New Playlists from WORM Radio

DJs Mia Zuckerberg and Carol Holan have been busy curating playlists for their show, WORM Radio, every Tuesday at 8:00. Their first playlist focuses on songs for when you have a gay crush, but don’t want to ruin the friendship. Listen to hear some great songs by Mothers, Fiona Apple, and Mazzy Star.

If you’re not feeling that, check out the playlist from their second show about driving alone for the first time. This playlist features an amazing range of artists that include Nina Simone, Perfume Genius, and Franz Ferdinand!

Make sure to tune in to WORM Radio every Tuesday from 8-9 for more good tunes!

CONCERT REVIEW: Noname at the Ogden Theatre 3/6

In his long printed cardigan and sweats, Noname’s opener Elton Aura emanated a calm confidence that set the tone for a night of powerful lyricism. He knew exactly how to excite the young audience as he lit a joint on stage and passed it down (to be immediately intercepted by the stage security) after taking a few puffs himself. Elton concluded his set how he began it, having us repeat after him “Elton! How it do!” and then exited the stage to loud cheers. The audience hummed with energy as we began the wait for the person who had brought us all to the Ogden Theatre this Wednesday night.

As Noname’s band slowly set up their instruments I was struck with how vulnerable they were in that moment. Only feet of distance between us at the front of the crowd and the band members shuffling equipment around the stage, the lights were too bright and the room too quiet to create the invisible barrier of power that usually separates an audience and the performers.

The crowd screamed as the band finally began to play, slipping easily behind their instruments. The lights lowered and the neon sign that emblazoned the back wall lit up pink to read “ROOM 25” (the name of Noname’s new album.) Noname then entered rapping,

Maybe this the album you listen to in your car when you driving home late at night / Really questioning every god, religion, Kanye, bitches

The crowd jumped around singing along. Waiting for the line we all knew was coming and then screaming it in unison with her as she reached it:

“YOU REALLY THOUGHT A BITCH COULDN’T RAP, HUH?”

Noname calmly danced across the stage as she rapped in a loose white dress with a black flower print, black leggings, and red converse. Her long curls were stretched and tucked behind her ears, showing off her round youthful face. She seemed much younger than her 27 years. When she finished “Self” she greeted the cheering audience with smiles and warmth. She made her way through a set of hit after hit from both Room 25 and her 2016 mixtape Telefone. Everyone in the house danced and struggled to keep up with her quick voice. The night was punctuated by a few moments of quickly-relieved tension. Frustrated with a perceived lack of enthusiasm, Noname halted the show early on to teach the audience how to show that we appreciated her performance.

“If I spit a bar that you think is especially hot, give me an “ooooh.”

 

She started to rap again, her first line was met by a loud “ooooh” from the audience.

She stopped again.

“No, that was nothing,” she said, “that line was nothing. Let’s try again.”

She went back into the song, now seemingly satisfied with the crowd’s responses and continued with the concert with a smile on her face.

There was no lack of enthusiasm when we heard the opening bars of “Diddy Bop.” This song was my favorite part of the concert. That’s not a very revolutionary thing to say—it is her most popular song by far. But for good reason! Besides the catchy beat, the lyrics are beautifully sweet and nostalgic—a love letter to the Chicago of her youth. The crowd of majority high school and college students couldn’t relate to growing up listening to B2K, wearing FUBU, and hitting the diddy bop but it didn’t matter. The song creates a warm feeling of happy wistfulness and reminds me of my childhood despite my memories being so far away from that of Noname’s. I love that Noname doesn’t shy away from the specifics of her experience in an attempt to make her song more relatable. The essence of her song, of being young and being intent on taking advantage of the fleeting chance to be irresponsible, resonated with all of us.

Noname kept her performance short and sweet, exiting the stage after less than an hour. The band packed up their instruments and walked off stage, but the lights stayed down and the audience stayed in place, eyes glued to the stage expectantly. Then, Noname returned to the stage and gave us one last song, sans music. Her roots in slam poetry were especially evident with just her words filling the room. That final encore left the audience reminded of the poetry that exists in hip-hop, especially in Noname’s music.

