Album Review - Bambi

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Filled to the brim with emotion, Hippo Campus’ latest album Bambi presents universal feelings in their own personal way. Released September 28th, the band’s sophomore effort takes on a slightly more electronic sound than fans of the indie rock band are used to, but it still remains authentic.

In a tweet, the band shared that Bambi was all about the present moment, vulnerability and “embracing fully the things we feel even if that feeling is confusing or challenging.” These concepts seep through every aspect of the album as they use each chord progression, each clever line to convey their array of emotions and experiences.

Hippo Campus continued in the tweet noting a new approach as the “album became an experiment for us on how to be heard as four individuals within a group.” Different members spearheading different songs allows the band to include more life experiences and in turn reach a wider variety of listeners. This approach also ensures that the individual members feel heard and have a proper creative outlet. Though different songs have different primary lyricists, there is still a sense of cohesiveness throughout.

The title track directly addresses issues of mental health as frontman Jake Luppen sings, “I haven’t been much myself and I feel like my friends are being put through this hell I’m feeling.” This chorus faces head on the unshakable feeling that you aren’t quite yourself when you’re in that depressed or anxious state, which goes hand in hand with trying to overcome the idea that your mental state is a burden on the ones you love. These all too real lyrics contrast with the undeniable fun nature of the song. The synth and upbeat percussion bop along leaving the listener a bit torn on how they are supposed to react.

“Think It Over” is the reassuring song that one needs when those anxious feelings try and take over. The calm, slow and repetitive aspects of the song provide the listener a chance to breathe and take in the fact that “you’ve got time to think it over, you’ve got time to think it through.” It takes its time as it flows into the track “Bubbles,” which seems like another relaxing song until the garage rock side of Hippo Campus comes out halfway through. The abrupt change of pace shocks the listener out of their complacency, but soon returns to its subdued state. The track seems to resemble entering a brief state of panic and frustration only to be brought back to a surprisingly quiet reality.

Relationships appear as a common theme throughout the album, some portrayed as healthier than others. “Doubt” discusses the concept of being happy within a relationship, but “who can say you’re the one and never doubt it?” This line of questioning is understandable as the ideas of commitment and permanence loom. “Why Even Try” addresses the unhealthy cycles of a relationship going nowhere leading to the conclusion, “so why even try to change?”

The closing track “Passenger” leaves the listener with feelings of nostalgia and a moment well lived as the album winds down. The ending fades out with echoes of distant conversations and soothing trumpet and piano. The song is a proper conclusion to Bambi wrapping up ideas and feelings that the album presented.

Even with a new approach and new elements to the music, the result still feels like Hippo Campus as they’re able to capture moments of nostalgia and warmth. Bambi illustrates the band’s growth as this album presents both comfort and challenges. The themes seem to revolve around growing up and the experiences that one faces as they get older. Deepening relationships with those around them and having to face internal battles are main ideas in this album and they are things that everyone struggles with. Bambi is a dynamic album that raises emotions and questions, forcing the listener to do what people do – feel and think.

Album Review - Ever Changing

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California based band The Neighbourhood was formed in 2011 by vocalist Jesse Rutherford, guitarists Jeremy Freedman and Zach Abels, bassist Mikey Margott, and drummer Brandon Alexander Fried. The band gained worldwide popularity with the release of their 2013 album I Love You, featuring their hit song “Sweater Weather” which reached number one on the Billboard Alternative Songs chart. The band also released an album earlier this year self-titled The Neighbourhood. Following this album, the band released their EP Ever Changing on September 21st. Consisting of five songs, the style of Ever Changing differs quite a bit from the band’s usual alternative sound. When I think of The Neighbourhood, I immediately think of their indie and almost dark pop style, but this EP branches out into a variety of genres and goes beyond what we have heard from the band before.

The first track on the album, “Kill Us All”, features Denzel Curry and is definitely more hip-hop focused than what we are used to hearing. “Paradise” is probably the most similar to the group’s usual sound, but it still has some hip-hop influence to it. The EP also includes vocals from a few other hip-hop rappers such as IDK and Ghostface Killah. Ever Changing also has an electronic tone to it. I believe the band’s ability to combine elements of hip-hop and alternative rock to produce this EP truly reveals the band’s creativity. Introducing this new combination of genres is a bold move, but The Neighbourhood executed it extremely well. This different style could possibly help the band reach a larger audience and make their music more accessible.

The EP is the last installment of Hard to Imagine the Neighbourhood Ever Changing project which consisted of the EP Hard to Imagine, their self-titled album, and their newest EP. The idea behind this series was to have a constant flow of new music being released over a 12 month period from the band. Following the release of Ever Changing, The Neighbourhood has announced the dates for their upcoming tour. With the group’s innovative style and recent surplus of new music, I think we can expect The Neighbourhood to stay prevalent on the music scene for years to come.

Concert Review - Riot Fest

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Festivals are always a magical event. The pulsating energy of a massive group of strangers united in their love of music is one that every person should experience. This weekend, the city of Chicago was able to experience this with the annual Riot Fest taking place. Ever since 2005, Riot Fest has brought Chicagoans together to share in the pure awesomeness of the best festival that the city has to offer(yes, I recognize the shade). This year was my first time visiting, I can say without a doubt I will be back next year. Now, as I’m sure many of you are aware, the life a college student is one that does not permit much free time. I was not able to make all three days of the festival, but the two days I was able to make it were absolutely, for the lack of a better word, bitchin’. Friday was the day I was able to attend, so that is what I am going to be reviewing.

 After getting out of class, I rushed over to Douglas Park and arrived around 5. The first place I went to was Rebel Stage where I got to see Matt and Kim perform. Here, they proved once again that they are one of the most entertaining live acts around. Their energy and interactions with the audience made it feel like we were just hanging out. They wanted us to have as much fun as they were, and that was evident in their performance. Whether it was them bringing massive dildos out on stage, discussing personal details of their sex life, or Kim exposing a certain area of her upper-half, the performance was one hell of a good time.  

 I do have to admit, I left Rebel Stage a few minutes early and raced over to Riot Stage in anticipation for the next act I saw: Bleachers. This was the main reason I came to Riot Fest, and they did not disappoint in the slightest. The band walked onto the stage and the crowd went wild. They knew what we wanted and they gave it to us. Jack Antonoff, the lead singer, perfectly blended talking to us and performing for us. They had high energy and the passion for their music was clear. They were clearly having fun while they were on stage. Whether it was a musical battle between the guitarist and the saxophonist, or trying to start a wave of cheering, they definitely knew how to entertain the audience.

