20 Watts: Spring 2015 by 20 Watts Magazine

MEET NASTY HABIT CHERRY BOMB REVIEW MENTAL ILLNESS IN THE MUSIC INDUSTRY 20 WATTS | 1

01 // THE CITY - THE 1975 02 // YESTERDAY - ATMOSPHERE 03 // GRINDIN’ - CLIPSE 04 // AFRICA - TOTO 05 // GRAVITY - TURNSTILE 06 // CLUSH - ISLES & GLACIERS 07 // R U MINE? - ARCTIC MONKEYS 08 // CLARK GABLE - POSTAL SERVICE 09 // CAROLINA - SEU JORGE 10 // NO ROOM IN FRAME - DEATH CAB FOR CUTIE 11 // JESUS TAKE THE WHEEL - CARRIE UNDERWOOD 12 // A WALK - TYCHO 13 // SEDATED - HOZIER 14 // HEY YA! - OUTKAST 15 // MY BODY - YOUNG THE GIANT 16 // DREAMS - FLEETWOOD MAC 17 // PAST LIVES - BØRNS 18 // PLEASE DON’T - LEO STANARD

TWEET @20_WATTS WHAT YOU’RE LISTENING TO!

19 // TOTALLY FUCKED - JONATHAN GROFF 20 // TUBTHUMPING - CHUMBAWAMBA Cover Photo by Adam Gendler

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S T T A 20 W SPRING 2015

WE ASKED: WHAT IS YOUR EMOJI STORY?

MIKEY LIGHT FEATURES EDITOR

LYNDSEY JIMENEZ EDITOR IN CHIEF

RIKKI SCHNEIDERMAN MANAGING EDITOR

ADAM GENDLER MULTIMEDIA

JANE DEPGEN CREATIVE DIRECTOR

PHIL DECICCA HEAD DESIGNER

SAM HENKEN ASSISTANT FEATURES

JACKIE FRERE FRONT OF BOOK

TIFFANY GOMEZ PHOTO EDITOR

JOEY COSCO DIGITAL DIRECTOR

JAKE LIBASSI WEB EDITOR

A SPECIAL THANKS TO OUR CONTRIBUTORS: KAITLIN GRENIER COLE HOCK TOMMY ENDE KENNY ENDE ERIN SINGLETON COPY EDITOR 4 | 20 WATTS

CAROLYN SAXTON REVIEWS + PUBLICIST

KATIE CANETE PUBLISHER

JIM COLEMAN MARKETING

WILL SKALMOSKI SOCIAL MEDIA 20 WATTS | 5

TABLE OF CONTENTS 08 LETTER FROM THE EDITOR 10 THE FIVE 11 EAR TO THE GROUND 12 ON THE GRIND 13 PLAYLIST // 20 WATTS GOES ABROAD 15 BACK FROM THE DEAD 16 DROP THE MIC // SEXUALITY IN MUSIC 18 A DAY IN THE LIFE W/ NASTY HABIT 22 WHAT IS EDM? 24 2015: THE YEAR OF HIP-HOP 26 REVIEW // CHERRY BOMB 28 Q&A // RICKY SMITH 31 HEADSPACE 34 DIY, YOU WON’T 38 FUSION FRENZY 42 BACK OF BOOK LETTER 6 | 20 WATTS

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There’s a lot that goes into making a magazine — a lot of arguments, a lot of cuts, a whole lotta shit that you probably don’t even think about as you’re holding this book in your hands right now. When you’re sitting down at the beginning of the semester, thinking about how the hell you’re going to get better when half of the campus isn’t aware that SU even has a music magazine, putting out a magazine is equivalent to climbing Everest. It sounds like a fucking awesome idea, but the execution doesn’t go quite right. That leaves me in an interesting place that very few people are able to understand. Every success, even the smallest ones, are huge. I don’t try to masquerade 20 Watts as the next Pitchfork, and I sure as hell know we don’t have the appeal of some of the other publications on campus. We’re a group of kids brought together by a passion for music that surpasses everyone but the Bandier kids. We’re kids that love the magazine so much that we’ll fight for it and fight for it harder than Boeheim against the NCAA sanctions. This fight in us makes us a little scrappy, sure, but it only serves us better in the long run. It teaches us that we aren’t entitled to anything and that if we want something, it’s up to us to go out and get it. We don’t believe in instant gratification, and that’s the best thing we might have behind us. We understand the work that goes into things and we know that what we put in is what we’re getting out of it. Looking back at what we churned out this semester, this theme continues throughout the book. Artists have fought for years to be comfortable in their own skin (see page 16) and broke through some walls to destigmatize mental illness in the industry (see page 31). Like us, these people found it inside of them to fight.

LETTER

Revel in the small things, even Beyoncé didn’t win a Grammy in a day.

FROM THE

EDITOR 8 | 20 WATTS

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BY RIKKI SCHNEIDERMAN

ALPHA PHI

ERIC PRYUDSZ MILEY CYR

01 JAMES BAY Who: A small-town Brit with big-city musical chops and a haunting voice. What you’re hearing: Whispering vocals filled with emotion and skillful storytelling. Listen to “Let It Go” or “Hold Back the River” for an idea of this Englishman’s true vocal skill. SEE ALSO: BEN HOWARD

02 SAM HUNT Who: A country crooner with more than just a pretty face and some cowboy boots who is trying too hard to mix pop and country genres. I see you, Luke Bryan.

attitude, like on “Race Jones,” or with her gorgeous ballads, like “What Is Love.”

