By Sean Silva
10/28/13Vampire Weekend’s Modern Vampires of the City is an incredibly elegant and enchanting collection of songs that shows off their usual intelligence while managing to be fresh and discernible from their two previous albums.
It is their second consecutive album to reach the number one place in the U.S. Billboard 200 and has earned them dazzling acclaim on all fronts. But why?
Vampire Weekend is at the top of their game with smart, thoughtful lyrics and a musical precision that could only be theirs. This album is riddled with religious themes and ideas of mortality. This give it a unique character not present Contra or Vampire Weekend (two other albums). Along with the aforementioned motifs, their historical references are present. Their sound has changed but has paradoxically remained similar so that anyone familiar with the band would know it is them.
Notable tracks on the album include: Unbelievers, a poignant piece about the realities of the world through the eyes of a couple who are the eponymous “unbelievers”; Step, a lyrical masterpiece that is also incredibly catchy; Diane Young, a fast-paced hit released as a single before the album was out, with a great story and a clever play on “dyin’ young”; Hannah Hunt, a powerful look at an up-and-down relationship with a seamless connection to The Great Gatsby; Finger Back, an energetic hit with blistering lyrics and pace; Worship You and Ya Hey, two songs that prominently feature religious themes and symbols; and Hudson, a haunting piece that makes the listener uneasy (as is intended) and is chock-full of references that feel natural with the chorus.
Each song in the album is a piece of art in of itself. And when put together they form a cohesive picture of Vampire Weekend’s personality. Some have praised their transformation from Ivy League-esque indie-pop to what they are now, citing earlier pieces to be more shallow and less profound, but the truth is they have been consistently excellent. From Vampire Weekend to now, they have been closer to a parody of the purported WASP, old-money lifestyle than actual representatives of it. They are, upon closer inspection, just four guys who enjoy making music. In any case, Modern Vampires of the City solidifies their image as sharp, intelligent musicians with a talent for thought-provoking and relevant lyrics. Modern Vampires of the City is absolutely worthy of a nomination for the title of Album of the Year, even this early in the year.
By Tomas Gulbinas
With the release of their second studio album,
Foxygen have finally found their own unique sound. “We Are the 21st Century
Ambassadors of Peace & Magic” blends elements of 60’s psychedelic and
dreamy lyrics to create an album that captures the essence and free-spirited
nature of the early American counter culture movements. The two sole band members,
Jonathan Rado and Sam France, who met in high school, grew up in the suburbs of
Los Angeles and started becoming multi-instrumentalists, after being influenced
by “The Brian Jamestown Massacre”. After a series of EP’s and a first album,
Foxygen finally gained wide recognition with the release of this second album.
The lyrics echo the feelings and sounds of another
generation, but still have the wit and insight of growing up in a modern city.
The album opens up with “In the Darkness”, which self- introduces the album
with lyrics such as “So without further ado/We'd like to introduce you to/The
darkness”, followed by an audience applauding, taking direct influence from the
opening track of the classic ,“The Sgt. Pepper’s Lonely Hearts Club Band”
album. Followed by that is the folky Bob Dylan-esque “No Destruction”, which is
overflowing with reminiscent and nostalgic lyrics like “You politely say,
"I miss you"/But we know you don't mean that anymore”. The tone
becomes more vague and hazy as they divulge deeper into their psychedelic
influences with the songs “On Blue Mountain” and the closing track “Oh No”
describing hallucinogenic scenes such as, “I was standing on the bed/Birds were
landing on my head/Even though it's just a dream/I still don't know what it
means”. In “San Francisco”, a city that they continually reference throughout
the album, is described with witty mixed feelings as France confesses, “I left
my love in the room/ (that's okay, I was born in L.A.)”. The album’s first
single “Shuggie”, begins with France’s sleepy voice singing, “I met your daughter
the other day, well that was weird/She had rhinoceros shaped earrings in her
ears, with a tired sadness behind his voice.
Perhaps the most experimental of all the songs, “Bowling Trophies”,
features a loud and noise filled instrumental, the only song on the album of its
The last three songs on the album, which include Oh
Yea, the title track, and Oh No, seem like homage to their favorite classic
rock bands. “Oh Yeah” starts out with Mick Jagger like howling, and suddenly wanders
into a reggae sound in the line of Led Zeppelin’s “D'yer Mak'er”. The title
track however, goes in a different direction entirely, sounding like it had come straight from a “The Doors” album. The last song
“Oh No”, ties the album together and with its contemplative melody and lyrics
such as, “If you believe in love/everything you see is love”. The album has a
completes feel to it after it’s over, and with all the different sampling of
Foxygen’s influences, the album is not only diverse and truly eclectic, it
shows just how well versed the two band members are.