 After this and a quick trip to the food carts, I went to see Dropkick Murphy’s. Their blend of Rock and Irish music certainly made for a good time. They were high energy and were all together just rockin’ out during their set. You didn’t have to know who they were to be able to have a good time. However, the highlight was without a doubt the last song of their performance. The crowd went absolutely crazy when the they played the first few notes of the iconic “I’m Shipping up to Boston.” They knew the crowd wanted it, and oh, we got it. Those few minutes were filled with shouting of the words and outrageous dancing. I have never felt more Irish.

Ryan Casey

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 Going to Riot Fest really is quite the experience. During that weekend in September, Douglas Park becomes home to some of the most kind, intense, respectful, wild, and extravagant people that Chicago and the rest of the country have to offer. This being a punk festival, you will not find the usual crowd of flower-crown donning teens you are used to from other Chicago festivals such as Lollapalooza or North Coast. In a way, Riot Fest presents itself as more of a grounded and (mostly) mature event. If Lollapalooza was the excitement and wonder of our youth, Riot Fest is our rebellious years when nothing matters because we are all going to die someday. Yes, very punk.

 The music acts represented at Riot Fest really do a good job to represent this sentiment of standing up against the man. Most groups performing, with headliners and a handful of others being the exception, belong to smaller labels, without the gigantic following some acts at other festivals receive. This maintains a sort of illusion of closeness with the acts performing. Seeing a small act perform to a small but dedicated fanbase can be a much more personal experience for both the audience and the band than sold out shows to big name artists. Yet this is not to say that headlining and bigger acts are kept from performing. Groups such as Just Friends, Blood People, Pussy Riot, and The Frights get as much attention and dedication as The Aquabats!, Young the Giant, and Weezer. Riot Fest really respects the message that the punk movement originally spread: standing against the man and play loud.

As for the performances themselves, if you are a fan of mosh pits and going crazy at concert, Riot Fest delivers just the right music and audience to really get wild. Once again, punk music is about releasing the pent-up angst within oneself, and what better way to release such energy than to push and get pushed around violently. Nearly all performances had some sort of pit, whether it was aggressive pseudo-Irish dancing to Flogging Molly or flailing your arms at a Sum 41 circle of death or getting sprayed with fake blood all the while moshing at GWAR.

But even the large-scale, less intense, performances had their own charm. Groups that do not depend on their audience to bring the energy had quite mazing performances. Young the Giant really played with the audience and kept them entertained with great lightshows. Blondie was able to show their curious crowd if they could still rock as much as they did in their youth (they still can). Yet the show that really captivated me was Weezer. Being an older group, they really have an idea of how to play to an audience. Between lights, pyrotechnics, and music, Weezer rarely had any down moments, really rounding out the first night of the Festival.

 Riot Fest, however, extends beyond the music.  Ferris wheels, carnival rides, carnival food stands are all placed within the park as well, giving Riot Fest its unofficial subtitle of Riot Fest and Carnival. If you want to take a break from moshing with other very sweaty people, take a break and ride the Ferris Wheel to enjoy amazing bird’s eye views of the park.  Feeling hungry? Head over to the food stand and order a foot-long corndog or deep fried oreos. Whenever music is not playing, the park almost feels like a turn of the century county fair. If you are feeling adventurous, Riot Fest always features the Hellzapoppin’ Sideshow Revue, a show placing a spotlight on some of the world’s craziest people and human curiosities inside a small circus tent.

Personally, the only way to really immerse yourself with the whole environment of Riot Fest is to go all three days and completely forget about the outside world. Douglas Park becomes a little island where weirdos, freaks, and outcasts can enjoy life without worry or fear of being chastised. This festival, for a punk festival, really brings out the best in people, making it a must-see attraction in Chicago.

 And somehow, between all of this, a strange sense of camaraderie emerges even during a wall of death.

Luis Mejía Ahrens

Album Review - The Blue Hour

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With the recent resurgence of classic rock, bands are coming out with albums to appeal to their loyal fans, and drawing in a new generation of rockers. The London Suede accomplishes this perfectly with their new album The Blue Hour.

Hailing from London, Suede was formed in 1989 and quickly rose to the top of charts with their first album Suede, and continued to hold the attention of rock fans, even through turmoil inside the band itself. Currently the band consists of Brett Anderson, Richard Oakes, Mat Osman, and Simon Gilbert. In the age of Britpop, they created a niche for themselves in the world of rock. Some of their previous albums were not well-received, leaving some long-time fans skeptical when they announced this past April they were releasing a new album. However, with their most recent album, they remind music lovers of their ability to move audiences with melodies that are haunting yet beautiful.

In the first song in the album “As One”, listeners are greeted with an eerie string intro that leads into bombastic vocals and the traditional four piece rock sound. The buildup to the main event is beautiful, as one can hear a string set matching the low hummings of members singing, then the guitar matches the same melody, revving listeners up even more to the song, and even the album. Anderson’s vocals are raw, and unadulterated, matching the mood of the song. He proclaims “Here I am, run to me, come to me” daring his listeners, new and old, to take a dive into their new sound, album, and image. Ethereal choirs are scattered in many of the songs that adds to the aura of mystery behind each lyric, even helping to build the suspenseful sound. These classical elements, choir and orchestra set, bring audiences directly into the heart of the band, creating a truly unique experience. At the end of the song, it sounds as if people are calling out to a dog barking in the background. Everyone is looking for this new album, looking for another rebirth, just like they would a dog, desperately.

Each of the transitions between songs are seemingly invisible. Their sound is so fluid and organic that it is difficult to decipher when one song end and another begins. I believe this is the best way to show ultimate musicianship. When artists are able to create a piece of work as a whole, and have the songs fit so perfectly together, it shows they truly have a hold on their sound and what they want to present to the public as their own.

With albums like “The Blue Hour”, Suede reminds us all of their musical prowess and abilities. They continue to inspire, motivate, and remind us all of a time before hip/hop, pop, and EDM. They bring us back to the days of rock and roll. This album will go down in their history as one of their best. To see them live, you have to be abroad, as they being a European tour October 1st in Amsterdam.