04 GRIZFOLK Who: Globetrotting five-piece: this newlyfounded group includes a Floridian singer songwriter and two producers from Sweden. What you’re hearing: An effortless blending of pop-happy synthesizers and strong vocal performances. Electric sounds guide their tracks (“Hymnals”), but the band knows how to return to bare-bones sound (“Cosmic Angel,” an acoustic cut). SEE ALSO: WALK THE MOON

05 ZZ WARD

SEE ALSO: GIN WIGMORE 20 WATTS | 11

D N I R G E H ON T 20 WATTSR GOES ABROAD D N I G E H T N O D N I R G E TH D N I R G E H T ON D N I R G E H T ON D N I R G E H T N O D N I R G E H T ON D N I R G E H T ON D N I R G E H T N O D N I R G E H T N O D N I R G E H T ON D N I R G E H T ON D N I R G E H ON T D N I R G E H T ON WHY GO ABROAD WHEN 20 WATTS CAN GO FOR YOU? BY JAKE LIBASSI

You know that one song? The song that you just get? The one that you TURN THE FUCK UP TO?!?1! You know that person on the dance floor? The one that you just fucking want?

That song and that person represent the pinnacle of your night. As far as anyone is concerned, your night didn’t really start until Andre counts to three. You know all the words.

You’re confident as fuck.

You walk right up to that boy/girl and grab them by the hips. Those hips don’t lie. You pull them close and they pull you closer. It’s time.

Pelvis meets pelvis. Tongues tango. Hand meets butt. You’re probably not going home with this person, but as far as you’re concerned, that person is the only one in the world.

Fuck everyone else, this acne-ridden behemoth is the most beautiful person you’ve ever met. And that bass line is enough to get you hard on its own.

Nobody actually enjoys standing around with a Silver Bullet in their hand while awkwardly tapping their feet to a song they don’t even like. Every time you walk into some strange house on Euclid cruising for the opposite — or matching — genitalia, you have that one jam in mind. Once Darius opens up his big fat fucking mouth to croon “Wagon Wheel,” you might as well live there. After years of research and inquiry, I’ve found that there are in fact no words for this track. Therefore, I hereby decree that this magical canticle be known as the “bid song.” You enter the party a GDI. You leave a brother.

PANAMA AUSTRALIA Despite lacking a full-length album, this electronic three -piece has quality original work compiled into two extended plays. Panama is featured on Australia’s record label Future Classic, home to artists Flume and Chet Faker. Aside from their standout original songs like “Always” and “How We Feel,” Panama’s remix of Clubfeet’s “Cape Town” (not featured on either EP) has been in standard rotation for a few years now, and it’s a perfect for summer jam for simply kicking it. “HOW WE FEEL”

POMO CANADA Pomo isn’t your average producer working from his bedroom and watching YouTube tutorials to learn how to DJ. His musical knowledge and talent with instruments was plenty enough reason for Vice’s music channel THUMP to name him the breakthrough Canadian producer of 2014. With his mix of 70s/80s funk, hip hop and organic sounds, Pomo distances himself from mainstream dance music.

THE TALLEST MAN ON EARTH SWEDEN

A guy from Dalarna, Sweden managed to make a lasting impact on the international folk music community. Vocally compared to a young Bob Dylan, Kristian Matsson (aka The Tallest Man On Earth) shares his love for nature and, well… love. His new album Dark Bird Is Home is set to release May 12th, making this his first release since 2012. “LITTLE RIVER”

LITTLE SIMZ UNITED KINGDOM

After collaborating with some of the hottest up-and-coming producers in the game, specifically Souleciton members IAMNOBODI and Sango, many have started taking notice of U.K. rap artist Little Simz. Her strong British accent and undeniable swagger give her the ideal traits essential for standing out in a flourishing hip-hop scene. One listen to her voice and you’ll be hooked. “MANDARIN ORANGES (FEAT. WALDO)”

“START AGAIN”

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Not even a year after her band’s sophomore album went platinum, singer Florence Welch of Florence + The Machine issued a surprising announcement: a year off.

Florence + The Machine really shined Ceremonials was written after splitting from her longtime boyfriend, and the album bears a cold and scathing emotion that only Welch’s voice could achieve.

Concerns about the future of the band immediately surfaced, as is the case with any hiatus. Why a year? What if it becomes longer? Who could replace this presence in music?

Now, it’s not like Welch had totally disappeared – her collaboration with Calvin Harris, the addictive “Sweet Nothing,” received significant chart attention, and the group contributed to a few films. But these teases were no “Kiss With A Fist.” The full impact of Florence + The Machine lies within their own music.

