onto one album?”
Top tracks:
If Not Now, Then When?
K.G.L.W.
Static Electricity
Recommended if you like:
Thee Oh Sees
Tame Impala
Psychedelic Porn Crumpets
Sources: Metacritic
Featured Image: Genius
(03/03/21 8:49pm)
By Conner Tighe
After he released his first EP, Elliot, German singer-songwriter Roosevelt began his synth-pop journey, putting him in the same ranks as other DJ artists today like Mark Ronson and Poolside. He wanted to bring back club culture through dance music inspired by the 80s in his latest album release, so it was exciting when Roosevelt announced his album POLYDANS, which sports an 80s color palette aesthetic on the cover. However, having listened through the 10-layered tracklist, I found there to be little if any new material, which hindered his latest EP Lovers, released on Feb. 12. I allowed some leeway with Lovers since he was close to releasing POLYDANS then, but after over 40 minutes of synth-pop lyrics and rhythm, I found myself disappointed.
Seeing double
Although Roosevelt is unwavering in his rhythms and tracks overall, it’s something that’s engrained in his brand and made him recognizable. The artist is skilled in meshing the fun and catchy rhythms of the 80s and 90s while speaking DJ alongside the music. Fans would and should expect something new, something fresh, and something relatively different and inventive even if it fails. Roosevelt did none of these things unless you count the tracks “Montjuic,” “Closer to my Heart,” and “Easy Way Out,” which were quite decent in their presentation. The tracks were fast-paced, full of life, and temporary detours from the lack of originality displayed in the tracklist.
Roosevelt’s tedious attempts to differentiate any of his albums and EPs will undoubtedly hurt his career in the long run as there’s little to look forward to with new releases. The artist releases singles from time to time which are admirable and perform excellently, but he didn’t take that leap of faith by changing things up here. It’s smart and worthwhile at times to create a staple for yourself, especially in the music industry, like Ariana Grande and her high-whistle vocals or Chance the Rapper’s maximization of choir and gospel undertones. However, Roosevelt is digging himself into a pigeonhole of stagnancy and unoriginality.
When an artist gets into a genre like synth-pop or DJ-influenced music, they run the risk of lacking originality and getting stuck in a pattern of similar-sounding tracks. Even those who haven’t been fans of the singer long can begin to witness the forming pattern of unoriginality. Like many artists today, Grande and Chance rely on the traditional spoken word and lyrics to assist their music. Roosevelt has lyrics, but they don't have any real substance, and I think that comes automatically with being in this genre.
A fun tracklist
There’s an undeniable aspect of entertainment in POLYDANS; listeners should keep Roosevelt in mind when in need of background music or something to lighten the mood. No track diminishes the overall sense of fun, and that’s what keeps this tracklist from sinking. I found myself surprised with the introduction of electric guitar in “Closer to My Heart,” which I guess I overlooked in previous tracks. “Closer to My Heart” is the “heart” of the tracklist as it’s one of the few fresh tracks and is catchy in its presentation. There are some undertones of love with the basic guitar backup, which always gets me.
Top tracks:
Easy Way Out
Closer to my Heart
Montjuic
Recommended if you like:
Spencer Brown
Mark Ronson
Goldroom
Sources: Indie Is Not a Genre, Byte, AOTY, Spotify, City Slang
Featured Image: Genius
(02/27/21 3:00pm)
by Lia Weisbecker-Lotz
The opinions and views expressed in this article are those of the author and do not reflect the opinion of Byte or Byte’s editorial board.
February is Black History Month and for a while now, I’ve wanted to write about Black punk bands. Punk has always been a community meant for those angry at the world, for screaming for change, for the chance to be heard, and most importantly, to be able to be themselves without backlash. Even so, after my last article on female punk bands, I realized that punk has not been so perfect at making sure everyone is heard and appreciated. But it’s the groups that aren’t as heard that are the most important to listen to. Black punk bands help spread not only a form of education as to what the Black community is going through, but also offer each other a sense of belonging in a largely white community. While the bands listed are Black punk bands, some are also infused with people of different races. However, this doesn’t change the importance or the impact of their messages and how they help the Black punk community. I do want to leave a disclaimer: I’m a white person who has never dealt with racism or its horrors, and I will never claim to. I can only hope to learn from the Black community about the problems they face and ways that I can support them through it.
