Sidelines rocknrolledition nov2016

11.24.2016

Vol.91 No.3

rock n’ roll edition

Rock N' Roll Edition At MTSU's WMTS

students find their radio magic

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The quad at MTSU

creating student connections one jam session at a time

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30 music genres

that you didn't know existed

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Drumroll please:

band of blue brings funky spirit to campus

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Streaming services:

while indie artists thrive on Spotify, integrity dies

16

Punk rock's exclusivity problem and how we can solve it

18

Staff response

to music questionaire

Find the megaphone: With the growth of social media the spread of fake “news” has spread as quickly as real information. Finally, after a particularly inaccuracy-filled election cycle, online super powers are putting in the effort to suppress false information.

Google Chrome has released an extension which alerts readers if they wander onto a fake news site, Facebook has announced its plans to crack down on fake news and propaganda websites and social media users, myself included, have been sharing lists of fake, reliable, conservative leaning, liberal leaning, satirical and just straight propaganda websites in attempts to curb the misinformation flow.

While each of these initiatives is likely to nicks a few bad articles, and even the conversation itself will likely prompt some consumers to be more diligent, the bogus news problem can’t be stopped without the participation of the readers.

I know that gifs, celebrity gossip and listicles are easier and in some ways more enjoyable than actual news, but, as the New York Times put it in an editorial last year, you still have to “eat your vegetables.” That is to say, no matter how shiny or sexy your recreational reading is, it’s still vital to you, those you influence and, well, the democracy we live in that you consume and understand real news as well.

Not only will routinely reading the news help you stay up on current events, the practice will also help you be able to spot fake news online.

And hopefully, you’ll share your newfound newsiness with those in your circle, they’ll share with their friends and so-on.

Meet the Crew

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A Note from the Editor Search for the logo in our cover every edition this semester!

So how do you find good news?As I mentioned recently created a list of news sources at newsornah.com where I am sorting every “news” site I see on my Facebook feed by trustworthiness and leaning. Using that, you can hopefully look more critically at the sources of your news. To check the content of your news, I recommend ontheissues.org and politifact. com to verify claims made about candidates and politicians in offices across the country.

Whatever you do,wherever you get your news, just make sure to be informed and be critical before sharing or subscribing to the ideas of something you read. *I’ve chosen to ignore the irony of telling you not to trust everything you read even though you’re reading this.

Editor-in-Chief / Sarah Grace Taylor Managing Editor / Tanner Dedmon Co-News Editor / Amanda Freuler Co-News Editor / Brinley Hineman Assistant News Editor / Andrew Wigdor Sports Editor / Tyler Lamb Lifestyles Editor / Olivia Ladd Assistant Lifestyles Editor / Sara Snoddy Design Editor / Samantha Wycoff

11.24.16

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HEY !

Write for us We meet every Friday at 2 p.m. in the Center for Innovation in Media.

We are looking for designers, writers, photographers and videographers.

Letters to the editor can be submitted to editor@mtsusidelines.com or managingeditor@mtsusidelines.com

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Contact Sidelines: Phone: (615) 904-8357 Editor: editor@mtsusidelines.com Managing Editor: managingeditor@mtsusidelines.com News: newseditor@ mtsusidelines.com Lifestyles: lifestyles@ mtsusidelines.com Sports: sports@mtsusidelines.com Contact us with any questions or if you would like to write for the next edition.

11.24.16

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Students find their radio magic at MTSU’s W MTS By: Steve Barnum / Staff Writer

M

TSU’s student-run, alternative radio station, WMTS 88.3 FM, has been giving a voice to students on campus since 1992.

“Overall, our main goal is to give the students an opportunity to hone their [skills] as far as media is concerned, said Melissa Ferguson, the general manager and president of WMTS.” According to Ferguson, the station holds interest meetings every semester for MTSU students who are interested in becoming a DJ or on-air talent.

Those students then go through an internship process to learn how to use radio equipment and take a test on the station's policies to make sure that they understand what they can and cannot do on radio. Once a student successfully completes the internship, they can host their own independent radio show.

Something Ferguson feels is unique about WMTS is that they don’t tell you what your format is going to be. They let you create the show and leave all of the content up to your discretion.

“We really are like a diamond in the rough because a lot of radio stations, when they are asking people to be on air talent are telling them what to do. They are telling them ‘this is the segment that you'll be doing today. This is the playlist that you have to play today,’ and it just kind of puts you into this robot position. That you're just a person behind the mic but you're not making any magic. And with WMTS, we make the magic.”

She said that the radio’s managers trust and value the DJ’s creativity, and let them express their creativity on air in whatever ways they want within reason. The types of shows and genres played on WMTS range from country to hip-hop to indie, all the way to a gospel and soul show.

Matt Boyd, a senior and Journalism major at MTSU, is a DJ that co-hosts a show called “Endless Shrimp Presents Pop Topics,” where all topics currently buzzing in the media are discussed.

“Whether it be about music, TV, video games, fashion, sports or politics... We take big headline things we see on ‘Pitchfork,’ an online magazine, or a lot of other media websites and we just talk about them,” Boyd said.

With WMTS being geared towards alternative music and alternative news, Boyd said the best way to gain a broad listenership is to have a broad set of DJ’s.

“We do a really good job at having a lot of people that have different takes on news and different takes on music so that we aren’t just trying to be an amateur 107.5 or amateur 105.9 or something like that. We’re trying to bring music that you really wouldn't hear anywhere else,” Boyd said.

“We are going to give you that underground feel and really dive into things that you've never heard of but that you're still going to love,” said Ferguson.

Photo by: Steve Barnum / Staff Writer

Photo by: Steve Barnum / Staff Writer

Photo by: Steve Barnum / Staff Writer

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By: Andrew Wigdor / Assistant News Editor Spread designed by: Oukie Akins

W

hen day turns to night, the area known as The Quad on the MTSU campus is filled with laughter, music, skateboarding, dancing and community.

The MTSU campus is not exactly known for its nightlife, but, outside the Walker Library and the Bragg Mass Communication Building, students have created a vibrant hang-out spot for all to enjoy.

Students from vastly different walks of life congregate to blow off steam and enjoy each other’s company.

When speaking to the students who enjoy the nightlife,many are drawn to the inviting nature of those who often stay in the area.

Experienced and inexperienced student skaters often venture down to The Quad in the evening to practice their tricks.

Trey Johnson, an audio production major and a freshman, said, “It’s a judge-free zone. It’s just a place for everyone to come chill. Plus, every now and then some good skaters come by. If you mess up no one cares. Nobody says things like “You suck.”

“I enjoy coming out to The Quad because it’s a safe place. Everyone out here is very friendly to one another. Very often, I’m out here skating because I’m not very good at it yet but everyone is eager to help me learn,” Ty Bailey, a freshman and film production major, stated.

Another group of students gather in The Quad to dance the night away. Once the music starts playing, these students move as if nobody is watching.