The latter concern proves to be the greatest one – Florence Welch stands as one of the most distinct voices of mainstream indie music, unique and immensely powerful. Welch’s distinct vocals restructure and define any track she’s involved in. In short, Florence Welch is irreplaceable. Which is why the announcement of her year-long hiatus was troubling, but for die-hard fans it wasn’t surprising: Welch suffered from depression between Florence + The Machine’s smash debut Lungs and then Ceremonials, the band’s second LP. In Welch’s absence, music began to change. Adele disappeared. Ariana Grande grew up (and got naked) before our very eyes. Lady Gaga began performing with Tony Bennett, of all people. Iggy Azalea’s ass became a thing.

BACK FROM THE DEAD

florence & the machine BY RIKKI SCHNEIDERMAN | ILLUSTRATION BY JANE DEPGEN

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Overall, music began to lean towards empowerment and strength - which is all well and good. Of course, Welch sang about all of these things: “Shake it Out,” “Dog Days are Over,”etc. But it was her lesser-known ballads of lament where

IN SHORT,

Florence Welch is irreplaceable. WHICH IS WHY THE ANNOUNCEMENT OF HER YEAR-LONG HIATUS WAS TROUBLING.

Hopes were rejuvenated in mid-June of last year, when Welch confirmed a third studio album, How Big, How Blue, How Beautiful was in the works, with “What Kind of Man,” as the first single. The song is catchy, but it’s the lyrics chronicling a tumultuous and abusive relationship that echo loudest in this track. If this first single (as well as the group’s headlining slot at Lollapalooza) is any indication, Florence + The Machine are back with a vengeance. And they wouldn’t have it any other way. 20 WATTS | 15

DROP THE MIC BY MIKEY LIGHT When I say that homosexuality, and sexuality in general, are commoditized by the music industry, I’m not saying labels are slapping big “THIS GUY IS GAY” stickers onto Sam Smith albums. Let’s take a trip back to 1972. In an interview for the now-defunct British music publication Melody Maker, David Bowie (of Labyrinth fame) not only announced that was he bisexual, but that it was “the best thing that ever happened to [him].” This announcement came with a massive media surge, and it defined him until 1983, when he claimed heterosexuality in an interview for Rolling Stone, another now-defunct music publication. Now, Bowie carries quite a bit of musical clout in my book. In fact, to call him one of the most influential musicians of the past 50 years wouldn’t be a stretch. So why should one of the most important people in the history of modern music be defined by their sexuality?

Girl.” Why is it controversial? Because it deals with nebulously gay subjects. Remember last year’s Grammy awards? They put two-thirds of the Luftballons worth of gay people on stage and paraded them around during what should have been the most special moment of their lives. And the song that started all of this shit, “Same Love,” doesn’t even do anything to promote homosexuality in the first place. In fact, Macklemore opens the song by reaffirming his own heterosexuality. lol. But it’s okay, right? Because “Stay With Me” is so much more powerful when you learn that it’s about a dude, and Frank Ocean is pretty good for someone who’s both gay AND black. WHY DO WE FUCKING CARE?!

Because sex sells. And homosex sells even better.

Who gives a shit about an artist’s sexuality? Why does it matter? We as a society obsess about the personal lives of the people who devote themselves to entertaining us, and feel the need to inject ourselves and our own personal prejudices into absolutely everything they do.

Think about it. Whenever somebody “might have the gay,” our society loses its collective shit. Media executives market this to tremendous effect. Katy Perry’s career is based off of the success of her “controversial” single “I Kissed a

When the music industry all of the sudden starts to promote homosexuality and alternative sexual lifestyles in general, it’s telling us that “now it is acceptable to be gay.” In actuality, it never should have mattered in the first place.

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ARE WE BEING SOLD OUR OWN SEXUALITY? 20 WATTS’ FEATURES EDITORS TELL US WHAT THEY THINK. BY SAM HENKEN Commodification as defined by the ever-reliable source Wikipedia is “the transformation of goods and services, as well as ideas or other entities that may not be considered goods, into a commodity.” Based on this definition, if homosexuality is being commodified by the music industry, where are all the gay people? That’s not to say that the LGBT community is not represented in music. There are a host of artists that fall under the umbrella of “LGBT music,” but I don’t know any of them. You probably don’t either. The “genre” of LGBT music remains a small niche.

Ocean essentially disappeared from the spotlight until he announced his new album Boys Don’t Cry, set for release in July. Channel Orange sold decently, but no real attempt has been made to make Ocean a massive commercial star. His one potential sponsorship, an ad campaign with Chipotle, fell through. Hip-hop remains without a major homosexual voice, much less one that is “marketable.” For instance, openly gay rapper Cakes da Killa remains relatively unknown, despite praise from critics. If labels were trying to commodify homosexuality, they would sign more LGBT performers and market them on their sexuality.

The gender of the subject of a song is not a huge deal. People aren’t looking up the meaning of a song JUST to know the sexuality of the singer. And to say that homosexuality is being used to sell records? I just don’t believe that.

Sam Smith is another artist whose ca-

Frank Ocean rose to fame on the strength of his mixtape nostalgia, ULTRA, and a few days before he released his debut album Channel Orange, Ocean published an open letter discussing a relationship with a man with whom he said he was in love. As with any controversial announcement, there was a huge response from Ocean’s fans and the press that was mostly accepting of his decision to publish the letter.