By Jean Chung
Hip-hop is more than just a category, or a type of music, it is a
lifestyle. Composed of music, dance, rap and djing it is unquestionably a
unique and creative genre. Unfortunately, its image and true meaning
tends to become distorted through the modern filter of superficiality.
People tend to forget the message it originally conveyed. Of which is
the hip-hop I know, but the one portrayed on TV or Music Videos strays
style became noticed because of its uniquely distinct and creative
nature. The way the dancers embodied feelings and beliefs had truly
never been seen before. But now, everyone lies to him or herself.
Although said to be genuine and seemingly real, a majority of modern
hip-hop is solely developed to appease audiences. Ultimately ignoring
the individual importance the art stresses in its framework. The once
important thoughts and emotions are no longer expressed, but instead the
most entertaining trend at the time is.
In adhering to the public, the need for perfection has become
vital. These demands have prompted the need for editing flaws and add
fictional skill. However, this takes away from the beauty of the genre,
the struggle. In which hours upon hours are spent getting better and
nailing the moves, but today’s computer has made such dedication
unnecessary. Such alternatives really take away from the purpose and
meaning of the dance and its process.
To some, hip-hop is all about the old school. They bring it back to
the more primitive side, without the champagne, Escalades, grills, or
money. The intention was simply to have an outlet of expression to
embrace their cultural and artistic roots. With lacking such a motive,
modern hip-hop has been forced to conform to the public’s interests as a
means of making money and attaining fame are dependent on that very
DJing, breakdancing, rapping, and graffiti art aren’t the only
things that make people part of hip. They are simply the most commonly
ascertained forms, but there is much more to each one than meets the
eye. Being a Dj is much more than just standing above the crowd playing
random music, but the role also entails creating beats, mixing vocals
and instrumentals, and producing music.
Another one of its many faces is dance. For individuals, dance is a
release. A release of the energy accumulated from the primitive
instincts of moving to the rhythm and becoming part of the music. In
this way, one becomes closer to the beat, and the same time, displaying
another side of themselves. To be true to dance, it must become the
expression of love for music.
Rap is commonly noted to be the main factor that devalues the
reputation of hip-hop. As for the quality of rap, it has not degraded,
yet the music choice streaming radios has. The many talented underground
artists are neglected and unappreciated for this reason. The connection
between them and the radio opens doors for such judgment and
separation. Rapping a verse in itself tells a story, contains
psychedelic lyrics and instrumentals, and has no parameters as to what
it can be about. It, along with dancing, is the single form of hip-hop
that can be created in a stream of consciousness mindset.
Here is an example:
I put the needle to the groove and let my physical move
To these deep funky rhythms that uplift my mood
Flippin' through tunes and stacks of wax for quality
Addicted to vinyl and my only cure is poverty
Getting fingers dusty in a number of states
Is the thrill the kill or hunt for chase
Catch me diggin in crates for fatter breaks than Pangaea
Making beats for streets creating a buzz like sangria
Searching groove merchants and virgin soil for soul
Unearthing those beats that make your body lose control
And it don't stop a story telling never ending
Cali's the setting the plots a pot forever melting
Connecting cultures, through music it's amusing
Disk jockeys rock parties and it's records they're using
Awesome feeling my nodding head forecasts
It's the beats, no the vibes, man I can't hold back
Special Thanks to:
George C. Stower
By Christian Romo
It isn’t a good idea to idolize heroin addicts. Most of the people that saw Kurt Cobain’s arrival as the coming of the next prophet in the early 90’s are six feet under with the Nirvana singer himself. Musicians should never be placed on pedestals reserved for peacemakers and saints, especially when knowing all the risks, the drugs they ingested are what killed them.
Bradley Nowell is no exception. It’s easy to see why so many fans are turned off by Sublime, the second most important band from southern California (behind the Red Hot Chili Peppers), according to the two-headed monster KROQ. By the time his band’s major label debut and critically successful self-titled album came out, he was dead. He appears to have written more love songs for his Dalmatian Lou Dog than for anyone else. He smoked marijuana unapologetically and romanticized the seaside ghettos of Southern California. He certainly wasn’t popular among parents, and he was even discredited by his own fan base after a disastrous live tour following their debut album 40 oz. to Freedom.