Album Review - Error to Introspection

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I’m not going to lie, writing this review feels like a conflict of interest; I appear in a few places for the credits of this album. But, that being said, I wouldn’t review this album if I didn’t think it was astounding or noteworthy. Hopefully this won’t discourage you from giving this a listen, because Juniper Douglas transcended my own expectation for this album.

Juniper Douglas is an enigma. You could call them art-pop. You could call them experimental. You could call them performance art too. However, one thing is certain, you will have no luck pinning them down to put them in a nice labeled box; Juniper Douglas will dance and shimmer away from any label you throw at them. Their air of mystery is so thick, I’m not sure members of the band could tell you what they represent: even if they wanted to.

To ask  “Who is Juniper Douglas?” is already a step in the wrong direction. While there exists a few core members in this genre-bending outfit, Juniper Douglas is a conglomeration of an artistic society hailing from the Twin Cities of Minnesota. Their self-written description boasts a whopping 30 different members in their artistic soup. Listening to their first release, you can’t help but think “Oh, that makes sense.” Error to Introspection dips and dives into nearly any genre you can think of, with each song composed of stupefyingly diverse sound palettes. Under normal circumstances, this is a dangerous thing to do, it can easily be exhausting for the listener to be dragged through soundscape after soundscape. Yet, regardless of this ridiculously complex musical tapestry, each song flows seamlessly onto the next as if knitted together by a small army of very dedicated grannies.  

Juniper Douglas does not make writing a song-by-song review easy. Even the first song, “Promiseland Bakery”, manages to sashay through a variety of feels and genres; starting first with a bouncy 80’s drum machine backed by a rich acoustic guitar and harps, then into a quick jazz bridge, but only right before slamming head first into a forest of Latin style rhythms that’ll make even your most accomplished sambista blush. Finally, emerging from the woodwork of woodblocks and flamenco guitar comes a haunting piano line which sucks all the warmth from the world, leaving you cold, shivering, and wondering, “Where the hell did this come from?” The weirdest part of all of this, is that it makes sense. At no point does “Promiseland Bakery” do a turn in genre or feel that feels convoluted or contrived, this song as smooth as silk. If I could, I’d wear this song as a shirt.

Other high-points of this album include tracks: “Fibastimpastastan” (I had to check four different times that I spelled that correctly), Error, Mush Marsh, G and Endo Friendo. Each song dwelling in sonic world that I could see deserving of its own album. However, Error to Introspection is not without fault, a few songs such as “B. George Kieth Beekneeth/Fun Gus” overstay their welcome a little bit, while the track “Introspection” is musical equivalent to an inside joke at a party where no one knows each other. But don’t let that discourage you, this album is jam packed with songs that’ll leave you craving more and more. And who knows, if you hang around long enough, maybe you’ll be in on the joke too

Album Review - Iridescence

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Formed in San Marcos, Texas back in 2015, Brockhampton currently consists of 14 members and are led by rapper Kevin Abstract. Describing themselves as “America’s favorite boy band”, Brockhampton released their first mixtape All American Trash in early 2016, followed by the Saturation Trilogy, which consisted of three albums that were released throughout 2017.  The hip-pop boy band has gained worldwide recognition with songs such as “SWEET”, “BLEACH”, and “GOLD”. Released worldwide on September 21st as the first installment of The Best Years of Our Lives album trilogy, Iridescence is everything you would expect and more from the group.

Recorded in just 10 days, the 15 track album recognizes each artists individual talent and highlights many of their personal lives through their lyrics. Leading up to the release of Iridescence, Brockhampton dropped three singles over the summer: “1997 DIANA”, “1998 TRUMAN”, and “1999 WILDFIRE”. More recently, the band performed at Lollapalooza here in Chicago. Brockhampton also performed their new song “TONYA” on The Tonight Show With Jimmy Fallon, which would be their first performance since the departure of one of the band’s main vocalists Ameer Vann. “TONYA”, which is featured on Iridescence, compares and contrasts the drama surrounding retired figure skater Tonya Harding to Ameer’s exit from the band. I and many other fans were worried about what would happen to the band after losing such a vital member, but the group was able to bounce back and produce an outstanding album. Another emotive track from the album is “WEIGHT”, which gives insight into Kevin Abstract’s struggle with his sexuality growing up and is easily the most moving and personal track on the album. Songs such as “NEW ORLEANS”, which features Jaden Smith, and “DISTRICT” are similar to Brockhampton’s usual style, consisting of elaborate lyrics, a faster tempo, and unique rhythmic foundations. “BERLIN” offers a more grungy vibe than many of the other songs on the album.

The day before the release of Iridescence, the group dropped one song and a music video from the album. “J’OUVERT” includes verses from the majority of the band members and visualizes the album by displaying the music video in a thermal filter. The youthful and wild energy presented on this album truly represents the group. After seeing them perform live a few months ago, I had high hopes for this album and it definitely lived up to my expectations. Since announcing their new album trilogy, the band released the dates for the “I’ll Be There Tour” which kicks off on October 7th in Houston. Brockhampton is very different to any other boy band I’ve seen before and their songs are very unique, making them stand out from many of today’s artists. I believe we will be seeing much more of Brockhampton in the future and that this is only the beginning.

Album Review - World on Fire

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If I played any song off The North 41’s newest album, “World on Fire” to you right now, you would probably be shocked to learn that it came out less than a month ago. The North 41 are a funk band through and through, and “World on Fire” strays away from the autotuned hip hop/pop that dominates the mainstream music scene today. Many of their songs are reminiscent of funk and disco greats like “Earth, Wind & Fire” and “Kool and the Gang” If anything, bands like The North 41 are what the world needs right now: a journey back to a funk dominated musical landscape. Although their sound originates from an older style of music, they still manage to make it fun and entertaining to their modern listeners.

“World on Fire” is a fun album to listen to. It’s as simple as that. If this album does not make you get up and dance, something is very wrong. The vocals of singer, Riley Pettrone which are almost reminiscent of a mix of Michael Jackson and Adam Levine from Maroon 5, make the album stand out. Only a small number of singers can hit the notes he can, but at the same time he brings a needed “angst” that makes it more unique. What makes the album special though are the instrumentalists. In funk, if both guitarists are not on the same page  there is going to be a hard time. Guitarists Pat Walsh and Frank Minella never need to worry about that. Both guitars complement each other in such a way that one never overtakes the other and it creates a perfect balance. Next up is Donovan “Heavy” Brown. You can’t have a good funk band without a good bassist and Brown does not disappoint. Talented and experienced, he puts down complex bass lines that add extra flair to every song. Finally, the “bus driver”, Michael Campo, delivers that classic funk drumming that brings everything together and keeps the band upbeat (no pun intended).