On April 5th Noname is releasing “Song 32”, a follow up to her track “Song 31” and she is currently finishing her international Room 25 tour.

Photos by Kenneth Hamblin III

CONCERT PREVIEW: Noname At The Ogden Theatre 3/6

Nonames powerful first music video: “Blaxploitation – A Film by Noname.”

Lauded for her lyricism and unique voice, Noname is one of the most promising new artists in hip hop. The Chicago rapper released her debut album Room 25 this past September. This release was highly anticipated due to the wide commercial and critical success of her 2016 debut mixtape Telefone which featured hits such as “Diddy Bop” and “Shadow Man.” On Wednesday, March 6th she will be playing at the Ogden Theatre in Denver.

Photo by Mark Horton/Getty Images.

 

SONG OF THE WEEK: The Hollies- “We’re Through”

The Hollies, Image Courtesy of the Rock & Roll Hall of Fame Library and Archive

In need of 2 minutes and 16 seconds of cathartic dancing-around-the-room-by-yourself bliss? Maybe you’ve been fiending for this feeling since the weekend ended. Maybe you’ve got some pent-up frustration because, hey, the block can suck. Maybe you just want to listen to a nostalgic bop. Fear not, The Hollies’ “We’re Through” will provide what you’re looking for. Though not one of The Hollies’ most popular hits, the number of listens to this song on Spotify has been climbing and climbing since its feature in an episode of Netflix’s most recent series, The Umbrella Academy (based on comics written by Gerard Way, lead singer and co-founder of My Chemical Romance). Its exposure in The Umbrella Academy was what brought me back to The Hollies and here I am now, listening to “We’re Through” on repeat this week.

The song, thanks to its deliberate bass, fingerpicking, and haunting, echo-y, but upbeat three-part harmonies, is perfect for momentarily letting go (of anything and anyone). Acknowledgement that “I should be better off without you…” is liberating! Get rid of toxic people and toxic relationships! Dance it out! (After a couple listens I begin to think this song is more likely to get me to make more changes to what ‘sparks joy’ in my life than Marie Kondo ever could.) The repetition of the mantra “We’re through, we’re through, we’re through” near the end of the song becomes therapeutic. The swell of the music and the shake of the cymbals at the end brings the sentiments of the song to a nice, final conclusion. Ultimately, we, as beings who want to be wanted and loved, sometimes have a hard time recognizing when others “never treat us tenderly.” Hopefully this song helps with a part of that realization process. If not, it’s still one hell of a bop—I hope you all enjoy. Cheers to t-minus 3 days until the weekend!


You can listen and groove to the song here:

 

Best Albums of 2018

Here are some of the SoCC writers’ favorite albums this year in no particular order:

Be The Cowboy – Mitski

If you can believe it, I didn’t like Mitski (of Bury Me at Makeout Creek era) at first. I thought her sound was too rough, too grating, somehow a little too angsty. Fast-forward two or three years, and songs from Be The Cowboy occupy at least a quarter of my weekly music rotation. I can’t give Mitski all the credit for that transformation; I’ve grown enough to learn to love Bury Me at Makeout Creek and Puberty 2. Still, Mitski’s own artistic development is crystal clear to everyone engaged with her art–– for proof, google Be The Cowboy and count the number of “Best of 2018” lists the album’s included in.

This album shines so brightly because it feels so honest. We know most of the songs are persona songs; few contain any autobiographical information about Mitski at all, and yet almost every lyric feels intensely personal & soaringly sincere (i.e. “and I am the idiot with the painted face/ in the corner taking up space”). Musically, Mitski experiments more on Be The Cowboy than ever before, which is explicitly evident on “Nobody” –– a disco-Daft-Punk-circa-R.A.M. track that is both extremely energetic and emotional, a panic attack coated in glitter.

I could write about this album forever, except I can’t. I’m about to get on an 8 hour plane ride, during which I will listen to Be The Cowboy in its entirety at least three times. I don’t necessarily suggest you do the same (your Mitski tolerance might be a little lower than mine), but you cannot sleep on this album. If you do, you’re depriving yourself of the joy of feeling validated in your own experiences through a voice, and an artist, from the realm of the divine.