According to Hamilton Jackson, a Graphic Design major and freshman, his group comes to the Quad every Monday and Wednesday. Jackson also mentioned that the students dance to Hip Hop, Contemporary and even some Salsa.

Jamel Morris-Barclay, an audio production major and a senior said, “Sometimes I play my guitar.

Sometimes I play and sing. It’s a good place for congregation.”

“For us, it’s just a place where we can express ourselves as dancers, singers and artists. It’s a nice

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vibe. We are just being ourselves and doing what we love,” said Quinton Jackson, a new media communications major and freshman.

Markia Darby, a linguistics major and junior, said, “Every other night, me and my people come out here. We put on some music and we just dance.”

The spirited live music scene is ever present during the nights at The Quad. Students who enjoy playing instruments such as guitars or drums jam together. The students perform to relieve stress and have fun, but one of the driving forces behind these musicians is the community element that the Quad provides.

Photo by:Andrew Wigdor / Assistant News Editor “I come out here after I’ve had a bad day, and everyone is out here enjoying each were pouring in, a group of students with other’s company. It just feels really good to be instruments began to relax by playing. Election around those people in the same mindset. Everyone night turned into a spontaneous concert night. The is enjoying the music and throwing away their day,” students set up speakers and full band arrangements said Cameron Brown, an audio production major after coming together to keep an eye on the results. and freshman.

“Last night was special. It was election night.

David Cuthbertson, a film production major and Everyone was watching the election as it unfolded. sophomore, frequently carries his drum set to It reached a climax at a certain point. For a lot the Quad to play with his friends. Although, he of people, it was good to have friends around at owns the set, the players often switch instruments that point. It’s a support group, to an extent,” said throughout the night.

Connor Stith, an audio production major and a “I’m basically friends with everybody down here. freshman.

It’s kind of family, you know. All of us enjoy music No matter what the year may bring, MTSU students and those who play it for all it’s worth,” who make up The Quad nightlife love the bonds Cuthbertson said. that form in the area. They are able to forget their During some of these live performances, students worries through their shared interests and enjoy the dance, sing and hula-hoop along to the musicians. campus.

The crowd and the performers continuously play Mary Hart, an electronic media communication off of each other. major and a senior, said, “At night you see all “I’m using my friend’s Hhula-Hhoop. I just picked these people come out, and you see the musicians it up. You just go with the flow. You’ve got to feel it,” together. There is people dancing together. said Ashleigh Russell, a commercial song writing Eventually, they all just merge. The things that they major and freshman enjoy to do come together, and it’s just a really good While the results of the 2016 presidential election sense of community.”

musical

ABSTRACTO

BLACK SLUDGE

BUBBLE TRANCE

CAT STEP

CHAP HOP

Abstracto is ambient, mellow, progressive, and very rythmic techno music. Odd and peculiar sounds are not out of the ordinary with this genre.

Just as the name implies, Black Sludge is like Black Metal and its sludgy as hell. Themes of darkness and destruction are prevelant.

Positive, upbeat, and happy sounds come with high energy rhythm; you might dance.

Contrary to the name Cat Step, this music does not contain the sounds of cats. This is another variation of dubstep, most similar to filth step

Hip hop for gentlemen.

Stereotypically english.

Often referring to tea, cricket, and the weather.

CRUST PUNK

DANGER MUSIC

DEEP LIQUID BASS

DISCO FOX

DRONE

JAPANOISE

Crusty and dirty, Punk and Metal, pizza and shitty tattoos. Patches and basements. Dark and pessimistic lyrics that are sometimes political.

This genre aims to evoke a feeling of anxiety and panic into the listener.

Screams and loud noises echo and reverberate painfully throughout.

Basically drum n bass with smooth sexy basslines.The sounds of deep liquid bass is quick and smooth.

European dance music. The dance associated to this genre is influenced by swing, foxtrot, and salsa.

There are different variations of drone ( ex. Drone Folk, Dark Drone, etc. ) Very minimalistic sounds that reverberate and echo. It is very ambient.

This genre is loud distortions of sound.

Alot of static, beeping, screaming, ear piercing melodies. intent on destroying the air waves.

LOWERCASE

MATH CORE

MEDIEVAL ROCK

If you thought that drone was ambient then you are in for a surprise.

Lowercase takes otherwise very subtle and quiet sounds and amplifys them and draws them out.

Listening to mathcore doesn’t make you smart. This is fast paced metal that includes extremely technical guitar riffs and lots of screaming.

Pretty much exactly what you would expect. Elements of rock and folk. It has alot of medieval instruments.

NATURALISM Get out your yoga mat, Naturalism contains sounds of nature. Waterfalls, wind, and meditation inducing chants. Caution, you might fall asleep.

NEOFOLK

NEOPSYCHEDELIA

A form of folk inspired experimental music that emerged from post industrial music circles.

Modern music that resembles or is heavily influenced by the 60’s and 70’s psychedlic rock movement.

NERDCORE

NINJA

NINTENDOCORE

NO WAVE

PIRATE METAL

No shame here. This is hip hop with lyrical themes conclusive of things that are stereotypically nerdy.

No sounds of sword fights. This is an underground electronic music movement often containing elements of break-beat and hip hop.

Nostalgia and childhood memories are slowly returning. This genre is comprised of sounds sampled from videogames and agressive rock.

No wave was a short-lived avant-garde music and art movement that began in New York. A reaction towards punk music. No wave is very experimental.

Bring rum to the moshpit and rock out to pirate inspired metal music.

Pirate mythology is prevelant and stage performance is not unlikely.

TRIP HOP

SHOE GAZE

VINTAGE SWOON

An electronic genre. Influenced by soul, funk, jazz, and breakbeat. Fuses together hip hop and electronica. Trip hop can be very experimental.

Alternative rock popular in the early 90’s. Performers often looked down at their shoes rather than dancing during their performances.

Rare oldies and feel good songs about young love.

SPLITTERCORE

SPACE SYNTH Also known as synth dance and space dance. This is 80’s European electronic music. Emerged from space disco.

Illustration by: Gage Lozano

Hardcore, high tempo, and heavy basslines. Splitter core is hard core techno music... the crazy part is its only considered splitter core when the bpm of the music is higher than 600.

VEGAN STRAIGHT EDGE

UNBLACK METAL

VAPOR WAVE

Sorta like hardcore and punk music.

Except very straight edge. Oh, and they’re also vegan.

This genre is almost identical to black metal, except the artists that make this music are against satanism, or heavily promote christianity.

Vapor wave is a micro-genre. It popped up in the early 2010’s in internet communities. It has a very nostlagic feeling with retro culture.

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mtsusidelines.com By: Olivia Ladd / Lifestyles Editor

S

ure, you’ve heard of rock, pop, country, electronic, punk, blues and jazz, but what about the music that stemmed from these genres? Music is an intricately spun web connecting people, places and time with ideas and experimentation. There are more genres out there than one could imagine, spurring from different parts of the world and finding homes in niche scenes. Below are 30 of the weirdest musical genres in existence that you likely haven’t heard of.