Smith’s In the Lonely Hour was a wild

reer broke before coming out of the closet. He appeared on Disclosure’s hit song “Latch,” which made him a household name. He, like Ocean, came out right before the release of his debut album.

success both critically and commercially. The album netted him four Grammys. However, Smith’s album sales hardly differ from any other major pop album. Homosexuality is just another dimension of who an artist is. While this aspect of their identity may capture media attention, labels are not falling over each other to find the next LGBT star. 20 WATTS | 17

A DAY IN THE LIFE OF

NASTY HABIT(

BY NASTY HABIT)

you’ll find the guys of Nasty Habit When they’re not tearing up the local skate park, their twenties, the Syracuse-based hard headlining clubs across the country. Barely in ens when you drop everything to chase rock band is a shining example of what happ racked up online don’t hint at sucthe dream. If the hundreds of thousands of plays d the dorm room for a 12-passenger cess, just ask their die-hard fan base. They trade coast to coast. What’s a day in the life van and hit the road to play kickass shows from the guys themselves. with Nasty Habit? Who better to show you than 18 | 20 WATTS

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WHAT IS

EDM?

BY ERIN SINGLETON I’m assuming the phrase “it’s a fantastic era in music to be alive” is probably not the most common phrase you’ll hear nowadays. In fact, I anticipate eye rolls from parents in response to the sound of our thunderous beats and basses, coupled with the cries of hipsters proclaiming the “real” music scene is dead. What else is new? Well, let me repeat myself: what a damn fine music era to be alive. Don’t agree? Well, let’s start here: what is the first thing you think of when you see the words “electronic dance music?” Many perceive electronic dance music, or EDM, as a group of drugged-out, nearly-naked ravers covered in fishnet tights, bandanas, “kandi” beaded facemasks, and neon studded bras, which is truly a shame. The EDM scene is alive, thriving, and showing no signs of slowing down anytime soon. However, it has met harsh 22 | 20 WATTS

criticism from media outlets and older generations alike. As a music enthusiast of all genres, with a plethora of concerts under my belt, I can safely say that the electronic music scene is misunderstood. It is possible to be a straightedge EDM fan. It is possible to attend an EDM concert without wearing a bra and highlighter-pink tutu. And it is possible to enjoy the music out of a party context – I’m listening to it as I write this. Electronically-produced music has grown into a norm over the past decade, worming its way into nearly every genre. Mumford & Sons, for example, are experimenting with electronic sounds in their upcoming album, Wilder Mind, departing from their signature banjo sound. It should be applauded, not frowned upon, that the technological world has made possible the creation of such music. Many musicians now create fusions of mind-blowing music full of richly blended, organic sounds. Avicii is a known for

HTTP://BEARAVE.COM/

doing this and has even built his career around it; Porter Robinson, The Knocks, RAC, and plenty others fuse sounds in their live performances as well. One of the magical aspects of electronic music is its ability to transform an already-established genre through remixes and samples. For example, Gryffin’s remix of Tove Lo’s “Talking Body” preserves its original chorus and basic melody, but renovates its complexion to one of ‘indie dance.’ Electronic artist Rameses B’s remix of Holly Drummond’s “Diving In” takes the alternative rock song and crafts an ambient, spacey drum & bass track. Likewise, Manila Killa’s take on Dawn Golden’s “All I Want” fashions a futuristic tropical-house remix that boasts an uplifting tone. So if EDM is capable of adding such dimension, why are we looking at EDM strictly through the raving scene lens? Part of the issue is with the name itself. EDM is less about “D” and more about the “E & M.” Electronic music can be listened to now, not just danced to. The spectrum is expanding, proving that electronic music generates a massive genre. The ‘60s brought synthesizers, and while the music was not necessarily “dance,” it introduced an essential flair to rock music. That flair continued with the ‘70s, which introduced funk and disco artists like Sly & the Family Stone and Kool and the Gang, who further questioned the norm with innovative sounds and digital production. By the ‘80s, disc jockeys were prominent in the dance scene, using turntables to sample songs in dance

clubs, thus birthing techno, house, and other sub-genres of EDM. However, there was a clear division between these club-central sounds and mainstream pop sugarcoated for the public. Moby, The Chemical Brothers, and Daft Punk were leading artists who blended mainstream and underground electronic music in the ‘90s. By the new millennium, other major artists encompassed the scene, such as Deadmau5, Skrillex, Tiesto, and David Guetta. The timeline of electronic music highlights the vastness of its evolution in terms of genre, production, and context. However, the media’s critical lens diminishes electronic music’s history and makes it easy to stereotype and generalize EDM as the party scene. A type of music once niche and underground saw an expansion to festivals and raves, and has since expanded further. EDM isn’t important just because it’s at the forefront of our millennial music industry — rather, that’s a fraction of the beauty. It’s important because we have access to a sea of talented artists waiting to be discovered. It’s important because of our capability to blur the lines between genres. It’s important because of the endless choices we have as listeners and fans. Take advantage of those accessible opportunities and explore for yourself. Uncover a type of music you never knew existed. See the world of electronic music beyond what you already think of it, and absorb the voice and genre of our generation. 20 WATTS | 23

2015

and important. The album debuted at #1 and received unanimously positive reviews. To Pimp A Butterfly will reign as the most influential rap album of 2015, and will certainly be a favorite for both Album of the Year and Best Rap Album at the Grammys next February.