Red Arkade
[caption id="" align="alignright" width="403"] Image from Afropunk[/caption]
Red Arkade is a high-energy, aggressive band from New York City. They released their first EP, Livewire, in 2016 which introduces the group’s main message: the desire for and importance of freedom. Red Arkade’s songs largely focus on being who you are and doing what you want with your life. Strangely for a punk band, their music is incredibly positive and invigorating, full of speedy riffs and hard-hitting drums. Red Arkade consistently mixes elements of hip hop and hard rock into their songs, which adds to their uniqueness in the punk community. Their latest EP, We Don’t Sing Pretty, was released in 2018 and seems to be about them claiming their spot as a punk band.
Big Joanie
[caption id="" align="alignright" width="401"] Image from Rolling Stone[/caption]
This London-based trio formed in 2013 to join a DIY festival and quickly started cranking out EPs. Big Joanie has become a haven where the members can “be completely themselves as Black women.” The three of them work to bring attention to the Black punk community in the UK and the fact that POC members of the punk scene exist. Big Joanie’s members even created the Decolonise Fest, an annual London DIY festival specifically for POC punks, and the Stop Rainbow Racism campaign. Their music is strongly reminiscent of post-punk bands, experimenting with heavy, harsh, and slow sounds. Most of Big Joanie’s songs center on the emotion behind the end of a relationship, full of a certain bitterness and longing. Some of their other songs discuss the racism they and others have dealt with from both individuals and society. Sistahs was their 2018 debut album, and they plan on releasing a follow-up album this year.
The TxLips
[caption id="" align="alignright" width="400"] Image from VOX ATL[/caption]
A musical collective, meaning that membership and participation are flexible and rotated, The TxLips currently have 14 members. Established and led by Gabriella Logan, this all-black, and mostly female group has been making music since 2018 and has been working toward its goal: to push “the status quo of what the world says artists of marginalized identities can do.” With a variety of artists, the music The TxLips produce is diverse, influenced by a lot of different backgrounds and genres. Many of their songs do contain consistent emotions regarding angst, anger, and the desire for a different life. In 2020, they released their album Prison of Life, which contains some remakes of songs from their original EP, Queens of the New Age.
FEVER 333
[caption id="" align="alignright" width="399"] Image from The Guardian[/caption]
FEVER 333 is a punk band that was created to be the soundtrack of the rebellion. They formed in 2017, debuting in the most punk way imaginable, an “unpermitted” demonstration at an LA landmark to share their ideas. Shortly after, FEVER 333 worked on releasing their first EP, Made An America, (its title song earned a Grammy nomination) a year later. The group’s songs are vehemently, unapologetically about the rampant amount of racism, xenophobia, misogyny, and general inequality in the U.S. The trio has songs calling out the unjust system capitalism is built on: “BURN IT,” “Walking in My Shoes,” “SUPREMACY,” “Soul’d Me Out,” etc. Often labeled post-hardcore, FEVER 333’s music is rapid and raucous, while experimenting with elements of rap, trap, and metal music. They use their latest EP, Wrong Generation, which came out in 2020, and continue to use their unique sound to spread their message demanding change.
The Muslims
[caption id="" align="alignright" width="404"] Image from Scalawag Magazine[/caption]
Another trio, The Muslims are an all-queer punk band that was prompted by the aftermath of the 2016 election to come together. They released their first album, The Muslims, in 2017 where they specifically call out the Islamophobia that’s pervasive in the U.S. They regularly use satire and humor to make songs that both mock white supremacists, transphobes, fascists, etc. whilst furiously pointing out the impact they have on African-American, queer, and other minority communities. The Muslims’s music is energetic, fun, and full of disgust at the current state of society. The trio’s lyrics switch between clever and blunt and are always complemented by the gritting, potent riffs and drums. Gentrified Chicken was their last album; it was released in 2020 and is focused on the government’s failures in recent years.