ABSTRACTO

Abstracto is an “absolute music” genre, meaning it has no topical content. It is a form of techno, but features progressive beats and mellow ambiance. It is almost exclusively Latin music, deriving from a term meaning “no subject.” The music contemplates shape, space, color and structure, as it originates from abstract painting and photography from the early 1900s. This genre uses expression to explore surrealistic representation, echoing the philosophy of modern abstract thought. In recent years, abstracto hip-hop has become popular in Latin countries.

Listen to: “Contemplation EP” by Ejeca

BLACK SLUDGE

Black sludge is combination of black metal and stoner rock. Its sound is reminiscent of doom metal and hardcore, often addressing dark, pessimistic topics like death. Black sludge features screamed vocals, heavy rhythms, aggressive tempos and heavily distorted instrumentation. Its origins can be found in the Olympia punk scene of the ‘90s, but it has accumulated influence from stoner sludge and even Southern rock over the years.

Listen to: “Pervertor” by Lord Mantis

BUBBLE TRANCE

Bubble trance is a happy, upbeat version of trance music, which is loosely hypnotic electronica. Its rhythms are fast-paced like that of European club dance hits, sometimes reaching over 150 beats per minute. It is not bass-heavy, but rather incorporates sound from bubblegum pop music. Its origin is found in 1990s Germany, and the genre is still popular today in Europe.

Listen to: “On the Move” by Barthezz

CATSTEP

Cat step is a subgenre of dubstep, most similar to deep filthstep which combines grime with electronica. It also includes elements of drum and bass music. Its sound features wobbly bass, ethereal-sounding buildups of tempo that lead to quick drops and layered vocal harmonies, usually derived from samples.

Listen to: The Sound of Catstep playlist on Spotify-

CHAP HOP

Chap hop is a version of hip-hop combined with steampunk that originated in England. It uses typical hip-hop beats but samples classical British piano and swing music. The most distinguishable aspect of this genre is Its lyrical content which focuses on things such as cricket, top hats, tea and rainy weather, all rapped about in a British accent.

Listen to: “Father of Invention” by Professor Elemental

CRUST PUNK

Crust punk is dirty hardcore punk, the kind you find in basements where people drink 40 ounces and wear denim vests with pentagram patches on them. It derives from hardcore and metal but has evolved to include elements of thrashcore and powerviolence.

Grindcore derives much of its influence from crust punk. Crust punk songs are fast-paced, with small portions of slowed-down rhythm. The lyrics are usually politically-driven and anarchic. This genre was prominent in protesting social ills that weren’t being spoken about in 1980s England.

Listen to: “The Punk Terrorist Anthology Vol. 1”

by Nausea

DANGER MUSIC

Danger music is avant-garde noise music that quite literally endangers the performer or audience. It is “anti-music” in that it is so dangerous, it often cannot be performed. Lots of danger music is composed in many parts and gives instructions for the performer, such as to gouge their eyes out on stage or throw a bomb in the audience. It includes screaming, crying and is made to induce anxiety and stress upon the listener. Danger music is more of a test of limits or an undefined art form than a musical genre. Japanese artist Hanatarash drove a bulldozer into a venue during a danger music performance once. Many danger music shows require listeners to sign a waiver, that is if they’re not cancelled before they can happen.

Listen to: “Danger Music” series by Dick Hig

DEEP LIQUID BASE

Deep liquid bass, sometimes called “liquid funk” or “liquid dnb,” is essentially a more sensually-driven version of drum and bass electronic music. This genre uses both synthetic sound and organic instruments to create a smooth and steady beat throughout the song. Its influence comes from smooth jazz and blues. Unlike most electronic music, deep liquid bass is fluid and consistent, sometimes even featuring ambient noise.

Listen to: “The Agony and the Ecstasy” by High Contrast

DISCO FOX

Disco fox is European partner dance music born from the disco craze in the ‘70s and European cultural traditions. It sounds like a mixture of disco, dance pop, swing, foxtrot, salsa and jazz. Many songs utilize synth for a deeper sound. Dancers can begin with the basic disco fox step, but there are advanced hand placements, spins and drops they can learn. It is so popular in Germany, Switzerland and Russia that there are competitions.

Listen to: “Disco Fox 80” Volumes 1-5

DRONE

Drone is a minimalist, avant-garde noise genre.

Drone is created by repeating tones or sounds and vibrations. Often, the multiple tones are played at once to create a harmony, but the overall sound can be discordant. Drone was born from the industrial movement and first came into popularity when Lou Reed and The Velvet Underground hosted drone parties in Andy Warhol’s warehouse where attendees would bring instruments and play repetitive chords over each other. This genre sometimes includes theremins and

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classical instruments. It is an experimental pursuit that is always changing.

Check out: “Black One” by Sun O)))

JAPANOISE

Japanoise is a genre of experimental noise music that is made in Japan. It is fuzzy, crackly and glitchy. This genre involves layered sound and a lot (like, a lot) of static. Derived from drone, Japanoise is often repetitive.

Japanoise uses lots of Eastern instruments and weird electronic sounds and beeps. This is considered one of the most inventive genres in noise music.

Listen to: “Are We Expe ?” by Acid Mothers Temple

LOWERCASE

Lowercase music is an ambient minimalist genre derived from drone. In this genre, small, typically unheard background noises are amplified. It was invented in the ‘90s by Steve Roden who recorded an album of distorted sounds of shuffled paper. Sometimes, lowercase music is so minimalist that listeners mistake it for silence. Lowercase is meditative; its goal is to focus on the small elements of life that don’t draw attention to themselves. It requires concentration to discover the sound.

Listen to: “Forms of Paper” by Steve Roden

MATHCORE

Mathcore, a combination of math rock and hardcore, is a progressive form of metal with extremely complex time signatures that often change several times throughout a single song. It employs technical guitar riffs accompanied by screamed vocals and metal drums. It is an aggressive form of punk, often accelerating the tempo as the song goes on. It takes intelligent musicianship to write and perform mathcore songs.

Listen to: “Calculating Infinity” by The Dillinger Escape Plan

MEDIEVAL ROCK

Medieval rock is a short-lived genre from Britain in the early ‘70s that combined early folk with rock ‘n’ roll. It came out of the electric folk movement of the ‘60s. This genre includes everything from groups who use only acoustic instruments to artists who combine baroque, medieval and renaissance music with rock or pop. It often has a folky sound, featuring choir harmonies, chants, flutes, harps and bagpipes. Though it never reached mainstream popularity, there are still artists in Ireland, Germany and Britain who make medieval folk rock.

Listen to: “The Hangman’s Beautiful Daughter” by The Incredible String Band

NATURALISM

Naturalism as a genre derives from the naturalist art movement of the 20th Century in response to Romanticism. It uses elements of nature and earth to create an ambient, relaxing soundscape. Most naturalist songs features sounds of water, wind or running rivers, and are often accompanied with meditative chants.

