Issue 54 by tastemakers

Pop Musicâ&#x20AC;&#x2122;s Gripping Identity Crisis | 8

Industry Plants | 40

Tastemakers: Under The Hood | 46

northeastern students on music

No 54

Get Involved Want to become a Tastemaker? Click get involved on tastemakersmag.com Snapped some awesome photos at a concert? Email them to tastemakersphoto@gmail.com Heard an album that really got you thinking? Send a review to tmreviews@gmail.com

Get More Canâ&#x20AC;&#x2122;t get enough? Check out more original content on tastemakersmag.com Become a fan on facebook at facebook.com/tastemakersmag

E-Board President Justine Cowan Editor-in-Chief Jason Levy Art Directors Aarti Amalean Claudia Bracy Promotions Director Hannah Crotty

Staff Features Editor Christopher Miller Reviews Editors Tim DiFazio Nikolas Greenwald Interviews Editor Jonathan Vayness Photo Directors Lauren Scornavacca Rio Asch

Social Media Directors Emily Harris Kristie Wong

The Team

Staff Writers Addy Pedro Aditya Chetia Akosa Amenechi Alex Trzaskowski Alexander Wetzel Allison Bako Amanda Sturm Bryan Grady Christian Triunfo Chuck Stein Drew Quercio Elena Sandell Emma Turney Erin Merkel Fisher Hunnewell Grant Foskett Helen Snow Hue-Ninh Nguyen Isaac Feldberg Joanna Moore Jonas Polin

Joseph Bondi Matthew Schuler Max Rubenstein Maya Dengel Miles Kirsch Mona Yu Pratik Reddy Quinton Hubbell Rachel Ellis Rayven Tate Ryan Clark Sabrina Zhang Sean Stewart Seth Queeney Stacy Andryshak Taylor Piepenbrink Vishal Makhijani Willa Shiomos Zac Kerwin Art & Design Alex Agahnia Allison Bako Anna Rychlik Anna Smith Brooke Dunahugh Jackie Arce Kat Minor Natalie Duerr Roman Distefano Ryan Fleischer Sam Marchesi Stephanie Miano Promotions Annina Hare Ash Livid Brandon Yap Caitlyn Ark Cara Jones Fisher Hunnewell Hannah Lowicki Jane Slaughter Joey Handel Julia Boll Katie Isbell Kiera Perryman Kylie Ponce Laura Masnato Matthew Malcolm Patrick Milne Rishabh Pudhota Spencer Haber Taylor Poehlman Tiffany Li-Ah-Kim Victoria Specht

Photography Abbey Hembree Aidan Cooke Alex Aghania Anna Smith Alex Melagrano Alex Pesek Alison Kula Amanda Stark Annina Hare Anushka Sagar Brandon Yap Brian Bae Brigid Sanepour Calem Robertson Carley Rowe Casey Buttke Casey Martin Catherine Argyrople Colleen Curtis Derek Schuster Elice Ongko Emily English Emily Porter Emma Ingallinera Frances Lee Gilbert Wong Jacob Chvatal Jay Brimeyer Joyce Hsieh Julia Aguam Justin Vega Katie Kettinring Kristen Chen Lauren Scornavacca Lydia Tavera Maddy Land Maggie Navracruz Natalie McGowan Nik Pousette Harger Nina Spellman Nola Chen Paul Molander Peiying Li Phi Dieu Hang Nguyen Prachi Gupta Rayn Tavares Rayven Tate Rio Asch Phoenix Saakhi Singh Sam Cronin Sean Kolczynski Tyler Blint-Welsh

Meet the Staff

About Rio Asch Position Photo Director Major Media Arts Graduating Spring 2019 Favorite Venue The Sinclair Tastemaker Since Spring 2016

Miles Kirsch Position Staff Writer Major Bioengineering Graduating December 2019 Favorite Venue Bowery Ballroom Tastemaker Since Spring 2018

Claudia Bracy Position Art Director Major Design Graduating Spring 2019 Favorite Venue The Bomb Factory Tastemaker Since Spring 2018

Catherine Argyrople Position Photographer Major Media and Screen Studies Graduating Spring 2022 Favorite Venue House of Blues Tastemaker Since Spring 2018

Listening to

Smino blkswn Vince Staples FM!

Quote

“Maybe one day I’ll be funny...”

Freddie Gibbs “Location Remote”

Mick Jenkins “Pieces of a Man”

“I don’t like gravy.”

Black Star “Thieves in the Night” Raveena “Shanti”

Alice Merton No Roots EP

“That’s a no for me dog.”