The 1865
[caption id="" align="alignright" width="404"] Image from Musical Notes Global[/caption]
Created in 2017, The 1865 was launched by well-known music journalist and producer/director Sacha Jenkins. Jenkins has stated that he created The 1865 to be able to “voice his frustrations and expressions of the current political landscape.” The band is named after the year the Civil War ended and slavery was abolished. While this was a turning point in history, The 1865 uses their music to point out how slavery continued to have an impact on African-Americans. Their songs are based on the perspective of enslaved and previously enslaved African-Americans during that tumultuous time. The 1865’s music matches the intensity of their lyrics, with powerful bass lines and full of violent energy. Their last album came out in 2019 and is titled Don’t Tread On We!
Sources: Afropunk, Big Joanie, BTRToday, Chardine Taylor Stone, Ebert Fest, Facebook, Genius, IMDB, Indy Week, Kerrang!, Kill Rockstars, Kit Monsters, Gal-dem, Play Alone Records, Riot Fest, Spotify, The Fader, The Grammys, The Guardian, The Muzlimz, The Txlips Band, This Magazine
Images: Afropunk, The Guardian, Musical Notes Global, Rolling Stone, Scalawag Magazine, VOX ATL
Featured Image: Scalawag Magazine
(02/19/21 8:00pm)
by Kellyn HarrisonThe walls of the dimly lit hallway leading to MU 123 are chipped with avocado green paint. The flooring has decades of hope, laughter, love, sweat, tears, and dirt from the bottoms of Ball State alumni's shoes caked into the tiles’ seams. Despite the age, the second you enter the quaint mirrored room in the Hargreaves Music Building, you are instantly transported into an environment full of dedication, goodwill, and support. Sounds of laughter, singing, chanting, and clapping all filter into the hallway. Even while social distancing, the Ball State University Singers bring students of all majors together to fill the charming room with passion and warmth.“You just get this giant family that consists of the current cast, alumni, and the director,” junior assistant company manager Kamryn Yenser said. “We are a very heavily student-run group. I mean our director does a lot of logistical things, but our organization holds its traditions to a high standard and that is what keeps us connected.” Alumna Samantha Ragusin pins freshman vocal music education major Zoe McNulty. Photo by Kellyn HarrisonTraditions include the biannual pinning ceremony. This is where new members receive their name tag and pin from alumni as an official initiation to the group. Tags and pins are to be placed over their hearts at every off-campus function. On Feb. 16, three members—Zoe McNulty, Joe Lowry, and Dana Rodriguez—were pinned by alumna Samantha Ragusin. Ragusin graduated last year after four years of being a University Singer. She led as the group’s dance captain for three years.“Everyone in the group has been overly kind and friendly. That moment [getting pinned] meant the world to me because it showed how much I was truly wanted in the group,” freshman vocal music education major Zoe McNulty said.The pinning ceremony was quickly held before everyone left the room in order to let the air in the room circulate. Despite this, you could still feel and hear the excitement filter in from the hallway.Allowing time for air circulation is just one of the many regulations the singers are required to follow as part of the COVID-19 safety precautions advised by the School of Music. This specific regulation was established following a summer 2020 study meant to test how germs spread while playing instruments and singing. The study suggests performances and rehearsals be held outside, but due to freezing temperatures, the singers are forced to cut rehearsal time by practicing in an enclosed space and following air circulation policies.Rehearsal time isn’t the only aspect cut from the singers’ schedules. According to University Singers' director, Alan Alder, the choir has cut most of their performances within the past year due to COVID-19. The group’s 56th Spectacular was canceled last year, and many out-of-state performances were rescheduled.Ball State University Singers sing "Happy Birthday" to freshman Communications and Spanish major Katy Shaffer and sophomore Digital Video Production major Rudy Ahlersmeyer. Photo by Kellyn HarrisonA large project that has been rescheduled for May 2022 included the singers performing in Carnegie Hall. This was originally scheduled for Memorial Day of this year.“Michael Davis is a former Ball State University Singer and director and is currently the assistant artistic director of the Indianapolis Symphonic Choir. He’s been invited to do a choral performance in Carnegie Hall,” Alder said. “He wanted the University Singers to come and be part of the core of the chorus. Learning the music was going to be one of the projects we were going to work on this semester.”However, this hasn’t stopped the group from forging ahead and entertaining local audiences. The group was able to perform once on Nov. 1, 2020, in Emens Auditorium. The venue was different from Sursa Hall’s modest atmosphere, but the singers needed a larger space in order to abide by COVID regulations and safely hold their large fanbase.“It just keeps us motivated. It provides a sense of normalcy for the group and the community. They can come and see a live performance all while being safe,” senior company manager Justin McMiller said. “The only challenge is taking an extra intermission at shows, so air can be filtered. So taking extra precautions like that is important, that way everyone is safe.”In doing so, the singers’ title as “Indiana’s Official Goodwill Ambassadors” continues to ring loud throughout the community.The Ball State University Singers plan to perform their 57th Spectacular in Emens Auditorium on April 9 and 10. Tickets will sell through the Emens Auditorium box office, and it is advised to purchase tickets in advance due to limited seating as required by Ball State COVID-19 policies and CDC guidelines.