Naturalism is often used in yoga, meditation or for sleep.

It is a key component to many ishas of Indian yoga and some world religions.

Listen to: any natural sounds or meditation collection

NEOFOLK

Neofolk is derivative of post-industrial, post-punk, apocalyptic folk, dark folk and neoclassical dark wave musical movements.

The genre includes any music that blends acoustic folk and classic sounds with experimental nuance. Most neofolk music features acoustic guitar, wind instruments and literary folklore references. What separates neofolk from folk is its pensive chord progression and polished sound, unlike that of American folk. There is an immense amount of neofolk bands, and the genre has even influenced modern groups like Neutral Milk Hotel.

Listen to: “The Punk Terrorist Anthology Vol. 1”

by Nausea

NEOPSYCHEDELIA

Neopsychedelia is a spinoff of ‘70s British post-punk and the precursor to new wave and shoegaze. It takes the basic elements of ‘60s psychedelic and progressive rock and applies new techniques, such as indistinguishable lyricism, jangly guitars and elongated jams. Neopsychedelia was a response to early punk’s anti-drug culture, and it was often called “acid punk” in its early years. Rather than having a niche audience or being born from one particular scene, neopsychedelia is a genre that has been generated over time by isolated artists experimenting with different elements of psychedelic rock and thick, blurry walls of sound.

Check out: “Mwng” by Super Furry Animals

NERDCORE

Nerdcore is a genre of hip-hop that focuses on “nerdy” subject matter, such as science and video games. It is largely part of the underground and DIY hip-hop movements. There is no one specific nerdcore sound; each artist varies from the other. It came about in the early ‘90s with independent artists like MC Frontalot and mainstream groups like The Beastie Boys with the release of “Hello Nasty,” a sci-fi, outer space-themed concept album.

Listen to: “Starbomb” by Starbomb

NINJA

Disco fox is European partner dance music born from the disco craze in the ‘70s and European cultural traditions. It sounds like a mixture of disco, dance pop, swing, foxtrot, salsa and jazz. Many songs utilize synth for a deeper sound. Dancers can begin with the basic disco fox step, but there are advanced hand placements, spins and drops they can learn. It is so popular in Germany, Switzerland and Russia that there are competitions.

Listen to: “Disco Fox 80” Volumes 1-5

NINTENDOCORE

Nintendocore is a blend of chiptunes (8-bit electronic music played from video game consoles), nerdcore and hardcore punk. It is an ever-evolving genre taking notes from metalcore and post-punk. Most Nintendocore tracks are made with electric drums, electric guitars, chiptunes and electronically produced beats. Some Nintendocore is more synth-oriented, while some is closer to true hardcore and math rock, even including screamo and emo vocals.

Listen to: “Everything Perfect on the Wrong Day” by Sky Eats Airplane

NO WAVE

No wave is an experimental response to punk music in New York in the ‘70s. It abandons all typical rock tropes for music with atonality, dissonance and distorted noise. The general theme of no wave songs is nihilistic and adversarial. There is no one specific no wave sound, but most works share a propulsive rhythm, no melody but a deep musical texture and a rejection of blues rock and punk ideals and style. No wave was short-lived but influential to experimental music in the ‘80s. It also featured a strong artistic element in which no wave artists would open galleries featuring anti-establishment and feminist art, also allowing bands to play there. The genre influenced artists such as Sonic Youth’s Kim Gordon, who is currently working on a no wave experimental album.

Listen to: “Ghost Riders” by Suicide

PIRATE METAL

Pirate metal is a form of heavy metal that also includes elements of thrash and folk. Band members and listeners dress up in historically accurate pirate costumes for shows. Most pirate metal works are pirate-themed and include pirate jargon and lyrics about being a pirate. It’s a niche genre but still a lucrative, self-sustaining scene.

Listen to: “Back to the Noose” by Swashbuckle

SHOEGAZE

Shoegaze is a mixture of psychedelic and post-punk sound. It came about during the early ‘90s. It involves a lot of musical texture, multiple fuzz pedals to create layers and utilizes distortion to create an experimental sound. The name comes from performers who stared at their shoes during shows instead of dancing or moving (likely because they were looking at their pedal boards), because early shoegaze shows focused solely on sound.

Listen to: “Loveless” by My Bloody Valentine

SPACE SYNTH

Space synth is a form of synthpop that emerged from space disco in the ‘70s. It is European electronic dance music with heavy use of synthesizers and sometimes drum machines. Space synth performances were a form of protests against socialist states in the ‘80s, and there are dozens of regional variations of the genre today such as P-Funk and cosmo rock.

Listen to: “Automat” by Droid

SPLITTERCORE

Splittercore is a high-tempo version of hardcore. The genre is a combination of techno, speedcore, cybergrind, grindcore and extratone. Splittercore is known for fast drums, super heavy basslines, electric guitar and electronically produced techno beats. The vocals are usually done in screamo style and most of this music is between 300 and 600 beats per minute.

Listen to: “Automat” by Droid

TRIP HOP

Trip hop is a genre of electronic music that came from the Bristol Sound. It derives from acid house but combines hip-hop with electronic music, pulling influence from funk, Jamaican dub and the emerging hip-hop culture in Britain in the ‘90s. Trip hop is

significant because it melded into so many other genres such as industrial, dubstep, acid jazz and new age. Artists such as Björk helped bring trip hop into mainstream pop. Trip hop features down tempo backbeats, a psychedelic texture and female-dominant vocals.

Listen to: “Pre-Millennium Tension” by Tricky

UNBLACK METAL

Unblack metal is a Christian genre of black metal.

Unblack metal artists are strongly against Satanism, and promote Christianity in their lyrics. This genre derived from doom metal and hardcore as a protest to the values of the scene in the mid-’90s. It captures the sound of raw black metal but takes away the lyrical content that makes the metal “black,” sharply contrasting the music of its roots. Many unblack metal artists use the genre as a form of evangelism within punk scenes. This genre hit its peak in the early 2000s around the world, but is still prevalent in DIY scenes today.

Listen to: “Hellig Usvart” by Horde

VEGAN STRAIGHT EDGE

Vegan straight edge is a subsect of hardcore in response to the excessive, hedonistic lifestyle many punks lead. Vegan straight edge sounds just like normal hardcore or punk, but the artists are vegan, straight edge and hold fast to the DIY ethic. This means they do not drink alcohol, use caffeine, smoke cigarettes, take drugs, take pharmaceutical medicine, participate in promiscuous sex, eat meat or eat animal products. This is a strict moralist genre for positive social change, and the people involved take a pledge to remain straight edge. The movement is named after the song “Straight Edge” by Minor Threat, who advocated that drinking made punks complacent.

Listen to: “Excruciation” by xFilesx

VINTAGE SWOON

Vintage swoon is a genre consisting of very rare oldies about young love. The majority (but not all) of vintage swoon songs come from the ‘40s and ‘50s, featuring lyrics about falling in love and heartbreak.