World on Fire, My Magic, Living on Top, and the Real thing are all songs that can easily get you into the dancing mood. While 4 Days, 5 Hours, SHouted, and The Vibe are all slow jams that allow you to relax.

And finally, if you are trying to “dim the lights”, try out “Baby We Can Figure It Out”. In my opinion, this song rivals “Let’s Get it on” by Marvin Gaye in terms of mood setting.

Personally, I have listened to this album in its entirety at least four times. I cannot get enough of it. I am a huge proponent of non-pop/non-mainstream music so obviously I am a little biased, but I can say with certainty though that The North 41 are extremely talented musicians who are on the up and coming in Chicago. Mark my words: these guys are the next big thing.

Album Review - Double Negative

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Double Negative is a journey into the chilling unknown. A 48-minute sleigh ride into a fractured and distorted musical tundra.

Low hails from Duluth, Minnesota. A city perched over the northern tip of Lake Superior; a city known for its bitter cold and stunning scenery. As a band, Low operates a conduit for their icy home, mirroring their surroundings like the frozen waters of Lake Superior. Their music is hypotonic and slow -nay- glacial, channeling the spirit of the snow that coats their home. Their twelfth studio album, Double Negative, is no stranger to this motif.

Double Negative is the embodiment of fresh snow on a cold night, each and every sound muffled and muted, yet delightfully complex.

The album opens with the track Quorum, a deconstructed tune which sounds as if white noise became sentient and decided to repeatedly gore itself (but - like, in a good way). This track bleeds sound, every hole or gash a faucet for a noise, a blip, or a haunting vocal line. As the track progresses, it slowly builds in intensity, trembling and panning across the speakers rapidly, as if violently shaking the listener by the ears. At its crescendo, it collapses into itself. Then, taking the listener by the hand, gently drags them into the next track, Dancing and Blood. A track defined by an almost paradoxical feeling of disassociation and claustrophobia. At its epicenter, the track features an all-encompassing rhythm that can only be described as “Tell Tale Heart”-esque. A muffled heart beat drum that feels as if its seeping from below the floorboards of the song, trying to escape.  

A few of the songs on this album are solely noise tracks, but do not let that discourage you from listening. Tracks like The Son, The Sun are not ambient solely for the sake of being ambient, but instead operate as extensions of the varied sound palette that Low deploys for this album. They operate as a form of audible hypnosis, caressing the listener into a sense of wonder, a demonstration of the depth inherent in auditory minimalism. Double Negative as an album does this beautifully, each song is like a sample of an extraordinary impressionistic painting. Intense flashes of sounds and distortion that seem unintelligible up close, but display stupefying depth and beauty, when explored in total.

Tracks like Tempest, which is enveloped in prickly blanket of noise and distortion, demonstrates Low’s ability to bend the conventional concept of a song without diminishing the experience as a listener, there is no chorus to be found here. At the same time, Low does not reject conventional song phrasing throughout the entirety of the album. The final song, Disarray, is arguably one of the best tracks on the album and does not stray from the conventions of verses, choruses, and bridges. In fact, it glides seamlessly through each section, propelled by pumping bass and drum lines, drenched by a mourning vocal chorale whose lyrics coat the finale, dripping with a sadness as tangible as a transparent pool. Low proves that in order to push the envelope, you’ve got to have a understanding of the basics, and by god do they understand how to make a good song.

Concert Review - Nothing But Thieves

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English rockers Nothing But Thieves stole the show at the Metro with the help of a sold out crowd on September 13th. The tour, in support of their sophomore album “Broken Machine,” featured Demob Happy and Grandson as openers. Both acts matched the style of music for the evening. Demob Happy began the show with guitar solos and their psychedelic rock sound. Grandson followed with his unique mix of alt rock and electronic that shouldn’t work, but it does. His sound, lyrics and stage presence demanded attention as the intense bass echoed his call to political and societal change.

Nothing But Thieves showed the depth of their discography throughout their set opening with the guitar heavy rock track “I Was Just A Kid” and including the slow, emotional, acoustic song “If I Get High.” The array of songs created a greater rhythm to the show as no song was the same as the one before. As the pace of each song fluctuated, the crowd was more engaged in the show leading to a greater connection between band and audience.

Lead singer Conor Mason apologized to the crowd as he was sick and his vocals weren’t as strong as usual. He asked for the crowd’s help throughout the set and they were happy to oblige. Despite his illness, Mason was still able to hit impressive high notes shocking listeners with what a powerful voice can come out of a human. Mason’s vocals were able to shine in a special version of the band’s song “Particles” where it began with just Mason and the piano. The stripped back version of the song added to the intimacy and sincerity of the lyrics “if I need to rearrange my particles, I will for you.” The full band came back in halfway through building up to a jam session after the song had ended, giving Mason’s vocals a break and the crowd a memorable experience.

The audience’s dedication was noted not only with their singing on Mason’s behalf, but also as they danced and jumped their way through the show. The band took notice of the intensity of the crowd and thanked them for making this the most energetic show on their tour thus far. The energy all culminated to the last chorus of the song of the set, “Amsterdam,” where the crowd screamed the lyrics and made the floor shake when the drums came back in. This last effort from the crowd was evidence of what makes shows truly special. As the fans sang out in unison with all they had, there was a moment of community with each person losing themselves in the song.

Nothing But Thieves was able to create an environment to jam out for and with the fans. The band’s skills showed it was clear they knew how to command a stage, but with one member not in full health, they needed the fans to step up. The crowd filled the gap fueling the band making the show one to remember.