KUNTA,” “ALRIGHT,” “U”

IF YOU’RE READING THIS IT’S TOO LATE, DRAKE

BY WILL SKALMOSKI | ILLUSTRATION BY JANE DEPGEN

In 2014, hip-hop experienced an off year. As Iggy Azalea ruled the charts

Here are the top prizes for 2015’s game changers:

with “Fancy,” rap fans spent a year speculating on their favorite artists’ new projects. The Grammy category for Best Rap Album lacked excitement, with Eminem’s lackluster The Marshall Mathers LP 2 taking the award. In 2015, we are faced with an entirely different situation. Current hip-hop kings — many deemed living legends — are poised to take over the world of music. Some releases have proven worthy of the hype; however, many are still to come. 24 | 20 WATTS

“SUNDAY CANDY,” “HOME STUDIO”

“I”, “WESLEY’S THEORY,” “KING

SILVER MEDAL

THE YEAR OF HIP-HOP

leader of a versatile band. In addition to previously released tracks, awe-inspiring live performances indicates nothing short of excellence. Look for the Chance to make news as a superstar without a record label, too.

It’s tough to discount a rapper that can land every track on his mixtape in the Billboard 100 — a feat only accomplished previously by The Beatles. Drake crafts club hits with ease, and this latest release is no different. This mixtape also takes on an individualistic, contemplative theme that adds a certain depth to the work. “ENERGY,” “LEGEND,” “10

HONORABLE MENTION SO HELP ME GOD, KANYE WEST (YET TO BE RELEASED) By the time this magazine prints, we may have experienced a new Kanye West album in its entirety. Until then, we can only speculate on what Yeezy will include on his new release. Though his singles have charted high, critical response has been less than complementary; however, it is hard to imagine a less than excellent Kanye West album. Until then, we can only hope for his best album yet. “ALL DAY,” “ONLY ONE”

BANDS,” “KNOW YOURSELF,” “6

GOLD MEDAL TO PIMP A BUTTERFLY, KENDRICK LAMAR Rap’s reigning king of the West dropped his latest album as a surprise on Monday, March 16 — a week before its scheduled release. As fans flocked to download the album on iTunes, they were met with an instant classic. A tumultuous 2014 inspired an album centered on self worth, a theme adopted by music fans as both timely

PM IN NEW YORK”

BRONZE MEDAL

Here are some emerging hip-hop acts to watch in 2015:

SURF, CHANCE THE RAPPER AND THE SOCIAL EXPERIMENT (YET TO BE RELEASED IN FULL)

DAYE JACK

FETTY WAP

PELL

DEJ LOAF

TWO 9

OG MACO

VIC MENSA

KEHLANI

K CAMP

TOWKIO

Though we have yet to hear Surf in its entirety, Chance has released several tracks on SoundCloud that bode well for the upcoming LP. The 21-year-old MC, in tandem with the Social Experiment (SoX), looks to gain traction as the

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20 WATTS REVIEWS:

TYLER, THE CREATOR CHERRY BOMB

BY SAM HENKEN Listening to Tyler, the Creator is always an experience. Since his debut mixtape, Tyler has made the music that he wanted to make. In the case of his new album Cherry Bomb, that album is far from your average rap album. For years Tyler has discussed how he is more influenced by jazz and R&B than rap, and it shows in an album that spans too many genres to count. From the opener, “DEATHCAMP,” which mixes rap and punkish guitars to “FIND YOUR WINGS” that is straight up jazz, the album listens like

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an ADD fever dream. The dream gets even more hazy as nearly every song has a drastic change halfway through, such as the title track “CHERRY BOMB,” that sounds like hardcore punk until light synthesizers break through the grime and a sweet female vocal part brings the song to a happier place. At the same time, what you expect from Tyler’s previous album is there. “BUFFALO” samples Pusha T’s “Numbers on the Board” and features the synth sounds that have come to define Tyler’s

production style. “BLOW MY LOAD” not surprisingly conjures Goblin-era graphic lyrics. Parts even conjure up the feelings and sounds of indie rock. “2SEATER” alternates between Tyler’s aggressive style of rap and a breakdown with female singer. The song concludes with an outro with a guitar solo loaded with phaser effects and mentions of Mac Demarco, who Tyler has said he’s a big fan. One new wrinkle in Tyler’s style is the use of a pitched up effect on many of the songs on the album. The lead single of the album, “FUCKING YOUNG/PERFECT” at first sounds like it can’t be Tyler, but it is and the catchy hook featuring Charlie Wilson will get stuck in your head, even if the lyrics are fucking weird. ”KEEP DA O’S” has Tyler rapping in that voice making fun of the stereotypes of rap music over a crazy beat that eventually turns into a soulful breakdown. In the place of features from his fellow Odd Future members, Tyler got features from some of the biggest names in hip-hop. ScHool Boy Q goes in on his verse in “THE BROWN STAINS OF DARKEESE LATIFAH PART 6-12 (REMIX),” a