These are the kind of songs you find on old 45 records in thrift stores and likely wouldn’t think to listen to. Many vintage swoon tracks have clean guitar, scat singing and old style production.

Listen to: “Rare Oldies but Goodies” compilation album

VAPORWAVE

Vaporwave is a niche subgenre of electronic music and new wave born on the internet during the early 2010s. It focuses on cultural artifacts of early technology, specifically from the ‘80s and ‘90s, such as VHS tapes, elevator music and early computers. It combines this with samples of smooth jazz, ambient and other music. Many vaporwave artists use the physical medium of cassette tapes to layer and distort sound. The genre is associated with glitch art, or the vaporwave aesthetic; the art that goes along with vaporwave is just as important as the music itself.

Listen to: “Floral Shoppe” by Macintosh Plus

mtsusidelines.com

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Drumroll, please:

Band of Blue brings

funky spirit to campus Photo by: Greg Fench / Staff Photographer

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By: Tanner Dedmon / Managing Editor

F

ootball, basketball and volleyball games can be won or lost, but regardless of the outcome, there’s one element that remains constant: The MTSU Band of Blue will be there to bolster spirits and lay down their earth-shaking sound. The sheer size of the band ensures that every game, easy or difficult, will have at least one section built of die-hard True Blue fans.

Just how big is the Band of Blue? At over 350 members schoolwide, the band holds the position of largest student organization on campus. With so many students and staff participating, it’s easy to imagine maintaining a sense of collective identity would be difficult, especially when the band is further divided up into sections, instruments and responsibilities. Fortunately, the unity of the band is glued together by what some may consider a stereotype, but in this case, a beneficial one.

“In my opinion, band kids have always been the same,” said James Masek, a fourth-year aerospace student who also serves as one of three drum majors in the Band of Blue. “​In​h​ igh​s​ chool,​​they’re​​ the same​ ​people.​ ​In​ ​college,​ ​they’re​ ​the​ ​same​ ​ people.​ ​They’re​ ​all​ ​a​ ​bunch​ ​of​ ​dorky,​ ​goofy people​ ​ who​ ​are​ OK ​with​ ​taking​ ​a​ ​joke.”

That’s not to say the band itself doesn’t change, though. Masek estimates that roughly every six years, the band feels completely different as students join, return and eventually graduate.

Jimmy Cantrell, 31, is pursuing his master’s degree in exercise science while in his ninth year with the Band of Blue. Over his impressive stint with the band, Cantrell has experience with the mellophone, baritone and tuba. His desire to return each year is fueled by the friends he’s made throughout his marching career and the excitement of traveling with the teams.

Craig Cornish, the director of the Band of Blue, adds that these returning students and staff help connect the new with the old.

“The students that return carry traditions,” Cornish said. “Part of why the identity remains the same is the staff, most of which have been together for 10 years or more.”

Bringing together so many students under one collective goal is quite the task, but the Band of Blue is in safe hands with Cornish. Responsible for all aspects of the band including rehearsals, planning trips and managing staff, Cornish offers his 34 years of teaching experience -- 22 of which were spent in higher education -- to lead the powerfully spirited organization. Having written over 200 award-winning marching shows while receiving several variations of “Professor of the Year,” it’s no wonder the Band of Blue bolsters such a distinctive sound, one that they’ve become known for over the years.

“Big, loud and funky. That’s our motto,” said Masek.

And big, loud and funky, they are.

They regularly play songs that haven’t been on the radio in 30-40 years, unearthing classics and hits and bringing them into Floyd Stadium. Last year, the band even played halftime hits from Gloria Estefan.

​"I​ ​think​ ​we​ ​do​ ​a really​ ​damn​ ​ good​ ​job."

Traditions must be kept though, and the Band of Blue has plenty of them to bust out if the occasion warrants it. “That’s the Way (I Like It)” by KC & Sunshine Band rallies fans each time the Blue Raiders find themselves in the endzone, and the “William Tell Overture” will inevitably be heard between the third and fourth quarter.

While music may be the most identifiable component of the Band of Blue, it’s not by any means the only entertainment they provide.

Divided into three main categories -musicians, percussionists and auxiliaries -- the 350-strong group includes dancers and color guard alongside their musical counterparts.

Outside of football games, pep bands play at men’s and women’s home basketball games and at volleyball games, the latter aptly dubbed “Volleyband.” Take the Band of Blue out of these events, and there would undeniably be a gaping void to fill. “It would be boring without bands, that’s for sure,” said Masek. Cornish added that not having a band means less atmosphere, and less atmosphere means less attendance.

“Often, the only folks cheering for the team is the band, dance team and cheerleaders,” said Cornish.

“The band has some of the most rabid Raider fans on campus.”

Larger than most mid-major college bands, the Band of Blue still finds itself stacked up against out-of-conference opponents that have more resources at their disposal just like any other athletic team. Masek says that there might be more

initially recognizable bands, such as the University of Tennessee Pride of the Southland Band, but it doesn’t deter them from their performance.

“Most​ ​of​ ​those​ ​big​ ​bands​ ​that​ ​people​ ​recognize​ ​the​ ​ uniforms​ ​of​ ​are​ ​bigger​ ​football​ ​schools, bigger​​athletic​​schools,” said Masek. He referenced the “overwhelming” experience of playing at the University of Alabama’s Bryant-Denny Stadium.​ “​W hen​ ​you’re​ ​in​ ​the​ ​smaller​ ​conferences,​ ​ there’s​ ​not​ ​as​ ​much money​ ​going​ ​towards​ ​athletics,​ ​ and​ ​that​ ​trickles​ ​down​ ​to​ ​the​ ​marching​ ​band.​ ​We’re​ ​ a budget​ ​band,​ ​but​ ​we​ ​operate​ ​just​ ​like​ ​any​ ​other​ ​ national​ ​band​ ​does,​ ​and​ ​I​ ​think​ ​we​ ​do​ ​a really​ ​damn​ ​ good​ ​job.”

They do a “damn good job” because they throw themselves entirely into their sound at athletic events. Unlike other bands that may choose to compete competitively, the Band of Blue devotes their time to their in-game performances.

“We don’t worry about looking better or sounding better than the other band,” said Masek. “It’s all about having fun and doing it for the university.”

The Band of Blue can be heard at each home game and selective away games as well as the aforementioned basketball and volleyball games.

Every Monday, Wednesday and Friday, their booming sound can be heard wafting across campus around 1 p.m., so even if students can’t make it to the athletic events, they can still get a taste of the Band of Blue’s spirit and funky sound between classes.

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Streaming services: While indie artists thrive on Spotify, integrity dies By: Sara Snoddy / Assistant Lifestyles Editor

F

or the better part of the last two decades, the music industry has been under siege in the wake of piracy and has seen a relentless decline for in-store sales, because who really “buys” music anymore? Billboard publishes one dismal headline after the next, saying that the U.S. record industry is seeing historically low sales in 2016.

Meanwhile, ticket sales and merchandise costs are increasing.