Photos taken by Mary Grace Ritter

Album Review - Tender Offerings

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Hailing from Stockholm, Sweden, sisters Johanna and Klara Söderberg formed their band First Aid Kit back in 2007. The group first started to gain popularity in 2008 with a YouTube cover of Fleet Foxes’ “Tiger Mountain Peasant Song”. The sisters write and compose all of their own music and play many of the instruments at are featured. They gain this inspiration from artists such as Devendra Banhart, and CocoRosie. As of now, they have released four albums, four EPs, and a number of singles. Their fourth studio album Ruins, released in January of 2018, has helped the indie folk duo gain international attention with hits like “Emmylou” and “Fireworks”. Since then, the group has performed on The Ellen DeGeneres Show, The Late Show with Stephen Colbert, and also at the 2018 Coachella Music Festival, which is where I was first introduced to the group. First Aid Kit released their EP Tender Offerings on September 14th, 2018.

Although consisting of only four songs, Tender Offerings still manages to convey a sense of love and endearment. The musical duo are known for their beautiful harmonies, which are clearly heard on this EP in songs such as “Ugly” and “All That We Get”. Overall, Tender Offerings is more lifting than their 2018 album Ruins, which focused on heartbreak and the ruins of a relationship. However, the first song on the EP titled “I’ve Wanted You” presents a similar feeling of emotion as some of their previous songs. With an almost seven minute duration, the song clearly displays the sisters’ lyrical talent that allows you to feel the meaning and emotion behind every word. The contrast between First Aid Kit’s emotive lyrics and sweet harmonies on the EP is bittersweet. Regarding the creation of the song, the group stated on social media that “‘I’ve Wanted You’ is a song that was written in the back of a cab, in an airplane & finished in a kitchen. The song means a whole lot to us.The feeling of being completely lost in your life, feeling so much but being so scared to fully give in to those emotions”.

Tender Offerings feels extremely personal and is very relatable. The EP is very accessible and is something anyone can empathize with. With the success of their most recent albums, their increasing popularity, and exquisite vocal and songwriting skills First Aid Kit has a bright and promising future ahead of them.

Concert Review - Punch Brothers

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“It’s so good to be back. Such a beautiful room and we are so happy to be back” Chris Thile screams to the Chicago Symphony Center among a cacophony of clapping.

And for the Punch Brothers, a room such as the Chicago Symphony Center seems only appropriate. The all-strings quintet is, in essence and aesthetic, a bluegrass band, but their sound has a range far beyond the classic bluegrass sound. A double-bass, a banjo, a guitar, and a fiddle, spearheaded by lead vocalist and prodigious mandolinist Chris Thile bring on a sound that brings together elements of indie, bluegrass, pop, rock, and classical, blended together to play an innovative and fresh take on the traditional sound expected from similar string groups.

A symphony center is one of the only places where such sound can be most appreciated. Sure, there and in a high-ceiling parlor of a Georgia town house.

Their concert opens with two of their most popular songs “Movement & Location” and “My Oh My”, high-intensity, fast-moving songs, featuring Chris Thile’s raw but highly accurate tenor. Both songs perfectly blend the two sides of the Punch Brothers’s iconic sound, poetic and inspiring vocals, with complex and moving instrumental breaks.

One of Punch Brothers’s distinguishing features is their outstanding musicality. Each of the members are true masters of their instruments, to the point where each instrument has become a true extension of themselves, moving beyond merely playing it, but instead crafting stories and conveying strong emotions without ever uttering a word. One of their instrumental may move you to tears as well as any of their lyrical songs.

Their set continues to “Watch ‘at Breakdown”, a five-minute instrumental piece. This one of the many pieces that highlight the sheer talent of each member, with each instrument having their own moment in the spotlight; from Chris Eldrige’s opening guitar solo, to Chris Thile’s own lightning-fast Mandolin breakdown. This song is also a great example of the Punch Brothers’s cohesion as a group. Each provides their own unique, intense addition to the song, yet all coming together in a sort of chaotic harmony.

Moving along to songs as “Three Dots and a Dash”, “This Girl”, and “Julep”, the Punch Brothers are able to keep over two-thousand people captivated, even if only five guys and two microphones exist on stage. The energy and emotion that each member puts in their craft allows them to not rely on any sort of gimmick or large spectacle to keep audiences on the edge of their seat. To a stage normally reserved for an entire symphony orchestra, the Punch Brothers almost seem to run out space for their enormous sound and energy.

Songs in their set, much like their own range as a group, varied in style and theme. From “Jumbo”, a song expressing views on the current presidential administration, to a cover of 19th century composer Claude Debussy’s piano suite “Passepied”, the Punch Brothers know how to bring a fresh take to whatever song their five instruments choose to play.

After the last song “It’s All Part of the Plan”, the band returned to the stage to perform two encore songs “Rye Whiskey” and “Familiarity” to round up this over two-hour set, bringing an end to one of the most talented and complex shows to hit the Chicago music scene. Chicago is eagerly waiting for you to come back to this “beautiful room”.

Album Review - Egypt Station

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As I rode up the escalator, stepped onto the platform at the train station, and snagged a seat on the L, I popped in my earbuds. I hit play on “Opening Station” the first song of Sir Paul McCartney’s new album. I had definitely picked the right place to listen to this album, as the sounds of this track were nearly identical to the ones that I was hearing on the train. As the album seamlessly progressed to the second song, I was transported into a world away from the things happening in my life and the craziness that is the norm of CTA trains. I may not have even been alive for a vast majority of Sir Paul McCartney’s life, the time that these songs span, but somehow this man who has been a superstar since he was 21 years old can connect with us all.

Sir Paul McCartney should be a man who should need no introduction, but just in case. At fifteen years old, the now knighted McCartney met John Lennon’s band the Quarrymen in 1957, who played rock and roll with jazz, folk, and blues influences. The Quarrymen soon invited McCartney to join the band that would change its names and members several times until they became the Beatles in 1960, and the rest is history. With more AMA’s , Grammys, and Brit Awards than I can list here, having sold over 100 million albums, receiving a Gershwin Award from President Obama, and being inducted into the Rock and Roll Hall of Fame twice, this man is undoubtedly the most important man alive in the music industry today. And at the age of 76 years old, he is still rocking the music industry, pun intended.

While Egypt Station still has all the makings of a Paul McCartney album, there is still a pretty wide range of styles in the tracks. It still has the rock and roll, but there are some subtle, and not so subtle, hints of modern pop, country, and even classical influences. Some of this modern flair that McCartney hopes will help his music find a home in the hearts of a younger audience can be attributed to producer Greg Kurstin, who produced one of Adele’s grammy winning albums, as well as Sia, Ellie Goulding, and Kelly Clarkson.