When you separate the bad from the beautiful, however, perceptions change dramatically. Going through the track list for their commercial smash, I count no less than eight different songs I have heard on California radio stations in my short lifespan, enough singles to fulfill three or four hit albums, much less one. While many focus on debauchery, substances, and irresponsibility, there is enough brief wisdom to fill a Zen gospel on life.
Their debut hit “What I Got”, besides being one of the happiest tunes of the decade, is overflowing with emotional prosperity (“life is too short/so love the one you got/’cause you might get run over/or you might get shot”). The anthemic “Jailhouse” gives the best case for the young and dejected I’ve ever heard. Bradley is an emotional writer, and if you can’t hear his urgency on their most famous track “Santeria”, there is no way you can be alive.
There’s plenty of disrespectful fun as usual for the Long Beach icons. “April 29th, 1992 (Miami)” describes a fictional riot during the Rodney King incident. “Wrong Way” and “Caress Me Down” had to go through some clever repackaging and heavy censorship to ride the airwaves, but both are classics in the neo-punk movement of the 90’s.
Besides writing about some challenging topics, Sublime became the mastheads for white reggae because they were competent musicians who knew what sounded good. Every bassline is prominent and silky smooth, every guitar solo pitch-perfect, and every drumbeat reminiscent enough of Peter Tosh and Bob Marley. On “Seed”, they effortlessly alternate amongst punk, reggae, and ska without losing any intensity, a challenge for the most poised musicians, much less beach rats.
At 17 songs and nearly an hour long, there are a few songs that could have been left off. “The Ballad of Johnny Butt” and “Burritos” are worth a listen but nothing else, while “Pawn Shop” and “Under My Voodoo” should have been nixed entirely. If you’re patient enough to get to the end, however, you will be treated with some beautiful work. “Get Ready” is the best hammock track on the album and the “What I Got” reprise happens to better than the single itself. Ending the already fantastic album is “Doin’ Time”, a staple of bonfires and beach parties and quite possibly the best summer song ever composed.
While you shouldn’t idolize heroin addicts, if they preach about love and happiness in poverty, by all means listen. Bradley Nowell is not a saint, but at times he sure sounds like one.
By Daniel Gong
On March 15, 2011, the world lost one of hip hop’s icons. Nathaniel Dwayne Hale, known as “Nate Dogg,” who made his presence during the G Funk era, passed away from several health complications. Nate Dogg had suffered two strokes over the last few years and was in the process of rehabilitation until he succumbed to congestive heart failure.
Nate Dogg was born on August 19, 1969 in Long Beach, California, where he met and befriended hip hop legend Snoop Dogg. Only a few years after, the duo teamed up with Warren G in 1991 to form their group known as “213.” After debuting on Dr. Dre’s The Chronic, Nate Dogg signed with Death Row Records in 1993. In addition to his four solo studio albums, such as G-Funk Classics: Vol. 1 & 2 and Music & Me, Nate Dogg has worked with some of hip hop’s biggest names such as Tupac Shakur, Dr. Dre, Warren G, Xzhibit, Eminem, and many others.
His unique soulful voice made Nate Dogg an icon of 90’s rap. Although he was not as publicly acclaimed as his counterparts, Nate Dogg has influenced hip hop just as much, if not more, than his partners at Death Row Records. His death has touched many artists as tributes from Eminem, Snoop Dog, Daz Dillinger, Warren G, Ice-T, Ludacris, and many others, have poured in. The Game has already released a track in Nate Dogg’s honor entitled “All Doggs Go To Heaven (RIP Nate Dogg).” As Snoop Dogg said “We have lost a true legend in hip hop and R&B.”
By Christian Romo
The first minute or so of The Miseducation of Lauryn Hill seems innocent enough. A teacher calls roll in a classroom and all of the children are present except for a young Lauryn Hill. The rest of the album is dedicated to her “miseducation” by omission. Attending a spontaneous grammar school lecture about love may have robbed her of the material that created this wonderful album, but it also may have given her the wisdom to avoid the tumultuous romantic events of her life. After all, there is only one Lauryn Hill album, and as great as it is, no artist should be reduced to one piece of work.
Although the album is considered the crowning achievement of the neo-soul movement of the 1990’s, it can also claim the title of one of the best records of the 90’s and one of the best female solo records ever. It’s hard to imagine any artist as talented or conflicted as Hill, one of the few that can flow and belt with the best of the best. Her opener “Lost Ones” shows a Missy Elliot confidence and the ability to shred any male challenger to pieces with her strength, wordplay, and insight.