Childish Gambino Summer Pack Positive K “I Got A Man”

Greta Van Fleet “Safari Song” Greta Van Fleet Anthem of the Peaceful Army Tom Grennan Electric Light

“What would Ferris do?”

photo

Masego, Royale

Photo by Rayn Tavares (Mechanical Engineering)

Table of Contents Cover Story

The Life & Death of Hatsune Miku

Editorials

Features

Take a dive into a world you may never have even heard about: digital singer culture in Japan.

Most fans lose interest in their favorite bands once their once-steady lineups change, but sometimes that change is a recipe for success.

Reviews

17 42

Album Reviews

Mitski, Garbage, Little Dragon & Gorillaz, Kali Uchis

Brandie Blaze

Join Justine Cowan as she chats with new Green Line Records signee, Brandie Blaze.

Editorials

Calendar

Local Photos

Many musicians these days seem to shun the traditional album release structure of yesterday, and as such LP length is now more varied than ever.

The Americanization of Grime

Industry Plants Writer Maya Dengel explores the perplexing modern paradox of industry-produced musicians who identify as “self-made.”

Tastemakers: Under the Hood We finally took stock of just what music everyone in Tastemakers is into. It’s time to run through the new census.

Local Talent

Artist vs. the Algorithm

Grime music is experiencing a bout of “americanization” at the moment, and many of Britain’s established hip-hop artists are struggling to keep up.

Pop Music’s Gripping Identity Crisis Personas and alter egos are nothing new in pop music, but every star uses it to push a different agenda.

Dreamville Spotlight: The Next Greats of Hip-Hop and R&B J. Cole’s label is home to some of the genre’s brightest rising stars.

Interviews

The Sober Guy’s Guide to Stoner Metal

Religion in Popular Music: How Artists Make God Mainstream Different artists tackle religious themes with varying degrees of subtlety, but just when does it work out commercially?

Stoner metal is so much more than Black Sabbath and The Grateful Dead, and you don’t need weed to enjoy a single moment of it.

Fucked Up, Lil Peep, Kero Kero Bonito, Sheck Wes, Juicewrld & Future

Show Reviews

The Replacements: How New Members Create a New Sound

Tory Silver Join Maya Dengel as she chats with the Boston singer.

Etcetera

16 34

In Defense of The Con by Tegan & Sara

Tastemakers Classic Review: XXX by Danny Brown We may have missed covering this Danny Brown magnum opus back in 2011, but now it’s time to revisit the classic.

45 50

My Favorite Song Writer Grant Foskett dives into what the simple but affecting “Oblivion” by Grimes means to him.

Just A Taste of Julian Yeboah

Calendar January Su

Mendelssohn and Dvorak Boston Symphony Orchestra

Noname Royale

Panic! At the Disco SNHU Arena

The Lemon Twigs Paradise Rock Club

Jesse McCartney House of Blues

Petal Brighton Music Hall

Rockommends

17 The Verve Pipe City Winery

MØ House of Blues

KONGOS Brighton Music Hall

Pop Evil Paradise Rock Club

Kacey Musgraves Wang Theater

Neko Case Royale

King Princess Royale

Noname January 10 @ Royale

Petal January 27 @ Brighton Music Hall

If you happened to miss Noname’s set at this year’s Boston Calling, you’ve got another chance to see her in the Boston area this January, and with a whole slew of brand new material. The Chicago rapper and poet is touring fresh on the heels of her sophomore project, Room 25, and her mix of spoken word and melodic intonation is sure to mesmerize any crowd.

Indie rock band Petal is hitting the road in support of this year’s Magic Gone, an intimate and poignant journey through the inner anxieties and revelations of songwriter Kiley Lotz. Her unflinchingly honest lyrics, paired with a powerful, classically trained voice, promises maximum emotional impact. It’s the musical equivalent of settling in for a heart-to-heart with a close friend.

Nik Greenwald (Chemical Engineering)

Justine Cowan (Marketing)

February Su

you can view the calendar online at: http://tastemakersmag.com/calendar

Eric Church TD Garden

Sharon Van Etten Royale

Ripe House of Blues

Car Seat Headrest Royale

I’m With Her House of Blues

Poppy House of Blues

Beirut House of Blues

Switchfood House of Blues

Andrew McMahon House of Blues

Houndmouth Paradise Rock Club

Morgan Wallen Paradise Rock Club

The Kooks Orpheum Theater

Poppy February 4 @ House of Blues

Car Seat Headrest

Would you like to attend a concert for a gender-fluid, AI-inspired, Internet cult leader? Or perhaps you’d simply like to jam out to some polished, fashioninspired pop music sprinkled with a few heavy metal numbers and a sinister underlying agenda. If so, head to the House of Blues for Poppy’s “Am I a Girl?” Tour on February 4th.

Tastemakers Presents veterans Car Seat Headrest are playing the Royale this month, so be sure to catch them if you missed them at Afterhours! The bold rerecording of their early Bandcamp project Twin Fantasy is one of the most dynamic and engaging projects of the year, and CSH know how to put on a high-energy show for longtime fans and novices alike.