– Paulina Ukrainets

abysskiss – Adrianne Lenker

 

You might recognize Adrianne Lenker’s stunning voice from the songs she’s sung with her band Big Thief. Her solo album abysskiss, released this October, is a hushed, focused, and beautiful account revolving around intimacy, death, and nature. Because her airy voice and finger-picked guitar are the album’s only audible sounds, her emotions are palpable and the listeners feels as if they’re sitting in the recording studio by her side. The album’s highlight is the song “symbol,” an ambiguous love story in which Lenker explores phrases and imagery as she echoes sounds with the words: “fly make flea, make haste, make waste, eight makes infinity / times I’ve tried to make breaks, embrace for the enemy”. During a year marked by seemingly incessant chaos and negativity, Lenker created a space for introspection, appreciation, and imagination with her stripped down musings about life.

– Mimi Norton

Isolation – Kali Uchis

While there were great albums that came out this year, the album that completely commanded my attention was Kali Uchi’s pop masterpiece Isolation. Uchis’ debut album Isolation has a nostalgic tinge that made it warmly familiar. While nostalgic, it strays from solely being campy throwbacks through its hybridity of genres. The sound is an entirely new animal in its eclectic fusion of soul, funk, and reggaetón. Isolation’s lyrical content is apt for the times, speaking to a year of political distress, escapism, and loneliness. While the instrumentals are upbeat, her melancholic voice and lyrics throw each song askew. This album has been the soundtrack of my year as a relatable emotional landscape and a source of empowerment. A song that particularly jumps out for me in the album is “Dead To Me” with biting lyrics that make Uchis diva of the year. She is taking pop in an entirely different direction, opting out of the sonic trends of 2018 and delving into the past to make an entirely unique sound.

– Maya Day

I’ll Be Your Girl – The Decemberists

If the lyrics “…Everything, everything, everything, everything, everything is awful” aren’t relatable to a college student experiencing a minor inconvenience, I don’t know what is. This song, aptly titled “Everything is Awful,” is the seventh track on The Decemberists’ newest album, I’ll Be Your Girl. The nihilism continues with lead singer Colin Meloy’s plea, “Oh, for once in my life…could just something go right?” on the first track, “Once In My Life” (also aptly titled), overtop synth beats and chords reminiscent of the music of New Order and Berlin. Questions of doubt, life’s meaninglessness, and embracing despair pop up in tracks throughout the album while also, inexplicably, appearing alongside “Rusalka, Rusalka / Wild Rushes,” an eight-minute ballad about a mermaid (I think). “Rusalka, Rusalka / Wild Rushes” returns me, a seasoned The Decemberists listener, to the lengthy epics “The Mariner’s Revenge Song,” “The Crane Wife” parts 1 through 3, and their insane rock opera The Hazards of Love.

My favorite track, “Sucker’s Prayer,” showcases that good-old-Decemberists commentary on unrequited love, present on their older albums, with cheery chords opposing this chorus: “I want to love somebody, but I don’t know how.” That lyric, followed by “I want to throw my body in the river and drown,” presents an image so painfully full of aching, desire, and self-hatred. I may be very dramatic, but I almost fell out of my chair when I first heard it. “Sucker’s Prayer” thankfully brought me back to some earlier Decemberists tracks that have now been occupying my mind and Spotify queue for weeks. Overall, I’ll Be Your Girl, despite being an eclectic mix of songs experimenting with new styles and sounds, nonetheless draws from the best of their old music and projects their ideas towards the future and cements itself as one of my favorite albums of 2018.

-Jane Harris

NOT ALL HEROES WEAR CAPES – Metro Boomin, Travis Scott, 21 Savage

Metro Boomin’s sixth studio album, NOT ALL HEROES WEAR CAPES, redefined rap in 2018. The album’s sharp beats over ambient instrumentals forms a futuristic, yet familiar Atlanta sound.