song that goes harder than any Tyler song ever. Kanye and Lil Wayne appear on “SMUCKERS.” Kanye comes in singing and spits an unreal verse highlighted by the line “You can’t lynch Marshawn if Tom Brady throwing to me.” Wayne and Tyler trade lines toward the end of the song, and its hard to beat a Weezy feature. The album concludes with “OKAGA, CA.” The six and a half minute song only features a small amount rapping and almost defies genre altogether, changing its sound throughout, a microcosm of the album itself. Cherry Bomb shows Tyler, the Creator’s maturation as an artist, but keeps his childish tendencies. His beats are more complex and blend a mixture of genres seamlessly. But the lack of focus in many of the songs and some repetitive beats show he still has some growth to go. Fans of Tyler, the Creator will be split, as they were with Wolf, between those wanting jazz and those wanting rap. For fans of Tyler’s softer work, Cherry Bomb is a step forward. However, fans of his earlier work may be left waiting for a rap album.

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What are you working on now? RS

What did you do during your year off?

BY JACKIE FRERE

Ricky Smith, a freshman in the Bandier program, is a jack-of-all-trades. He has acted professionally, created a nonprofit organization, and taken a year off of school to travel. But now Smith means business. He wants to focus on his music career, which starts with collaborating with artists and recently signing with a manager to promote his image. 20 Watts sat down with Smith for five minutes to find out what got him started and where he’s headed next.

Who is Ricky Smith? RS

I sing, produce and write songs. I started in the entertainment industry as a child — I played in a Broadway show — and I started taking music seriously as a sophomore in high school. I took a year off of school after high school to record and think about my life a little bit. After I got to Syracuse I was contacted by Max Gredinger. We started talking, and he officially signed as my manager in December. He manages the group AER, and we’ve been working together since then.

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I’m working on an EP and collaborating with some EDM producers. I’m about to release a video that I worked on with Loud and Clear. It’s a cover of “Who’s Going to Save My Soul” by Swedish House Mafia that we filmed at St. Paul’s Church. I’m doing a few performances on campus, too.

I deferred a year after I got into the Bandier program because I wasn’t sure if I wanted to go. I went to California, which was pretty cool, and started to form some business and philosophical ideas. I started to think that the world was really bad, so I thought, if I could fix the world, if I was given the power to create something to solve all the problems that are wrong in the world right now, what would I do? I also experimented with psychedelic drugs. I matured a lot. How would you describe your sound?

It’s a combination of a lot of different things, because that’s who I am as a person. It’s almost a lot of contradictions, even. I’m black and Hispanic and I’m from the city. There’s a lot of conflicting things about me as a person, and I feel like my music reflects that. Very influenced by soul and R&B from the 1960s. And then in 2015, we’re in a time that’s very collaborative — and I’m excited to contribute to that.

@TWENTYWATTS

LET’S

SNAP 20 WATTS | 29

Kurt Cobain was diagnosed with bipolar disorder at a young age, according to his cousin, Bev Cobain, an advocate for suicide prevention. Bipolar disorder existed within his family history, but he never sought or received treatment for it. “As Kurt undoubtedly knew, bipolar illness can be very difficult to manage, and the correct diagnosis is crucial,” said Bev Cobain. “Unfortunately for Kurt, compliance with the appropriate treatment is also a critical factor.” Still today, there are negative connotations aligned with mental illness. Harvard Medical School reports that 25 percent of adults deal with some form of mental illness, but two-thirds of those affected never seek help. Mental illness is a common problem, but due to social stigma, people are hesitant to speak up. Now, the stigma is being attacked head-on. 20 years after Cobain’s death, the music industry has taken up the responsibility of fighting mental illness stereotypes. Not only are musicians more accepting of their issues, but some are addressing their experiences publicly. Their message is clear: if you suffer from mental illness, it’s okay to ask for help. BY SAM HENKEN 30 | 20 WATTS

The stress and attention associated with being a musician can be im-

mensely difficult to deal with. Struggles with mental health once made it impossible for musicians to have long, healthy careers. Nowadays, musicians aren’t only facing and overcoming their mental illnesses, but they’re also working to end the stigma attached to the bigger picture.

SELL THE KIDS FOR FOOD, WEATHER CHANGES MOODS, SPRING IS HERE AGAIN, REPRODUCTIVE GLANDS. -NIRVANA, “IN BLOOM”

Brian Wilson initially functioned as the principal songwriter for The Beach Boys. His time with the band marked an incredibly prolific period between 1963 and 1965, during which The Beach Boys produced nine albums and nineteen singles. This period of work culminated in 1966’s Pet Sounds, often considered one of the best albums of all time. During this success, Wilson began experimenting heavily with drugs as a means of coping with his stress. His experimentation included psychedelics such as LSD, which initially provided inspiration for his work. 20 WATTS | 31