February 14 @ Royale

Drew Quercio (Music Industry)

Tim DiFazio (English)

23 Ron Pope City Winery

pop music’s gripping Editorial

IDENTITY IDENTITY IDENTITY CRISIS CRISIS CRISIS

Since David Bowie’s Ziggy Stardust, the music world has recognized and welcomed the concept of pop personas. Over the years, this concept has been stretched and reconfigured for multiple purposes, ranging from branding to maintaining privacy. These identities and the ways they are expressed add colorful nuance to the pop scene while also revealing deeper truths about human beings regarding what is and isn’t appropriate to present to the world. Such messages are not expressed through cookie-cutter approaches to popular image. Pop music today offers a diverse spectrum of identities that vary in how far removed they are from those who present them. In practice, they allow artists to connect much more easily to their audience and keep their attention.

Designer: Natalie Duerr (Interactive Design)

POPPY

After turning heads online with her eerie YouTube channel, Poppy has established quite a cult following. Playing a character in her music, YouTube videos, and interviews, she recounts being “made” in a “sterile place” and constantly refers to a vague “them” who controls her every move. Based on an idealized and completely inhuman version of a female pop star, Poppy goes off the deep end in exposing the lengths the industry will go to win audiences over with presentation and exploitation. Even her album titles 2017’s Poppy.Computer and 2018’s Am I A Girl? suggest something sinister about her persona. In this case, Poppy uses a character to make a larger statement regarding an entire industry and its tendencies to manipulate or reinvent those who dare to step into it. Judging by the bizarre and fascinating approach that she takes, the message certainly comes across.

KING PRINCESS

Fall 2018

19-year-old Mikaela Strauss is mostly known for her queer, breakout single “1950,” which opens with the declaration of affection for a female love interest: “I hate it when dudes try to chase me/ But I love it when you try to save me/ ‘Cause I’m just a lady.” King Princess, as a stage name, accomplishes the same mission her music sets out to achieve, which is to blur the lines of gender. Strauss is the product of true musicianship (after all, she played every instrument on her debut EP Make My Bed except a few guitar licks) and an adamance for authenticity. In this situation, the stage name is merely a projection of the artist’s ideals that fans can latch onto. When commenting in an interview on whether or not she just chooses to gender her music by using only female pronouns, she laughed and stated, “Well no, straight people don’t think about that shit. [They’re] Putting out terrible fucking music all the time, gendered to the gods.” King Princess is a powerful young voice in today’s industry, taking up her rightful throne and exposing young adults to long-overdue representation. With her androgynous and captivating stage name, she broadens the scope of what can be expected of young female artists.

ALLIE X

Since the release of her first single, “Catch” in 2014, Allie X has been actively presenting herself as an unknown figure. The Canadian pop artist Alexandra Hughes has adopted the concept of “X” into both her life and career as a tool for self-discovery. She cites mathematics as the inspiration for this because of its containment of the unknown or unsolved. She reflects this, often in seldomly removed statement sunglasses (bar a few select performances) and by inviting fans to embrace their own “search for X.” Her first two projects, aptly named CollXtion I and CollXtion II (pronounced: “Collection One” and “Collection Two”), deal with the struggle of establishing identity. Her first project tackles the idea of finding one’s self in another person and the second explores how much of one’s identity is organic versus how much is informed by past traumas and experiences. Her newest project Super Sunset utilizes three different draginspired personas conceived by Allie herself which consist of the Hollywood Starlet, Sci-Fi Girl, and the iconic Nun featured on the cover art. Allie X proves that people are not to be defined by appearance by embracing taking on many at once and finding a home in the unknown, where there is room for vast expression.

SIA

One of today’s biggest forces in pop music, Sia Furler actually began her career fresh-faced in the late 20th century. She created a long string of studio albums including Healing Is Difficult and Some People Have Real Problems which explored an indie sound and garnered her a fairly respectable audience with surfacing singles like “Breathe Me.” It wasn’t until 2014, when she decided to drop the pop bomb on the industry, that she truly took on the form many people know her for today. During the conception of her smash album 1000 Forms of Fear, she decided to alter her image in a way that would give pop music something it was lacking: mystery. The iconic bob which covers her face on stage and is worn by dancer Maddie Ziegler during performances provides a form of branding for Sia as an artist, while also maintaining a measure of privacy for her. Being such a huge star, her team has taken full advantage of the public’s embrace of this piece by centering her clothing merch around the hairstyle and even selling identical wigs for fans across the globe. Sia’s willingness to step out of the spotlight also leads to wildly unique concert experiences in which she sings off to the side of a giant stage occupied by expressive dancers who perform complex and interpretive choreography not typically welcome in a pop music setting. Sia’s approach to self-presentation gives her a solid brand and offers up a whole new medium of expression and collaboration, all of which is truly genius.