 

[TOP SONG: Don’t Come Out the House (with 21 Savage)]

– Emily Faulks

Aviary  – Julia Holter

With the resurgence of vinyl and physical forms of music, the album as an art form has come back into style. Julia Holter’s latest album Aviary is not only a work of art; it stretches our ears into unknown shapes and sizes. Each of Holter’s songs feels like an album in itself. One moment we are wrapped in electronic, orchestral swirls, and then we land in a glitchy, spooky folk fairytale. Although it is hard to isolate individual tracks, “Voce Simul” exhibits this transformation of time through delicate sonic manipulation. Her songs are in constant conversation with one another. This is an album that I could write or think about for hours on end, discovering endless secrets embedded within pockets of sound. Holter guides us through the terrifying beauty of “Everyday is an Emergency”, which reflects on various sounds that occupy daily life, and how something as simple as a siren can affect us in multiple ways. These soundscapes are only strengthened by Holter’s usual thought provoking lyrics: “Firm in your mystery/ Will you remember the body?/ And what does it do to you?” Melding genres together with lucid craftwork, Aviary is so progressive that will certainly not be left behind in 2018.

Listen to when: you are ready to experience feelings that you’ve never had before.

– Lena Farr-Morrissey

 

SONG OF THE WEEK(END): Mike Clark & the Sugar Sounds- “Burn You Up”

Mike Clark & the Sugar Sounds performing at Globe Hall in 2016. Image Credit: Nikki A. Rae

This song has haunted me all week. From the deep, deliberate drum beat at the song’s beginning to the singer crooning, “You know it’s gonna burn you alive…burn you up, burn you up” at the bridge, listening to this track transforms me into a more melancholic version of myself. “Burn You Up” reminds me of a failed relationship and lost love I’ve never even felt nor experienced before. However, the song isn’t overwhelmingly sad. It’s tinged with sweetness, present in the way the guitar chords are somewhat reminiscent of bells ringing, the way the lead singer draws out certain words while keeping others short, and also for the way the lyrics “you called me darling when you broke my heart” are sung- simply, tenderly, and truthfully.

The simplest way I could explain this song to my friends in hopes they would add it to their Spotify queues went along the lines of, “Oh my god, it’s SO good. It goes through, like, three vibes during the song.” For lack of better phrasing, “Burn You Up” does go through multiple vibes. The song’s cyclical nature takes the listener through different technical and emotional sections of the song, only to return you exactly where you started. Listening to it feels somewhat like recounting a dream when you wake, sometimes the details are fuzzy, it might have been strange (but seemed totally normal), and you always end up back at the beginning.

Of all the tracks on the one album Mike Clark & the Sugar Sounds have on Spotify, “Burn You Up” stands out, for me, as one of their most dynamic, and more emotional, songs. This song, though not too good at hyping anyone up for Winter Break, still serves as a good, chill listen as we near the end of fourth Block. Happy studying, procrastinating, and listening. Hopefully you enjoy the bittersweet “Burn You Up” as much I do!


You can listen to “Burn You Up” on Spotify with the link below:

A Few New(ish) Things to Hear & See

Earl Sweatshirt –– Some Rap Songs
This album doesn’t feel suited for taking apart. It’s full of seamless transitions from one jazz-beat and sample to another. Earl’s lyrics are significantly more dense here than on I Don’t Like Shit… or Doris, and in some ways, this contributes to some difficulty in approaching the album. Still, a single listen through the tracklist and the genius of the album and its maker become instantly clear. Maybe I’ll have more concrete things to say after a few more listens. For now, I let the album play out and wash over me, like a slow-moving tsunami I’ve not quite comprehended the magnitude of.
Bug Fight –– “Worm”
This is a recent single from Bug Fight, a band on the New Perfume label that is home to CC’s own Seal Eggs and the upcoming Honour Council album. Musically, “Worm” reminds me of Ought, with a sharp, pleasantly dissonant inflection in guitar and vocals. Lyrically, it brings me right to Kafka’s Metamorphosis, with lines like: “Onwards, upwards, till death or a conception of a different world.” The song lives in the abstract, but in an abstract that, even without totally understanding it, feels eerily reminiscent of the current cultural climate that surrounds me.
A$AP Rocky –– “Sundress” (directed by Frank Lebon)

Frank Lebon has been one of my favourite directors ever since I watched his video for King Krule’s “Czech One.” His video for A$AP’s recent single is just as innovative, moving endlessly through lo-fi Super-8-esque shots to disorienting (in the best way) animation. While I’m not a fan of the “jealous-ex-girlfriend-with-a-gun” narrative in the video, watching the video feels like a big breath of fresh air; in a climate that’s so invested in narratives, it’s so enjoyable to see as much emphasis on getting meaning from visual effects, rather than tropey storylines or characters. The song by itself is totally worth a listen, but if you’re gonna experience it at its fullest, watch the video.