Outsiders seem to think one issue causes the other, and some are quick to point out what they see as the source of these woes: streaming services.

You may have noticed the word “streaming” pick up steam somewhere around the time YouTube stopped letting you watch videos without annoying advertisements — those were the days. You may have also noticed its convenience or how easily anyone can now avoid forking out cash to deserving artists. Just keep listening to your free versions of Pandora, Google Play radio, Spotify, Apple Music, Tidal and whatever possibly illegal means you use in order to not pay for content. It’s not hurting the music industry, anyway. All musicians live in L.A. and have indoor swimming pools, right?

Well, that all depends on your celebrity status, which may not mean exactly what you think.

Streaming is not — I repeat, not — the same as purchasing music online from a source such as iTunes. A key difference here is the absence of “downloading,” since you’re still left with a copy of the song, album or whatever when you buy it.

Online music streaming, on the other hand, removes the actual presence of the music because there’s no need to download anything.

On the bright side, if Russia or China does hack us someday, or some other catastrophic event occurs in which no one can access the Internet, we’ll all be listening to Eric Clapton, the Beatles and Led Zeppelin.

The concept of streaming makes it easier for people to listen to music, or at least anyone who remembers the nightmare of portable CD players, but it also allows for the legal consumption a “subscription” to listen to music online is that it spreads profits pretty thin.

For instance, Spotify — a Swedish music, podcast and video streaming service launched on Oct. 8, 2008 — built their company on the desire to stop illegal file-sharing, although their tune has shifted

more to emphasize convenience for subscribers.

Right now, people can purchase premium accounts at $9.99, $4.99 if you’re a college student and $14.99 if you intend to have up to six accounts for the “family” premium plan. Those are pretty great prices for unlimited access to all the music you can dream of. But what’s good for you might not be so good for all of the artists who gave you the tunes in the first place. The reality for artists who allow people to stream their music is that they only get paid a fraction of a cent for every song of theirs that blasts through your headphones.

At first, it was hard to tell exactly what artists did or did not make from streaming services, and some, like Apple Music, made it known that they didn’t originally intend to pay artists royalties — thanks to Taylor Swift, they do now.

But here, in November 2016, we have a better idea of what those profits look like, and they’re kind of dismal on their own.

Last year, independent Nashville-based artist Perrin Lamb told the New York Times that Spotify paid him $40,000 after reaching 10 million streams for his song “Everyone’s Got Something.” Digital Music News says that’s about of music. However, a larger, more troublesome difference between buying music online and buying $0.004 (4/10ths of a penny) per play, something

15

Lamb, a part of the indie wave who make money off of YouTube, vinyl sales and house shows, seemed to be fine with.

He and other label-free musicians are probably only benefiting from streaming services because they cut out the middleman.

If Spotify pays around $25,000 for five million streams and $40,000 for ten, then an artist would receive about $5,000 for a little over a million streams. Or, to be specific, $4,955.90 for 1,023,501 plays, or so are the numbers Digital Music News reported about a specific EDM band back in May 2016 after they’d reached that number of streams.

Major label artists most definitely get more than one million plays, meaning they get paid more. But their problem is that all the money is paid to their labels and publishers, not to them directly, meaning they have to reach peak star power before they actually begin making money off of streaming services.

So, it would seem that in the new age of online music streaming, it’s the little guy that comes out on top. Mostly.

If you’re someone like Drake, and Taylor Swift is running on a treadmill white-girl-rapping to one of your songs in an Apple Music ad, you’ll probably see your sales go up like he did earlier this year.

Meanwhile, if you’re a successful indie artist, you’ll probably feel pretty good about your situation.

This leaves one last group to face the challenges of streaming: Unsuccessful to moderately successful artists who are all signed to major labels. They’re fighting to do more, tour more, sell more merchandise, build up their social media presence, do whatever they need to do in order to start earning their living in a world that doesn’t really want to pay them for their music.

Is music losing its integrity with every play? Sure.

But who cares. At only $9.99 a month, $120 a year, you can build your every occasion/activity playlists, choosing among a plethora of songs, not artists, and completely ignoring what went into that perfect “getting ready in the morning” track. Why? Because it’s convenient.

s ’ k c o r k n u P

m e l b o r p y t i v i e xc lu s

and

t i e v l o s n a c e w w ho

By Olivia Ladd/ Lifestyles Editor Spread designed by: Oukie Akins I’ve always found punk rock to be sacred refuge for those who don’t fit in with society’s standards. It is a genre that welcomes anger with open arms and turns it from raw energy into art and into action. Punk shows are a place where anyone who has felt disgusted by the world around them can lament their woes about the forces working against them, whether that is through performance, moshing or another form of expression.

However, this isn’t always the case for everyone in punk.

For many women, people of color and, LGBT and queer people, punk scenes can feel isolating and exclusive.

Many of these people find themselves in uncomfortable situations at punk shows, and at worst, victims of sexual assault and violence.

If you walk into any given DIY hardcore show, you will likely see a group of large, sweaty men thrashing violently in the pit while all-white male bands play one after another. If women or female-identifying people are present, they too often get pushed to the edges where they use their elbows to guard themselves from the reckless violence happening in the pit.

Even after movements like Riot Grrrl, where queer punk came to the front of the conversation during the ‘90s and women finally found a musical platform where they weren’t second- class citizens, problems within the subculture of punk lead the men who run it to expect women, queer people and minorities to carve out safe spaces for themselves, offering no help or support.

Queer and minority voices are lost in punk communities when we allow them to become male-dominated and run by a select group.

It can be argued that any subculture will reflect the problems of the mainstream culture from which it is derived, but catering punk to the white male experience is antithetical to all that punk stands for.

As a queer woman in punk, I often feel demeaned and ostracized from the boys’ club that runs these scenes.

I’ve been called a “groupie with a camera” while taking photos of bands for publications. I’ve made my own music and shared it with people only to have them call it “girl punk” instead of “punk,” as if me being a woman musician categorizes it as a completely different genre. I’ve been to many hardcore shows where I felt disrespected and unsafe, and didn’t even have a place

to stand in the room where I wouldn’t be hurt. I’ve had friends who were assaulted by band members who refused to admit their wrongdoings, and have to face those men every time they want to go to a show. I’ve had a camera lens broken at a punk show because adult men were being drunk and violent in the pit. And, on a daily basis, I get talked down to in conversations about music even though music is what my current job and future career plans are centered around.

I feel that mine and other queer women’s anger and experiences are often ignored by men in punk because it is not congruent with theirs. I sometimes feel like myself and other women have to operate on a different wavelength than the men we work alongside in punk scenes because they refuse to compromise, making us work around their needs while ignoring ours.

It seems men isolate women, queer and minority people in punk inadvertently because they simply don’t see the problems we face because of their worldview.

So, where do we go from here? How can we prevent misogyny and include more diverse groups of people in the punk dialogue and validate their experiences?