Despite the world fame that Sir Paul McCartney has retained for over half a century, he says he still gets insecure. The second track, “I don’t know” is part of what makes this album so relatable, because yes, even the Guiness World Record Holder for "most honored composer and performer in music" gets insecure about himself. The tracks flow well from one to the next, but also switch things up enough to keep you actively listening. Some of the ones that caught my attention were “Happy With You”, a sweet song about him growing up and finding purpose in life with his family, that has sprinkles of a classical music vibe in the background, and “Who Cares”, which has a true rock and roll vibe. One track that hasn’t hit the mark for some critics is “Fuh You” which was produced by Ryan Tedder instead of Greg Kurstin. Paul McCartney describes it publicly as his version of a modern-pop, raunchy love song, however McCartney has admitted it has more of his producers flair than his own and thinks it isn't a meaningful song. More meaningful would be “People want Peace”, a call to the world to change their ways. I prefer “Confidante” a song about missing an old friend, which is actually his guitar, and “Hand in Hand’ a song about falling deeply in love and that feeling about wanting to spend the rest of your life with someone hand in hand.

I was skeptical of this album at first, but the deeper I got into the music and the more I read into the stories behind them, the more I appreciated them. Take some time to give Egypt Station a listen, and see what the biggest living legend in the music industry is up to today.

Album Review - Book of Bad Decisions

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When you think of a hard rock band, one calls to mind an angry voice, heavy guitar and an infectious beat one must bang their head to. With this album, you will not be dissapointed. On September 7th, Clutch released a full length album titled “Book of Bad Decisions,” yet listening to this album will be the best decision you have ever made. Once it is turned on, one cannot help but jumping into the nearest mosh pit and throwing up a rock and roll sign. It is one of those albums that captivates its audience with every song on the roster.

Formed in 1991, this band has been together since members formed to group in high school back in Germantown, Maryland. Their band consists of  Neil Fallon (vocals, rhythm guitar, keyboards), Tim Sult (lead guitar, backing vocals), Dan Maines (bass, backing vocals) and Jean-Paul Gaster (drums and percussion). To date they have released 12 studio albums and are signed to their own label, Weathermaker. Having so much history, and being in the game for this long, one would expect their sound to “weather” or die out, but these guys are up to the challenge and have put out an album the rock fans, young and old, can enjoy and love.

Their combination of hard rock, southern heart and charm, and funk-based beat creates an infectious mood that forces listeners to tap their foot in appreciation, or nod their head out of obligation. Their first song on the album, “Gimme the Keys” the band kicks off the album with an intense anthem that takes a look back at their career for a moment, saying that many things have come their way, good and bad, but still, they grab the keys and keep moving onward and upward. The guitar solos and consistent drumline create a mood of exhilaration and excitement that will coarse through listeners veins, encouraging them to appreciate the past, and yet still look to the future and what you can do.

“In Walks Barbarella” will throw new listeners for a loop, as one is greeted with a sudden fury of trumpets, weaving the funk sound with the hardest of rock one could imagine. Fallon even mentions the use of “weaponized funk” in the song lyrics, which could be a kick ass name for a band in its own right, as you are bombarded with a raging guitar and gritty voice that challenges you to keep listening and continuously brings listeners in for more. Continuing in “Vision Quest” a flaming piano chorus will lead you into the action-packed song, combining the genres of southern rock, hard rock, and funk so seamlessly, you will be left bewildered. If you are new to rock or hard rock, be prepared for a musical journey that will challenge, excite, motivate, and ultimately provide an amazing experience that will leave you wanting more, because it is that good.

Album Review - Nina Cried Power

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It has been four years since Bray, Ireland-born Andrew Hozier-Byrne, released his debut album that was met with a worldwide success. But the wait for Hozier’s new EP, “Nina Cried Power”, was very much worth it. While his new EP has only four tracks, its filled with emotional depths while also serving a powerful message; Hozier stays true to his unique and intelligent style of music with consequential lyricism.

While Hozier has been busying creating music, he’s also been politically active and was even seen singing with other protesters in the Stand For Truth papal protest in Dublin. Hozier has always been involved in creating songs with a political message and this can also found in the titular track “Nina Cried Power”, named for the late singer Nina Simone. “Nina Cried Power” is a song of political protest served in the form of an invigorating and thundering duet with gospel legend Mavis Staples. While listening to the song, it almost feels as if it has lit a spark inside of you as Hozier and Mavis Staples list off influential artists such as Nina Simone, John Lennon, and James Brown who were all political activists. The strong voices of Hozier and Mavis Staples are accompanied by what sounds like a gospel choir; this is characteristic of the choral energy that can be found in many of Hozier’s songs including his Grammy nominated “Take Me To Church”.

In the second track “NFWMB”, Hozier explores more tender emotions with a love song that's been described as one “for the end of the world” by The Irish Times. “NFWMB” is acoustic but still holds Hozier’s usual vocal and emotional power through his use of haunting harmonies and stark imagery in the lyrics. The third track, “Moments Silence (Common Tongue)”, is more upbeat that its predecessor it continues with this album’s dark yet commanding undertones. In this song, Hozier is making a statement about physical love with another person while also using a contrasting religious imagery. The final track on Hozier’s EP is the delicate “Shrike”. “Shrike” is about a lost relationship where the classic trope of realizing what you have only when it is gone. Containing heart wrenching lyrics like “ Had no idea on what ground I was founded/All of that goodness is going with you now” the pain that Hozier sing of is palpable and his wish to be able to be better. To me, “Shrike” is very evocative of Hozier’s haunting love ballad “In A Week” where he makes dark subjects--such as lost love and mortality--deceptively beautiful.

This EP highlights all of the best parts of Hozier: his raw emotion, political awareness, and artistry. Whether or not you are a fan of Hozier, there is something in “Nina Cries Power”  that everyone can connect to and feel. The fact that an EP of only four songs covers such expansive and complex array of subjects, from political protest to a gentle whispering of a lost love, is enough for me to be able to call “Nina Cried Power” a huge triumph. Hozier is set to release a full length album in 2019, and if anything “Nina Cried Power” is an indicator that we should expect something truly remarkable.