“Ex-Factor” is a heart-wrenching and simultaneously beautiful song that presents a songwriting talent matched only by the most pitiful in the music industry. “To Zion” is her heart-over-matters blast of feminism that is equally praiseworthy and disappointing (she has stopped recording due to her duties as a parent).
As the album continues, pieces of the lecture on love are interspersed between songs making it seem as if the tracks themselves are the filler to the simple childlike wisdom on love. “When it Hurts So Bad” and “Nothing Even Matters” are Hill’s consequences of her unexplained truancy, and though it seems she has learned her lessons (through “Doo Wop (That Thing)” her #1 single), she had to go through an immeasurable amount of pain to attain them.
Songs like “Every Ghetto, Every City” and “Doo Wop (That Thing)” are endlessly fun and show that Hill has the ability to spread her gospel through the boomboxes of the city and the nationwide waves of Clear Channel. Her rapping talent is spread throughout, notably on the haunting “Final Hour” and the swaying “Superstar”, and her voice, though not at a diva level, can be simply beautiful at times.
Between “Doo Wop (That Thing)” and “Superstar” is the most important line of the album: “There’s a difference between loving someone and being in love with them”. Delivered by any ten-year old girl your imagination creates, it props up the energy and leaves the lecturer speechless. It’s the centerpiece of the album, and though Hill does an admirable job of trying to match that girl’s bliss, her impressive endeavor can’t help but land short.
Some other noteworthy tracks include “Everything is Everything” and “Forgive Them Father”, but her most impressive effort is her cover of “Can’t Take My Eyes off You”. It’s full of the passion that Frankie Valli lacked when he first recorded the American standard, and Hill’s version far surpasses his and the hundreds of covers made since.
As was the problem of many classic 90’s albums, The Miseducation of Lauryn Hill is way too long to listen to in one sitting. Fortunately, like the Gospel, there is no one way to take it in. Shuffling the tracks or even picking and choosing when and what you listen to will prove to be just as gratifying as weathering it from cover to cover. Lauryn Hill is not Jesus Christ, but I wouldn’t be surprised if she is the one who understands his pain and love the best.
By Christian Romo
Expectations are always high for the greatest band in the universe, but the energy surrounding the release of The King of Limbs, Radiohead’s eighth studio album, seemed suspiciously subdued. After the biggest social experiment/gimmick in digital music history brought their 2007 album In Rainbows to new heights, there seemed to be very little left for Thom Yorke and company to offer.
After another four year gap between albums, the band’s website last Monday announced the release of an eight-song LP for the end of the week. There is no “pay what you want” option; you have to shell out a reasonable nine dollars to obtain the music. For a small fortune, you could purchase what is being called the first “Newspaper Album”, complete with the album in every format imaginable packed with hundreds of pictures, news clippings, and goodies that no one will know until it ships in late Spring. Until then, we only have the digital form of the album.
And oh, what an album it is. As underwhelming as it was, In Rainbows seemed to be a return to form for the band, and The King of Limbs is a marked improvement.
The opener “Bloom” feels like the score for a modern rendition of A Midsummer Night’s Dream, and although it’s not a classic Radiohead opener, it catches the listener’s attention better than “15 Step” or “2 + 2 = 5” ever did. “Morning Mr. Magpie” is dull and a bit evocative of their previous efforts, but it is the only valley in an album with numerous peaks.
The band is composed of some of the best musicians around, but the real star is Phil Selway on the drums, who constructs and presents such complicated but enjoyable beats with precision. The album seems to be produced tightly in order to allow Selway’s ability on his kit to shine.
“Little by Little” demonstrates a godly reluctance to guitar riffs and Yorke’s trademark backhanded compliments (“I’m such a tease, you’re such a flirt”). The only reasonable single, “Lotus Flower”, is mesmerizing. The hooks are among their best in a decade and Yorke’s falsetto, though incomprehensible, is like honey.
“Feral” and “Codex” are fresh and worth a listen, but the most striking originality can be found on “Give up the Ghost”. With their one requisite song featuring an acoustic guitar, Yorke shows a vulnerable side we haven’t seen in ages. It’s haunting, revealing, and the song that will wear out your repeat button (if those still exist).
The album’s closer “Separator” is as uplifting as anything released within the last year. Selway kicks it off with a line worthy of a pantomime and by the time guitarist Johnny Greenwood joins in with his melody, it feels like a song a monk would burn onto a mix CD. It feels like transcendence itself, and the album ends with two possible reactions. One: you wish Radiohead would spend four years making an album longer than your average cartoon episode. Two: you’re glad they didn’t, because it seems unreasonable to expect something better than this.