“At first, my creativity increased more than I could believe,” Wilson said in reference to LSD during a 2011 interview with The Guardian. “On the downside, it fucked my brain.” The drugs caused Wilson to hear voices in his head - voices that have not gone away since. Wilson stopped working on the follow-up to Pet Sounds, titled SMiLE, and was diagnosed with bipolar schizoaffective disorder and depression. Instead of seeking help, he secluded himself and self-medicated with more heavy drug use. Despite living in and out of the spotlight for 15 years, Wilson did not seek help for his issues until he married his second wife in 1995. Wilson now writes and releases music on a fairly regular basis, and is vocal about how he copes with his illness. He even finished SMiLE, which he had abandoned at the onset of his illness in 1967. With the rebirth of his career, Wilson wants to combat the negativity associated with his condition. “I say ‘We Shall Overcome,’ I use that all the time.” he said in an interview with Ability Magazine. “We shall overcome all the bad notions people have, the preconceived notions.” Wilson rejuvenated his career by accepting his issues and dealing with them in a healthy way. Current, 32 | 20 WATTS

younger artists are taking it one step further, using their fame as a platform to help others deal with their own issues. The lead singer of Passion Pit, Michael Angelakos, was diagnosed with bipolar disorder when he was 18. He kept that fact out of public knowledge because he didn’t want people to link his music to his condition.

CURRENT, YOUNGER ARTISTS ARE TAKING IT ONE STEP FURTHER, USING THEIR FAME AS A PLATFORM TO HELP OTHERS DEAL WITH THEIR ISSUES.

“The reason I never came out about it in the years beforehand was because I didn’t want mental illness to inform how people listen to the music and then read into it as being, you know – this is the sound of bipolar,” he said in an interview with Timeout Chicago. As a result of his disorder, Angelakos attempted suicide once when he was 19, and continued to struggle with suicidal thoughts into his twenties. Before Passion Pit released

their first album, Manners, he spent five weeks in a mental health facility.

combat the stigma of mental illness in the media.

When the band started to work on their second album, Gossamer, studio difficulties sent Angelakos into a two-month-long manic episode. Mania, an element of bipolar disorder, is a state of grandiosity and racing thoughts, according to the Diagnostic and Statistical Manual of Mental Disorders. Because the mania is conducive to drug and alcohol abuse, Agelakos binge drank to cope with his state.

Angelakos recently became a spokesperson for Bring Change 2 Mind, another organization that deals with the destigmatization of mental illness, and starred in a PSA.

After this period, his girlfriend finally convinced him to see a professional. Angelakos was able to return to work on the album after he stopped drinking, as his new producer requested. The band eventually finished Gossamer, but cancelled tour dates following the 2012 release so that Angelakos could focus on his health.

“Once I started accepting my mental condition, it like stung for a little bit and everything improved,” he said in the PSA, targeted towards men coping with mental illness. “When people ask me what its like to live bipolar, you just have to adjust and figure out exactly how you’re gonna live your life the way you want to achieve it. Achieve what you want to achieve but you can only do that when you get help.”

Since then, Angelakos has worked to erase the stigma that comes with mental illness by being open about his struggles. Before deactivating his Twitter account, he retweeted messages from mental health organizations and sent encouraging tweets to fans suffering from the same problems he dealt with. In 2013, Angelakos received the Beatrice Stern Media Award at the Erasing the Stigma Leadership Awards, awarded to individuals who have chosen to help 20 WATTS | 33

IF YOU WANT IT DONE RIGHT...DO IT YOURSELF. BY JOEY COSCO REPORTING BY MIKEY LIGHT PHOTOS BY ADAM GENDLER

One of the funny things about music is that it encompasses both the acoustic cover of Sheryl Crow’s “The First Cut Is The Deepest” you recorded with your roommates, and Beyoncé’s latest studio album. In the past, these two recordings are a huge distance away. But in 2015, the difference between these two situations is growing smaller and smaller - with the Internet, it’s getting increasingly easier to “do it yourself.” Here’s a guide on how to DIY and take your music project from the dorm room to iTunes and beyond. 34 | 20 WATTS

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SQUARE KICKSTARTER That big one. With more than two dozen music projects funded in Syracuse alone, Kickstarter is a great way to raise some scratch for your a cappella group’s album, your band’s music video, or even your first tour. Alex Shenkman, a Syracuse senior and a capella group Orange Appeal’s music director, says after recording an album with disappoint-

ing production quality, the group set out to create a better effort. The sticker price for a passable recording: $10,000. Orange Appeal then listed their album on Kickstarter. “I didn’t think we were gonna do it to be honest,” Shenkman said. “But nineteen kids raised over $10,000, and we raised that really fast.”

PLEDGEMUSIC For a non-Kickstarter crowdfunding option, consider PledgeMusic. This site carefully words its purpose. Instead of funding an artist’s project, PledgeMusic allows users to pre-order your album and then “unlock” perks, usually insight into the creative process.

“Artists are more interesting when they’re creating something than when they’re selling something,” President and Founder Benji Rogers says. Therefore, PledgeMusic should help you market yourself and your most interesting.

BANDCAMP Keep your fans happy and upload your music to a site like Bandcamp that allows free streaming. Then you can charge set prices or let fans pay what they want for your stuff. Syra-

36 | 20 WATTS

cuse band Sophistafunk uses Bandcamp to distribute free downloads to people who come to shows and grab their business cards.

Besides paying for your cappuccino at Kubal, you can use Square for many things, including selling records. All it takes is a picture of your merch and a free account and you’re good to open your own store. What’s

more: Gold says Square takes a significantly smaller chunk of your profits compared to similar services. “That’s crucial. That’s how you get the money,” Gold says.