(02/13/21 5:00pm)
By Conner Tighe
2009 was a different time with the technology, style, and music. I never thought Taylor Swift would return to her country roots, which started her off in the music industry. Some of her best work took place with those Southern twangs and guitar plucks, but the artist decided to revamp her classic hit “Love Story,” which told a cringey yet fun tale of young love. Perhaps what Swift knows best is that our past never truly leaves us, and even the best of us need to come back to our beginnings sometimes. There’s more heart as she believed revamping the song would be a nice reminisce, and although it’s subtle, the artist’s voice is even different this time around, granted she was only 20 when the song released. Twelve years later, “Love Story” continues to dazzle fans who have stuck with the singer the whole way.
(02/13/21 3:00pm)
By Conner Tighe
German singer-songwriter Roosevelt delivered a pre-album release surprise on Friday, Feb. 12, before his release of POLYDANS later this month. His latest EP Lovers is another electrified generosity of pure genius-ness not unlike the artist. This synth-pop artistry comes after his release of Heart Marksman III a year ago. Although much of his music remains similar in its sound, save for a couple of rap beats here and there from tracks like “Crush, Pt. 13,” “Jupiter,” and “Admiration,” it’s difficult to find anything worth complaining about with the musician. Lovers continues that tradition.
Returning to electronic hypnosis
Nearly all the songs demonstrated on Lovers have already been released by previous albums and EPs except for the track named after the EP. When listening to the EP at firsthand, it feels tired and old, but Roosevelt knows what he’s doing and knows he’s skilled in this unique melody of notes. I find myself using Roosevelt as background noise easily able to block out everything around me as soon as I hear his strange echo-y voice with fast-paced disco appeal. So, in a sense Lovers is a “take it how you want” scenario but I see the cup half full.
Quality over quantity
Only five tracks take up the nearly 30 minute long listen through, but even first-time listeners should not be discouraged. Lovers is comical in a way as it feels the artist is toying with his fans, building up the anticipation for POLYDANS which will surely feature all-new tracks. It might be safe to say Lovers is a preview for what’s to come. Some of Roosevelt’s albums like 2016s Roosevelt features 12 tracks while his 2019 Young Romance (Deluxe) features a whopping 17. His EPs, much like this one, features only a handful or more on the playlist. Although his EPs don’t match up to his powerful album playlists, EPs like Lovers take fans back to what made Roosevelt so memorable in the first place, his unique sound.
Elephant in the EP
The only new track named after the EP is a happy, uplifting tune much like the other tracks he puts out. The track doesn’t stand out amongst his other tracks as it’s already difficult to do that. Roosevelt’s music is beautifully made but in a separate way than your average artist. Yes, most of his tracks sound similar but because he’s so enjoyable, it doesn’t matter because I feel like I’m listening to one giant Roosevelt run. If I were to listen to the track without reading the title, honestly, I would say I’ve heard it before. Again, it’s best to recognize this about him before diving in.