Album Review - RIP Indo Hisashi

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It is always exciting to find a rising artists before they reach the stratosphere of immense fame. And I believe we have found such a case with the singer No Rome. No Rome’s  “Rip Indo Hisashi” is his first complete EP revealed , and he has already left his mark on the music scene. The EP was released on August 29th, 2018, and the first single he put out was only released earlier this year. Hailing from Manila, Philippines, No Rome has burst into the western music scene in recent years. No Rome is catching on to the trend of the thriving indie pop sound, while also retaining a unique voice that sets him apart from the rest.  

“Rip Indo Hisashi” is classic indie pop. It has an upbeat and colorful rhythm, with an undeniable somber undertone.  The lyrics intertwine and flow with the instrumentation to create an intriguing and catchy sound. You can easily get lost in the songs and the many nuances within them. The sound is familiar and modern, with just a little mystery to keep things interesting. There are little and subtle hooks strewn throughout the songs that surprise and endear the listener. They have a quick and soft drumline that keep things upbeat but not overbearing. The whole EP is very light and mellow.

No other song represents the type of sound No Rome has then “Narcissist.” This song features The 1975, a staple of the indie pop genre. The two artists teamed up to create a piece of work that you can tell has influences from both sides. Fans from both artists will be able to enjoy this record. This song has a simplistic instrumentation with a diverse and rich beat. It has a very calming and bubbly energy in it. This song, as well as the EP itself, utilizes electronic music for its melody, forgoing the classic instruments that are present in other genres. This gives it a distinctly modern sound that fits well in to the latter half of the 2010s. It serves as a great soundtrack for this era, and I believe this sound will be remembered as a distinctly 2010s. Each decade has a stereotypical sound for its music, whether its synth from the 80s or electric guitar solos from the 70s. The sound No Rome, as well as others, has will be the one this decade is remembered for.     

This is No Rome’s first EP, he doesn’t even have a full-length album out, and he is already creating ripples. Teaming up with one of the biggest bands in the industry is an enormous accomplishment for a brand-new artist. This, as well as streaming numbers in the millions is a sign of where No Rome is bound to go. As he works on his inevitable album, he will continue to gain popularity with his EP and singles, and I believe he will become a force to reckon with in not only the indie pop genre, but in the music industry as a whole.

Album Review - Hunter

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Released on August 31st, Anna Calvi’s new album Hunter was highly anticipated in the alternative rock community. Calvi is an English singer-songwriter from Twickenham, England. She released her debut album Anna Calvi, in 2011 to critical acclaim and was even in the UK top 40 charts. Her previous album, One Breath was released in 2013 was very well received, showing a dark and mysterious tone that intrigued her audience. With much excitement, her newest album, Hunter, shifts this mood, while showcasing her impressive vocals even more. After five long years, she revealed an album that is powerful, endearing, and most importantly, very socially relevant.

In the era of identity politics, and social movements towards equality, Calvi does not shy away from the topics, but embraces them in her songs. Using heavy guitar and an intriguing ambiance, she challenges society in song titles such as “Don’t Beat the Girl Out of My Boy”, and “As a man” By discussing these topics in a forum such as music, she gives voice to many of the thoughts had by females in the industry and in the world. Bing a female, rock artist, is a rarity in this day and age, with most top 100 charts employing the likes of male rock artists, Calvi challenges this and puts out an album that rivals the likes of the top rock performers in the industry.

In the debut hit “Hunter” listeners are introduced to the song with a strong beat and strings that create the tranquil yet enticing mood. The lyrics to the song are not very extensive, yet the words she chooses to say are incredibly impactful. Speaking about how she was “opening the door wide” allowing for others to be in her life, but to her point, “nothing lasts.” While some may see this as depressing, it is empowering to women. It is teaching them that they don’t need to allow people to give them validation, but need to find it for themselves. Calvi’s vocal runs repeating the lyrics back emphasize this message. It is the transition from men being the hunters and women being the submissive, to a stronger message that women are hunters as well. While it isn’t expressed deliberately, the underlying theme rings true.

This album is one that allows for Calvi’s message to be heard and allows her to use the music to tell the narrative. While experiencing this, it still is a very enjoyable and the guitar follows her vocal runs exactly, matching the mood of each song, rather, each narrative she shares. The minimal lyrics give her audience a chance to interpret and apply her songs to their own experiences, their own lives. Her album strays from the typical alternative stories of heartbreak and male sensuality, and transforms it into an experience that challenges listeners own beliefs and experiences. It is what rock and roll was meant to do: to fight the status quo, combat the conformity, and create music anyone can listen to and enjoy.

Album Review - Florence and the Machine

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Florence and the Machine’s new album, “High as Hope” came out on the 29th. Ahead of its release, the band put forward “Big God,” a single full of stunning vocals and dramatic emotions. The piano riff that begins the single sets a dark, smooth foundation for Florence Welch’s alternatively visceral and ethereal vocal performance. Her skill has always been in her ability to push her voice into deeply emotive performances; “Big God” is no exception. While she still floats through lyrics like, “though I know I should know better” her solidity in “you’ll always be my favorite ghost” forces the lyrics into a sharp contrast. The vocal treatment of the song is one of its highlights, as are the emotions it conveys. “Big God” examines the enormous feelings of loneliness and loss that can come from something as small as an unanswered text. The echoing backup vocal, along with the solid, cavernous piano, add a musical dimension to the void Welch describes. The ignored message leaves a larger space than a response would have filled.

“Big God” unleashes the emotions trapped in a tiny social situation, bringing Florence and the Machine’s dramatic focus to an unlikely though completely appropriate case study. The choice is an intelligent and socially conscious one. While dealing with themes of changing styles of interpersonal relation and social media, the band also gives a voice to a distinctly female phenomenon. While being ghosted is not gender exclusive, the portrayal of female distress and disconnection in this context has a keen social critique. Female hysteria is a well-known historical trope. The band seems to be gesturing to this phenomenon, yet they also represent female emotionality as a source of power. At the end of the song, Welch calls for upheaval. The raw power in her voice adds to the sentiment and leaves a message of strength and empowerment through the direction of strong emotions.

“Big God” clearly has a lot to say about emotional experience. However, like many of Florence and the Machine’s songs, it spends most of its time with the symbolic. Much time is spent describing the void, yet there is very little about what filling it would concretely look like. As much as the band describes an empowered situation at the end of the song, clarity is lacking about what real difference that makes. To discuss the song merely as the result of an unanswered text would minimize its true value, but it is important to consider what really results from such intense emotions--we don’t know. As an answer we get images of a city sliding into the sea and coming off of high cliffs.