The King of Limbs is not going to make any publication’s “Greatest Albums” list, but it is further evidence that after 20 years the greatest band in the universe has yet to show any signs of deterioration. B+
by Daniel Gong
In an era of music where synthesized instrumentation floods our radios, music production has never been more important. In today’s music industry, the quality of the beats, or song instrumentals, is perhaps the most important aspect of a song that catches the listener’s ear. The beat has to be catchy, yet with enough variation to keep the listener interested. Where do these beats come from, then?
From a simplistic aspect, artists choose from a massive pool of beats from many music producers. Although most famous artists have production contracts with well known producers, such as Kanye West and The Neptunes, some of these artists pick beats from small, unknown producers. For example, the beat for “We Made You” by Eminem was found on a producer network website. Since Eminem liked what he heard, he purchased the license for the beat and put out the hit single.
How much exactly do these beats cost? For smaller producers who license their beats from small websites, the full rights to a beat are generally a few hundred dollars. However, for some of the industry’s biggest producers, such as Dr. Dre, beats can cost several hundred thousands of dollars. For example, Mary J. Blige purchased the beat for her hit “Family Affair” for $500,000 from Dr. Dre. In addition, Dr. Dre collected over $2,000,000 in royalties, a percentage of the song’s revenue, just for that single. Yes, Mary J. Blige did make millions off of her hit, but it was at a high cost. With beats at such a high price, it can be a very risky investment for an artist. Sometimes an artist is unable to break even from the costs of the beat among many other expenses.
Unfortunately, much of music politics plays a role, so many artists forgo handpicking their own beats for their songs. There are artists who produce much of their own music, such as Kanye West and Soulja Boy. However, most artists rely on the various music producers for their instrumentals. Unfortunately, while artists receive such high acclamation and attention, the importance of the producer is overlooked. While most people can name a long list of artists, they can only name a handful of music producers. All in all, it is important to understand the long process and the many people involved in a song’s success. The artist is often the face of their success, but it is important not to forget the music producers, promoters, managers, and the many others that make it all work.
In a move that should have been executed years ago, the Super Bowl officials finally invited the Black Eyed Peas to entertain for the halftime show. After years of snooze-worthy classic rock (minus Bruce Springsteen, who was phenomenal) they finally wised up and brought in a group with energy.
Although it’s hard to think of an act more fitting to the Super Bowl than the Peas, they were better than previous years, but completely underwhelming. All of the costumes, except for Fergie’s, were cheesy and the vocals robotic. The addition of Slash was not necessary, though I was pleasantly surprised by Usher descending from the scoreboard.
The dancing box-heads at the end were fun, but overall, they could have done better. Let’s just hope they don’t revert back to fifty year olds with guitars.
By Daniel Gong
When people hear the term “underground” music, they generally think of artists who remain in the “underground” because they are not skilled enough to sign to a major label and “make it big.” Although song concepts vary in all directions, generally underground artists create music that expresses who they are and what they believe in, whether it is on social issues, political issues, etc. Though the underground scene is present in all genres of music, I will be focusing on underground hip-hop.
Despite not being mainstream, underground hip hop presents rap music of all moods and styles, from the speedy flow of Tech N9ne to the gritty sound of Vinnie Paz. The underground contains an infinite number of extremely talented rappers, most who will go unknown to the general public. How can such talent be limited to the ears of underground fans?
Artists, such as Lil Wayne and Soulja Boy, are mainstream because they are signed to major labels, which focus on providing music that is popular to the public, hence the term “pop.” However, with immense amounts of money at stake, labels direct artists to create music that is easiest to market. These mainstream artists are played on the radio, and although they reflect but a fraction of hip hop music, many never hear anything else. Many people define hip hop music based on only one of the many aspects of the music.
So why do people stay in the underground? They choose to remain independent to continue making music they love and do not allow money to interfere. This is not to say that artists in the mainstream do not make music they love, but just that some artists choose to continue their music, which does not always follow the trends of the music industry. These trends however affect underground hip hop as well, as some rap may be coined “underground” in different eras.
However, staying in the underground does present many hardships for artists and producers alike. As a member of the underground scene, I have encountered numerous artists who are suffering from financial woes while continuing to create the music they love. I have the utmost respect for these artists who stay true to their styles, despite the many obstacles. As hard as it may be to be financially successful in the underground, many artists have done so. Some of the underground’s biggest artists, to name a few, like Tech N9ne, Jurassic 5, Brother Ali, all live very successful lives; both financially and musically. So the next time, try the underground music scene and perhaps you will like something you’ve never heard before.