Concert Review: Kamasi Washington at the Buckhead Theater on Nov. 17

As the lights dimmed in Atlanta’s Buckhead Theater, James Brown’s “Get Up Offa That Thing” played overhead and members of Kamasi Washington’s band walked on stage and received a warm welcome from the audience.

Once Kamasi stepped on stage, we were all transfixed by his presence – immense, towering, powerful. The audience yelled and hollered and even I, being relatively new to his music, felt I was in the presence of a real demigod. In fact, Washington has been referred to as the “savior of jazz,” but he’s always been too humble to accept the accolade.

Photo credit: Krists Luhaers, https://de.wikipedia.org/wiki/Datei:POS17_@Kristsll-409_(35194970423).jpg

FlyLo and Thundercat have made a name for themselves as more electronic musicians, but Washington doesn’t feel the need to stray too far from traditional jazz. He’s emulated and expanded upon the music of his jazz heroes and proved that he can do it bigger and better than perhaps any other jazz musician at the moment.

I was blown away by the power and energy that Washington packed into his performance. I was expecting a relatively mellow night, but Washington and his band delivered super funky bass jams, an epic drum-off between his two drummers, and soaring vocals from his vocalist Patrice Quinn that got the entire theater dancing.

After a few songs, he introduced Quinn by saying “Patrice is one of the best singers I know. You can tell some people are good by the way they talk, but Patrice, she sounds amazing even when she’s cursing at you.”

After Washington introduced Quinn, she launched into the most powerful song of the set: “Malcolm’s Theme,” from Washington’s debut album, The Epic. The songs lyrics come directly from Ossie Davis’ eulogy for civil rights icon Malcolm X. The moving lyrics, paired with Quinn’s emotional, powerful, and beautiful delivery gave everyone goosebumps.

My favorite part of the set was when Washington’s stand-up bass player, Miles Mosley, played his incredible funk epic “Abraham.” I was blown away by Mosley’s ability to create such otherworldly and groovy sounds. Here is a link to a performance of Mosley’s playing “Abraham” that I suggest you all watch: https://www.youtube.com/watch?v=c73NCDr5ACo (skip to 3:30 if you’re limited for time).

After being mesmerized by Washington for almost two hours of free-jazz digressions and thoughtful, intricate pieces, I felt like I’d been to a different universe and back. Just like the legendary Pharaoh Sanders who I had the chance to see earlier this year, Washington’s music transcended all of us to another realm of experiencing. Washington confirmed that jazz can be as lively, engaging, and fascinating as any other genre, if not more so.

Concert Review: FIDLAR at Gothic Theater 10/26

When I tell people FIDLAR is one of my favorite bands, they look shocked. The thought of a small basic-looking girl liking punk rock blows minds. But FIDLAR isn’t just like any punk rock band. Their tongue-in-cheek lyrics over heavy guitar riffs seems to be a product of their west coast skater lifestyle and embodies their acronym: “Fuck It Dog Life’s A Risk.” FIDLAR’s carefree but angsty attitude captures youth sentiment in a palatable way while touching on systemic issues that are reminiscent of early punk music.

I saw FIDLAR in D.C. after their album “Too” came out during my sophomore year of high school. My first punk concert was one of confusion, excitement, and fear. This can be said for all my girl friends that I have dragged into FIDLAR’s mosh pits. The mosh pit can be a dangerous place, especially for small girls. But honestly, if you aren’t moshing at a punk concert what the fuck are you doing.

The mosh pit is a place where people come to express themselves and confront emotional experiences as a community. Although I interpret FIDLAR’s lyrics as mostly sarcastic, they lay down some hard facts about social and institutional issues in America as well as reflect on personal struggles with relationships and drug abuse. These insights are usually buried in satirism, but never seem to be lost on the crowd. FIDLAR’s upbeat guitar solos and screaming chorus remind me that I don’t have to be alone with my problems. I’ve never felt so supported in a crowd of strangers than I have at a punk concert.