As much as there are lacking details, “Big God” emotionally captures an intense situation in a way that is both artistic and deeply visceral. By digging deeply into a small situation, Florence and the Machine give a stunning performance full of drama and deep significance.

Album Review - Dan + Shay

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The heat of summer seems to be the prime time for turning up some country music and finding a way to cool off. And for all you fair weather country fans, who only appreciate that Nashville twang in the dog days of summer, I think I’ve got a great album for you to get back in the country summer state of mind.

Dan Smyers and Shay Mooney were two strangers chasing their dreams of making a name for themselves in the music business when they met in 2012. They stayed up all night singing and playing around with words and melodies, and instantly knew they would be perfect partners to write songs. Dan remembered, "We fell in love with country music because of the stories, the storytelling country music does, and the way that it makes you feel, the emotions that can be put into a song like that. That’s what we wanted to do." Initially they were just a couple of songwriters hoping for a label and a big name to pick up their songs for a star to sing. But once those producers heard them sing their own songs, they became the stars. They signed with Warner Brothers and released their first album in 2014.

Dan and Shay have now dropped their third album “Dan + Shay” and it is the summer album to help you bridge the gap from your other music into country. It is a modern take on country music, with a lot of pop influences, and they aren’t ashamed of that. Shay commented, "Country music is such a cool thing, and it’s always evolving, especially now." While some country fans are constantly disappointed by the lack of the classic sound in new music, Dan and Shay embrace it, hoping to get more people under that country fan umbrella. The album has 11 songs, and one of them features Kelly Clarkson. The songs tell stories, just like they aspired too, and those stories range from summer fun, passionate relationships, and the moment when a guy knew his relationship was over. The range of emotions and song styles will keep you listening, and the smooth voices and powerful harmonies Dan and Shay command will have you falling in love with their music.

Album Review - I'm All Ears

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As I was scrolling through the new album releases, like I do on occasion, I came across a startling band name: Let’s Eat Grandma. Now I remember this grammar joke my old English teacher used to crack to entertain us, but all I remember is her laughing at us when we blinked in confusion back. The name was intriguing enough to give a listen, and I was not disappointed.

Let’s Eat Grandma is a group hailing from Norwich, UK, and consist of members Rosa Walton and Jenny Hollingworth. Walton and Hollingworth are childhood friends and started making music together when they were only 13 years old. They put out their first album, I, Gemini, in June of 2016, and now they are releasing their new album I’m all Ears.

The female alternative/electronic duo creates a very eclectic and engaging atmosphere for listeners to be sucked in. In their pre-released album “I’m all ears”, the girls have put out four songs on the album: “Hot Pink”, “It’s not just me”, “Falling into me” and “Eva”. All of these songs are driven by a very strong electric beat that keeps listeners hooked. Normally I don’t like very experimental music, as I like my music to have a four piece band with angsty singers and black attire that screams: “F*** society and anarchy for all!” However, I thought I would give it a listen, and I was pleasantly surprised. It screams rebellion in a different, more modern way.

This band challenges listeners to engage in a different type of “pop” almost. It is not the traditional bubble gum pop that seeps throughout the industry and through the mainstream channels, but has similar elements to those songs, such as lyrics and topics that are extremely present in pop songs.

The album cover is ethereal purple, pink, and blue, and matches the tone of the album. As the background sounds in the song create a landscape of music that seems as if it is from a different planet, far away from the earth we know and live on today. All the synths and vocals are almost like someone spreading these pastel colors across the a sweeping tundra before us. While this is a very abstract image, for me, it seems to fit the mood of the album.

The last song present on the pre-released album is “Ava”, and it has to be my favorite. While the other three songs are more upbeat with a driving rhythm, “Ava” trades those elements in for a piano background, focusing on the duo’s vocals, showcasing their abilities as singers and we are not disappointed. We are introduced to the character of Ava, who’s is like many of us, downtrodden and embarrassed. The lyrics create a mystery about this girl, and the soulful melody allows for uneasiness and intrigue to arise as we wondered what ever happened to “Ava”.

All in all, I’m very excited to hear more from this group and to see what the rest of their album will hold. The album is set for a full release June 29th, 2018.

Album Review - EVERYTHING IS LOVE

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It was like any other day. The birds were chirping, the summer heat had restricted many to their homes, and I was sitting peacefully in my living room, enjoying my morning. It was in that moment that it happened. I got the notification; “Beyoncé and Jay-Z release surprise album to the public.” My wig flew straight off my head and smashed into the wall, Beyoncé did it again, another surprise album. The album “EVERYTHING IS LOVE” is the Carters first joint album together.

I will admit, it took me until the album was put onto Spotify, after being a Tidal exclusive for a few days, to listen to it in full. But alas, it was finally put on the streaming service for the masses to hear. The album was a departure from Beyoncé’s usual music, but a step in the direction of her evolution over the years. This is her most hip-hop sounding record to date. There are many tracks, like “Boss” and “Heard About Us”, where she is dropping straight bars on us. However, most songs on the album have her blending both rap and signing within the same song, which creates a very unique sound. The main reason for the more hip-hop sounding album is because of Jay-Z’s influence on it. Even though this is a joint album, Beyoncé stands out as the obvious star in it. The best tracks, which in my opinion are “APESHIT” and “FRIENDS”, have Beyoncé taking the lead vocals, and Jay-Z providing backup vocals. Mrs. Carter definitely brings the prestige and quality that would be expected of this album, more so than the Mr.

“EVERYTHING IS LOVE” has some amazing vocals and beats to it. However, the subject matter and lyrics are not up to the same level of excellence as the other factors in the album. A majority of the songs are just Beyoncé and Jay-Z talking about their lavish lifestyle, success, and huge sums of money. After an album like “LEMONADE” which delves deep into Beyoncé’s personal life, as well as politics, an album with a relatively basic and common theme is a bit disappointing. However, it is still extremely enjoyable to listen to and is not a failure by any means.

Beyoncé and Jay-Z are America’s most influential power couple, and that power transferred over to “EVERYTHING IS LOVE.” They were able to bring their respective talents together and create an album that showcases both of their respective talents. This collaboration between the two biggest names in music is truly iconic, and no other people would be able to release an album with absolutely no marketing or advertising, and still have it be able to be a hit. This just goes to show the magnitude and esteem the couple has in the industry.