It begins with basic human respect. If you are active in a punk scene, local, independent or national, do not assume that what you are doing is helping marginalized people; ask those people specifically what needs to be changed and what you can do to help, then actually do the things they say. Don’t treat politically correct language like a joke; it is a small thing that can make a lot of people feel more comfortable, such as using someone’s preferred pronouns.

Listen up when your fellow punks speak out, and allow them to be heard when they feel silenced.

Second, especially within DIY venues, more queer, femme and black artists need to be booked. If you are throwing shows where every member of every band is a man, and the audience is over 90 percent men, there is a serious problem with your booking is and who you are keeping in your circles. It comes down to taking a chance on new sounds and new people. It is up to the punks

within every community to find artists that break the status quo and promote them as they would anyone else, not just help out their buddies.

Third, we need to create more safe spaces. Creating safe spaces requires being active in the fight for justice every single day. This means mindful booking, and especially not booking bands who have been rumored to have committed sexual assault or have slept with underage girls. This means calling out harassment when and where you see it happening. This means removing a band from your lineup and issuing a retraction when you hear they have done something to hurt or violate someone. This means not buying albums or merch from these bands.

This means listening to music and reading zines from women, queer and minority people and distributing and promoting their media.

To combat these issues that isolate women, people of color, queer and transgender people, punk communities need to take a second look at how well they are actually adhering to the DIY ethic. Perpetrators of violence and misogyny need to learn to accept what they have done, apologize and call out their fellow men on their wrongdoings.

It’s beyond time to quit treating women and queer people who play instruments like they are a gimmick and beyond time to stop ignoring the influence of black musicians in punk and hardcore. It’s beyond time to cut ties with bands and artists who have committed sexual assault, statutory rape and other acts of violence against women. It’s beyond time to listen to what people who may be different than you have to say.

Of course, all of this can only be achieved through open discussion; we as DIY communities must raise our consciousness and be aware of how others are feeling and find collaborative ways to solve the problems we face.

Punk as a genre has come a long way from its anti-hippie, male-dominated sphere of influence thanks to great visionaries and activists like Patti Smith,

Where do we go from here? How can we prevent misogyny and include more diverse groups of people in the punk dialogue and validate their experiences?

mtsusidelines.com Kathleen Hanna, Trash Kit and numerous others who dealt with violent threats and misogyny in order to break the glass ceiling for women in punk today.

Punk rock is an art form that is also one of the largest movements for social change of our time. It is this glorious, all-inclusive fortress from the outside world that provides a DIY platform for anyone who wants it. Punk is millions of small communities that together create a force to be reckoned with and a voice that has been unable to be ignored for 40 years. The beauty of punk lies in its anarchic freeform; we need to actively work together within our punk communities to secure that experience for all people, not just men. a lot of people feel more comfortable, such as using someone’s preferred pronouns. Listen up when your fellow punks speak out, and allow them to be heard when they feel silenced.

Secondly, especially within DIY venues, more queer, femme and black artists need to be booked. If you are throwing shows where every member of every band is a man, and the audience is over 90% men, there is a serious problem with how your booking is being done and who you are communicating with and keeping in your circles. It comes down to taking a chance on new sounds and new people. It is up to the punks within every community to find artists that break the status quo and promote them as they would anyone else, not just help out their buddies.

Thirdly, we need to create more safe spaces. Creating safe spaces requires being active in the fight for justice every single day. This means mindful booking, and especially not booking bands who have been rumored to have committed sexual assault or have slept with underage girls.

This means calling out harassment when and where you see it happening. This means removing a band from your lineup and issuing a retraction when you hear they have done something to hurt or violate someone. This means not buying albums or merch from these bands. This means listening to music and reading zines from women, queer and minority people and distributing and promoting their media.

To combat these issues that isolate women, people of color, queer and transgender people, punk communities need to take a second look at how well they are actually adhering to the DIY ethic. Perpetrators of violence and misogyny need to learn to accept what they have done, apologize and call out their fellow men on their wrongdoings.

It’s beyond time to quit treating women and queer people who play instruments like they are a gimmick and beyond time to stop ignoring the influence of black musicians in punk and hardcore. It’s beyond time to cut ties with bands and artists who have committed sexual assault, statutory rape and other acts of violence against women. It’s beyond time to listen to what people who may be different than you have to say.

Of course, all of this can only be achieved through open discussion; we as DIY communities must raise our consciousness and be aware of how others are feeling and find collaborative ways to solve the problems we face.

Punk as a genre has come a long way from its anti-hippie, male-dominated sphere of influence thanks to great visionaries and activists like Patti Smith, Kathleen Hanna, Trash Kit and numerous others who dealt with violent threats and misogyny in order to break the glass ceiling for women in punk today.

Punk rock is an art form that is also one of the largest movements for social change of our time. It is this glorious, all-inclusive fortress from the outside world that provides a DIY platform for anyone who wants it. Punk is millions of small communities that together create a force to be reckoned with and a voice that has been unable to be ignored for 40 years. The beauty of punk lies in its anarchic freeform; we need to actively work together within our punk communities to secure that experience for all people, not just men.

11.24.16

17

Staff response:

Ever wonder what Sidelines listens to?

We asked the editorial board to tell us about some of their music favorites.

-What is the best concert/show experience you've ever had?

-What is one of your all-time favorite albums and why?

-What is your favorite classic rock band; what is your favorite current rock band?

Sarah Grace Taylor | Editor-in-Chief:

My best concert is a three-way tie between Foo Fighters at the Bridgestone, which was the best performance I've ever seen; Beyoncé at Nissan Stadium, the most hype and exciting concert I've ever seen; and Eric Hutchinson at the Visulite in Charlotte, North Carolina which was the first and most intimate concert I’ve experienced.

My all time favorite album is either Hot Fuss by The Killers or Sounds Like This by Eric Hutchinson.

While Hot Fuss is a nice angsty rock album and Sounds Like This is a folksy acoustic album, they've both been favorites since early high school and can take me back whenever I run across them. They're also both super lyrically sound.

My favorite classic rock band would either be Led Zeppelin or The Eagles. Current favorite rock band is The Foo Fighters hands down.

Tanner Dedmon | Managing Editor:

There’s plenty of shows that come to mind, lots of them based on “firsts.” First music festival, first moshpit and the first show of any genre that was new to me. But one that I still remember so well was Ozzy Osbourne’s 2011 show at the Bridgestone Arena in Nashville, part of his “Scream” tour. It was an undeniably special experience to see someone live that so many current groups draw inspiration from. He opened with “Bark at the Moon” and made it evident the 60+ singer hadn’t lost a step.

I’d say I was lucky to see him before he’s gone, but Ozzy is a scientific anomaly. He’s not going anywhere anytime soon.

Hands down, one of my favorite albums of all time is The Black Keys’ “El Camino.” It came out in 2011, but it still sounds just as new as the day it was released. I’d heard a few songs from their previous album, “Brothers,” but this one blew it out of the water. There’s not one song on the album I’d skip over.