As soon as I saw that FIDLAR was on tour, I immediately raced to my computer to get a ticket and, with some bribing, took my friend’s truck down to the Gothic Theater in Denver with two other girls. We made our way to the front as the opening band Side Eyes jumped on. The pit immediately erupted into a sea of smashing shirtless bodies and flailing arms in response to the lead singers siren-like screeching. My friends and I looked at each other with a what-the-fuck-did-we-just-get-ourselves-into look as we watched a group of older kids hardcore moshing with fake blood coming out of their eyes and ears. This was just an opener. The energy mellowed out when the next opener, Dilly Dally, came on with an eerie ambience in the lead singer’s voice and bass guitar chords.The pit was still very much alive, but my guard was lowered as I soaked in the wailing chords and the most quintessentially girl punk screams ever.

The crowd started closing in as people on stage started tuning the arsenal of guitars against the pile of old TV’s on the stage. My friends and I agreed that we would try to keep our spot next to the metal gate at the base of the stage and mosh only if we were really into the song. This agreement was shortly broken after the guitar chords for “Alcohol’ emerged from the back of the stage. I felt the force of the entire crowd pressing on my back when the mosh pit began to push towards the front as Zac, Max, Brandon, and Elvis casually strutted onto stage. There was no introduction, just a small smirk from Zac, then an absolute explosion from the mosh pit as he began to sing FIDLAR’s hit song “No Waves.” I decided to abandon my post and join my people. I have never been in a mosh pit so chaotic; about 40 or 50 kids pushing and shoving each other so forcefully that it was common that groups of people would have to be picked up off the ground. I couldn’t tell if I finally found a crowd of true punk enthusiasts or a group of belligerently drunk men who needed to expel a lot of pent-up testosterone. Either way, I embraced FIDLAR’s acronym and assumed an athletic stance before throwing myself into the pit.  

Mosh pits are generally a very male-dominated space because of the physical dangers as well as their stigma. It felt very empowering to occupy this space with other girls and completely own it together. I befriended a few girls when I was moshing who were also struggling with the combative nature of the pit. It seemed like the band picked up on this issue because right after I was forcibly separated from my friends, Zac grabbed the mic. He told the pit to create an aisle down the middle and then announced that the space created was for a girls-only mosh pit. I weaved through the crowd of skyscraper-sized men and jumped into our pit. We screamed and laughed and moshed the shit out of “5-9.” I gained so much respect for the people around me that night. I don’t want to admit how many times someone pulled me out of an uncomfortable place in a mosh pit or caught me when I was about to fall, but I would like to say how much compassion I felt by FIDLAR and their fans. Near the end of the show, I told a girl I met that I wanted to crowd surf FIDLAR, and next thing I know, her boyfriend had rallied a group of people to pick me up and sent me across the crowd. The gratitude I felt for that couple I met and the FIDLAR community while crowd surfing was indescribable.

The pit never lost steam, and continued to mosh even after FIDLAR ended their set. After a lot of screaming and pushing, FIDLAR came back on for an encore to perform “Blackout Stout” and then absolutely killed their final song. Zac ordered the pit to sit down on the floor so we were forced to sit on top of each other and quietly waited as the looping guitar riff introduction for “Cocaine” teased us. The pit burst to life as soon as Zac screamed the first lines: “you take Sally and I’ll take Sue/There ain’t no difference between the two.” Everyone emptied the rest of their emotions and energy in the pit with that song. I left the concert feeling like a weight had been lifted off my soul, but redistributed onto all my bruised limbs. Honestly, it’s worth the trade-off.

FIDLAR continues to be one of my favorite punk rock bands. Their emphasis on gender inclusivity aligns with the ideology of punk rock. I encourage everyone -especially women- to go to a punk concert and join its wonderful community of strangers at least once in life. The people that I have met in the pit become less like strangers and more like friends after sharing even a moment of moshing together. FIDLAR recently announced that their third studio album “Almost Free” will be released January 25. No tour dates or locations have been announced yet, but I am already looking forward to seeing them and the FIDLAR community again!