TUNECORE You wrote your stuff. You recorded your stuff. Now it’s time to sell it. Tunecore will let you do this at low prices while still reaping rewards. “You can release one song, one album,” Gold says. “It’s an easy way to get your music out there. They have

a fast track. You don’t have to worry about going to every single website.” For a small annual fee, Tunecore will distribute your music catalog to iTunes, Spotify, Amazon Music, and a dozen other places people actually look for an buy music online.

SOCIAL MEDIA ADS Everyone knows Twitter and Facebook, and obviously it’s important for your budding music project to have a presence on these types of social sites. Perhaps more importantly: actually coughing up a little cash for advertising on social networks.

talent buyer and promoter Matt Dunn says. “Social Media works.” Since Facebook’s algorithm prevents 100% of your fans from seeing every post, paid ads can help you reach your full potential.

“Paying for advertising on Twitter works. It just does,” Syracuse Shows While reporting this article, frequently-heard advice included the following tips: tour often, use music blogs to your advantage, and, of course, make sure your music is solid. Combining an old fashioned musician’s perfectionist work ethic and 2015’s many marketing tools, there’s no reason you can’t do it yourself and get your project off the ground. 20 WATTS | 37

WHY HAVE ONE GENRE WHEN YOU CAN HAVE THEM ALL? // BY JAKE LIBASSI

38 | 20 WATTS

Today, the music industry is seeing

saturated, artists must find ways to

a term that’s been thrown around

construct completely unique sounds,

for years finally establishing itself in

which means defying typical genre

mainstream sound: genre-bending.

conventions. Crossovers between

Technological advancements make

jazz and electronic, rap and funk,

it easier than ever for artists to rec-

and even country and EDM exempli-

reate any sound, instrument, and

fy how current artists aren’t afraid to

noise imaginable. The industry is so

experiment. For some, it’s a way of 20 WATTS | 39

infiltrating new fan bases in order to reach a certain level of commercial success. For others, genre-bending is a way of expressing originality. Industry professionals, like legendary producer Rick Rubin, noticed these creative minds early on and took it upon themselves to aid them in developing their “futuristic” sounds. Rubin has taken select artists under his wing who he believes challenge the single-genre standard, demonstrating show how significant this transformation is. Rapper and 2014 Bandersnatch performer Goldlink is one of Rubin protégés. He teamed up with another Rubin disciple. Together the two teamed up to release “Sober Thoughts,” the video of which Billboard.com described as “slightly surreal…whose casual, eclectic vibe perfectly matches the laid-back synths and melodic hook.” This is real. This sound is working. And right now in electronic music it’s essential. Electronic music has had a remarkable impact on the genre-bending craze, both within its own scene as well as various other music scenes due to its versatile nature. Simply put, it is a piece of our generation. Saxohouse and tropical house, for example, are relatively new styles of electronic music which act as ac40 | 20 WATTS

cessible points for people who don’t typically like this genre. There’s a fair chance your parents would enjoy Kygo or Klingande because their take on electronic house music is likely light and blended with relatable genres such as jazz and disco. Rafe Cohan, a Syracuse University student artist known professionally as White Cliffs, has noticed this trend across the industry. “Recently in electronic [music], there has been a massive correlation between commercial success and ‘owning’ a subgenre. The last

“

CURRENT ARTISTS AREN’T AFRAID TO EXPERIMENT

” five years of electronic music, if looked at from a distance, is nothing more than a series of subgenres being pioneered,” Cohan said. “Artists like Dillon Francis, Oliver Heldens, Skrillex, Martin Garrix, and RL Grime have all laid claim to their own subgenres such as moom-

bahtoon, deep house, dubstep, bigroom house, and trap, respectively.” Cohan also bends genre barrier in his own music, experimenting with hip-hop, motown, and indie rock to as a producer. He’s been producing electronic music since high school, exploring various genres to get a grasp on the basics before honing in on his own distinct style through sound design and sampling. His influences range from electronic subgenres to classic rock to reggae. “My dad put me onto a ton of Bob Marley and Jimi Hendrix music as a kid, and I have definitely tried to apply that warm, vintage, imperfect aesthetic to what I hope to develop as my signature sound,” Cohan said.

ones making the biggest changes in the industry. And no, I’m not referring to DJ Snake and Lil Jon. It’s Goldlink, Kygo, Dylan Francis, and Cohan leading the charge. Next time you go on a hunt for new jams, try to shed your preconceived notions of traditional genres and dive into the extensive ocean of music that exists because of genre-bending. Don’t like country? Maybe you would if you heard it melded with hiphop. Don’t like hardcore? Maybe you would if you heard it with jazz. The possibilities are endless, and all you have to do is venture out to find them.

His diverse musical taste plays a huge role in the music he creates, whether it’s listening for inspirational purposes to aid his creative flow, or directly pulling a sample from an existing piece of music and reworking it to his liking. “For example, ‘Go With You’ by Toro y Moi is a recent example of a completely organic piece of indie-rock that provides an unexpected backbone for one of my upcoming projects,” he said. The artists who have been working to push these boundaries are the

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