I grew up listening to classic rock in the back of my dad’s truck, holding the important role of handing him CDs to play next. From Grateful Dead to Metallica to Peter Frampton, there wasn’t a group I was left in the dark about. One that really stayed with me though was the Ramones. They just embody coolness, and there’s a good reason people still credit them with defining punk music. Recently though, I’d say Cage the Elephant definitely

keeps me checking for new music. I’ve seen them in concert four times now, so it’s safe to say they’ve got themselves a lifelong fan.

Olivia Ladd | Lifestyles Editor:

The best show I’ve ever attended was probably Ty Segall on his Manipulator tour in 2014 at Mercy Lounge here in Nashville. It was one of the first shows I attended upon moving to Tennessee from a place where the music scene was limited to local hardcore and punk bands. I remember walking in the venue, staring at the sea of red Vans and feeling like I just fit there. The band wore Bowie-esque face paint, boasted a distortion-heavy pedal board and turned short punk songs into drawn-out jams. I had never been in a crowd with so much raw energy.

The 500-capacity room was a mosh pit from front to back, I jumped in, getting knocked down and simultaneously helped up by the diversely aged and gendered crowd. My friend somehow jumped on stage and got to sing “My Sunshine,” with the man himself. I remember looking up in that moment, the stage lights a dim yellow illuminating the hazy fog that floated above the crowd, feeling the reverb throughout my core and thinking “Wow, I want to do this forever.” It was one of the shows that influenced me to pursue a career in music journalism.

One of my favorite albums of all time is Loveless

by My Bloody Valentine. Though it was released five years before I was born (1991), it sounds like it was made in a futuristic space vacuum, and no other band has ever to come close to replicating the particular sound of this record. Loveless is rated by Pitchfork as the best shoegaze album, and I doubt you could find many people who disagree with that.

With Loveless, MBV revolutionized post-punk with their never-before-heard use of distortion and experimental noise to create what is still one of the most groundbreaking sounds in music history.

It combined ‘60s pop with stoner rock and early shoegaze. This album is said to have influenced the likes of Radiohead and Brian Eno, and it’s a prototype for fuzz pop and shoegaze records today.

From the heavenly drum fills to the static feedback, this record gives me that feeling that only comes from discovering good music for the first time, every time.

My favorite classic rock band is Grateful Dead,

there's no denying their influence on psychedelia and their Sunshine Daydream concert in Venetia, Oregon in 1972 is, in my opinion, the best live concert recording out there. My favorite current rock band is Bully, their sound is so grunge and unapologetic.

Sara Snoddy | Assistant Lifestyles Editor:

I’ll always remember going to the Jagermeister Tour in Biloxi, Mississippi, in April 2005, right before Hurricane Katrina. I was only 11 so I’m not sure what my parents were thinking, but seeing Alter Bridge, The Exies, Submersed and all of the other bands play was an experience I’ve never forgotten. It was the last concert I ever went to with my brother, since he was leaving our home soon after, so the memory of it is kind of bittersweet.

What really stuck with me that night was how nice Freddy Herrera, bassist for The Exies, and Dennis Wolfe, their former drummer, were to me when I had the band sign my Exies poster. I had on a black shirt with jewels spelling out “Girls Rule” and Freddy laughed and gave me a high five, while Dennis was really interested in talking to me about how it was my third rock concert.

I love The Black Keys and smaller bands like Daughter, Deaf Joe and Whitaker, but I have to say that one my favorite albums belongs to Florence + The Machine. “Ceremonials” is just a celebration of their brand of anthemic pop, where each song is just as good as the last. It may not have that stand out track like “Dog Days Are Over” from their first album, “Lungs,” but these are the kinds of songs I’m always in the mood to hear when they come up in my playlist.

I can’t really choose one classic rock album because all I used to listen to as a kid was the many different types of rock, but these were some of my favorite artists and genres: Phil Collin’s soft rock; Chevelle’s grunge rock; Disturbed’s heavy metal; Simon and Garfunkel’s folk rock; and Queen’s progressive rock (really it was just Freddie that I loved). My favorite albums, per se, were Chevelle’s “Wonder What’s Next,” Audioslave’s self-titled album, and everything Guns N’ Roses and Evanescence put out. Right now I’m into mostly synth pop and EDM, so the most “rock” bands I’m listening to are She Wants Revenge, twenty one pilots and Muse.

11.24.16

mtsusidelines.com

Amanda Freuler | News Editor:

My favorite concert experience was seeing Fall Out Boy and Wiz Khalifa at Bridgestone Arena. They were an odd, but amazingly fun, pair to see!

One of my favorite albums is “Dark Is the Way, Light Is a Place” by Anberlin. This album is typically my go-to, rainy day soundtrack, but you can just as easily find relatability and meaning in the words on perfect days too.

I’m a sucker for Def Leppard, and it’s hard to pick a favorite current rock band because there’s so many to choose from. Lately, I’ve really been loving Atlas Genius and Foals.

Andrew Wigdor | Assistant News Editor:

My favorite concert experience was seeing Conor Oberst at the Ryman Auditorium in Nashville.

He has a particularly genuine voice, and his lyrics are always fascinating. Also, that concert was just a few weeks from election night, and he provided the audience with a hilariously searing monologue about one of the candidates. The crowd was very energized and enthusiastic, making the whole concert a blast to watch. Oberst played one of his most famous songs at the end, and everybody joined in and sang along.

One of my all-time favorite albums is “Sometimes I Sit and Think and Sometimes I Just Sit” by Courtney Barnett. I love the album’s sarcastic humor and satire. Barnett’s observations on life are smart but not overly intellectual. She claims to be discontent with the status quo, but she is not the right person to provide the solutions. That comedic irony is so well outlined and enjoyable within the lyrics. Her voice is very unique, and I would have to say that it is an acquired taste. I’ve probably listened to the album 20+ times since my discovery of it last year.

My favorite classic rock band is Styx, hands down. I also consider them to be my favorite band in general. Their lyrics, tone, sound and style are unbeatable for me. They really know how to rock a synthesizer, as well. I fell in love when I first hear Renegade, and I have been hooked ever since. As far as current rock bands, I’ve been listening to indie rock recently, and I have really been enjoying Father John Misty and Conor Oberst.

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Sam Wycoff | Design Editor:

So far, my all-time favorite concert was seeing Muse in Nashville at the Bridgestone Arena. The music and light show combined made for a great performance, and they sounded amazing playing live. I met a lot of interesting people like a group of women who called themselves “Museketeers.” It was my first concert since beginning college, and I had a great time!

I am not sure if I have a favorite album because I always buy about one or two songs off of different ones. Some of the albums where I have recently bought a few songs are from Ariana Grande’s “Dangerous Woman,” Fall Out Boy’s “Save Rock And Roll” and a lot of The Chainsmokers’ singles. I love listening to current pop music, but I always go back to dubstep and alternative genres!

My favorite classic rock bands are Metallica and Guns N’ Roses. As for current rock groups, I’m really into Disturbed, Rammstein and Skillet.

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