Recommended if you like:
Poolside
Martin Garrix
Tiësto
Top tracks:
Strangers
Feels Right
Sign
Feature image from: Genius
(02/12/21 9:00pm)
By Brandon Carson
The Foo Fighters have been a leading force in the mainstream rock scene for 25 years. They constantly play sold-out stadium shows, playing their biggest songs, and show no signs of slowing down. “Times Like These,” “The Pretender,” and “Everlong” are just a few of their countless hits that have dominated the radio. There has never been a terrible Foo Fighters album, although, they’ve come close. One by One and Concrete and Gold never reached the same highs that The Colour and the Shape or Wasting Light have especially with painfully drab songs like “Halo,” and “Sunday Rain.” Lately, the band has been on a streak of bland albums with no reason to come back to them. Unfortunately, Medicine at Midnight follows the same footsteps. Produced again by the acclaimed Greg Kurstin, the record is boring and unmemorable, with very few moments to keep the listener interested. All the while, the same old Foo Fighters tropes keep coming back: featuring slow beginnings leading to fast endings, big, catchy, and repetitive choruses, with basic, tired lyrics.
(02/10/21 12:00pm)
Voice students from the School of Music performed Saturday Feb. 6 at the Ball State Opera Gala in Sursa Performance Hall. The gala included performances from operas such as Les Huguenots, Love Never Dies, and State Fair. Compositions were from Mozart, Rodgers and Hammerstein, and Andrew Lloyd Webber. The gala was available as a livestream, with some segments recorded Friday, Feb. 5. The performers stood socially distant and wore masks throughout the performance to abide by COVID-19 protocols.
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(02/09/21 3:30pm)
By Conner Tighe
AJ Mitchell released his best collaboration to date over the weekend with Cheat Codes’ “Hate you + Love you.” Once again, listeners get an amazing sample of the artist and vocals, which he's demonstrated his entire career so far. Still, this time, listeners get a taste of something bittersweet, relatable, and honest from the singer. It's no secret that Mitchell is not afraid to express his feelings, both good and bad, through his music, ultimately to his benefit. Fans have been long awaiting his anticipated album Skyview, but with the recent release of “Hate You + Love You,” fans will just have to wait and see what he has in store. For now, the surprise release will suffice. The outline and overall format of “Hate You + Love You” is simple, easy, and honest.
(02/06/21 6:00pm)
By Conner Tighe
The Wonderlands seems to be moving in a new direction with their latest single, “The Push.” With a fast-paced, alternative sound and stylistic vocals, this superb single is the start to what may be a new sound moving away from the quiet life reflection that enveloped their debut album, This Digital Life. While mixing in hints of love troubles and self-reflection, their latest single is definitely worth the listen.
Pushing in a different direction
The band’s 2020 release, This Digital Life, was packed with emotional suspense overriding the familiar feeling of loneliness and confusion surrounding social interaction in today’s world. The album was impressive for a debut, and any listener can see genuine soul and heart was put into producing such a relatable piece of art. The same can be said for their latest single.
“The Push” further reassures that The Wonderlands are standing firm in their message. The message being today’s world doesn’t suit everyone. Especially those looking to break away from the norm and the humdrum of daily life that so many of us can get caught up in if we don’t stop to look around now and then. The single is a love ballad of sorts with witty remarks on what it means to be young and trying to sort through this messy world. The Wonderlands wants their listeners to dig deep in themselves and know what it means to feel what’s happening to them and this world.
Optimism with a strong head
Although much of the five-minute serenade is packed with fast rhythmic vocals and superb drumming skills, there’s an underlying tone of sadness transmitted over from This Digital Life to “The Push.” In a nutshell, life happens, and we’re the makers of where we go from there. The Wonderlands are spokespeople for young adults looking to find meaning in a world full of busy, droning voices that can take us on paths we wholeheartedly would’ve avoided otherwise. On the surface, “The Push” is no different from the other alternative songs of today. Underneath, however, lies a meaning like no other.
It’s clear the band is looking to move ahead, differentiating itself from This Digital Life, and is doing so in a beautiful way. There are temptations that may lead us to lose ourselves, but nothing is more tempting than the realities that we face in the name of love. “Playing it cool,” as lead singer Miles Jena refers, is a move all too common when things don’t go our way, but it’s possible to rise above it all.
Recommended if you like:
Mind the Goat
Luca and Julia
Thomas Newton
Featured Image: Instagram