ST. VINCENT

Former Berklee student Annie Clark has been performing under the pseudonym St. Vincent for over ten years. This persona serves as the vessel for the harsher and more realistic messages/ narratives Clark portrays, taking on different forms for each respective project. A couple of these are the “near future cult leader” for her self-titled release in 2014 and the “housewife on pills” for her 2011 album Strange Mercy. While St. Vincent often seems fairly distant in her storytelling from her true self, the wall was recently broken down on her latest studio album, 2017’s MASSEDUCTION. The record includes a track titled “Happy Birthday, Johnny” which describes the tragic decline of an old friend of hers. It becomes incredibly intimate in the heart wrenching third verse where she pleads, “What happened to blood, our family? Annie, how could you do this to me?” from said Johnny’s perspective. St. Vincent shows us that eventually the line must be crossed from persona to person--even if it takes five solo albums. • Drew Quercio (Music Industry)

Editorial

The Replac ements How New Members Create a New Sound Many bands go through changes in their members throughout the course of their music careers. It’s only natural – people change, priorities shift, artistic visions in the group clash. This is totally common, but sometimes a member’s departure is enough to dramatically alter the band’s entire dynamic and sound. Here’s a look at some bands in rock and hardcore that have gone through it.

Designer: Alex Agahnia (Marketing and Design) Fall 2018

Blink 182 The pop punk legends in Blink 182 have always had their inner conflicts, but in 2015 their creative and personal differences caused band member Tom DeLonge to leave indefinitely (allowing him to pursue UFO research). With perhaps one of the most well-known voices in the genre, the band responded by bringing in Matt Skiba of Alkaline Trio. The group put out their first record in 5 years titled California, which did away with most of the punk portion of their pop punk origins. With Skiba and Hoppus as covocalists, Blink 182 embarked on a huge worldwide tour to support the album. Bringing Skiba into the mix at least brought in a new energy to their performances, but he had huge shoes to fill and unfortunately, his own vocal range doesn’t quite match what fans were expecting. But then again, anyone who expected anyone but DeLonge himself to properly deliver the lines to “I Miss You” was just setting themselves up for disappointment.

Panic! At The Disco Panic! At The Disco are one of the few groups to maintain actual relevancy beyond the 2000’s era of emo and pop punk and they might have had one of the most dramatic shifts in direction after their lineup changes. Originally consisting of Brendon Urie, Ryan Ross, Spencer Smith, and Brent Wilson, the group’s lineup has been changing and swapping out members constantly for nearly a decade now. Wilson was the first to go in 2006, and guitarist/vocalist Ryan Ross and then-bassist Jon Walker followed three years later over creative differences. Drummer Spencer Smith eventually followed suit in 2013 due to substance abuse issues. The group has always played with various genres and aesthetics, and now that Urie is the last original member, he’s been able to exercise free reign on the band’s creative direction – and has been greatly rewarded as a result. While it’s hard to compare the widely varying eras of Panic!, it’s safe to say that this recent development was an overall positive move for the band’s reputation, though it might be more apt for Urie to rebrand as “Brendon Urie & his backup band.”

Of Mice & Men Metalcore band Of Mice & Men underwent a significant lineup change when frontman, lyricist, and founding member Austin Carlile announced his departure from the band in late 2016. The singer has struggled with Marfan syndrome, a rare connective tissue disorder, which has caused the band to cancel multiple tours in the past. He has been quite open with his fans about the disease and its impact on his life, but ultimately left for health reasons related to this disease since it now prevents him from screaming on their songs. Though many fans were saddened by this news, the group kept going. OM&M’s latest album Defy was released at the beginning of the year and was the first without Carlile. The band also tried their first tour without the singer following the release and are touring heavily. Nowadays, the band’s bassist Aaron Pauly assumes the roles of both clean and unclean vocalist (while still playing bass!) and actually does it pretty well. This band handled such a dramatic modification with grace and came out on top, but it’ll be interesting to see whether they’ll be. able to make it last.

Linkin Park The news of Chester Bennington’s passing last July was truly shocking to many and spurred thousands to rally together to remember Bennington’s life and legacy as a musician. As the group’s primary vocalist, Bennington was often the center of media attention while he and bandmate Mike Shinoda wrote the band’s lyrics together. They’ve yet to release anything as Linkin Park since, but Shinoda recently put out a debut solo LP titled Post-Traumatic as a way of coping with the situation and is in the midst of a solo tour. It seems unclear whether the group will continue without Bennington and the road back to normalcy will certainly take them time, but it will be interesting to see what comes out of it and what a Linkin Park without their main singer might sound like.

Paramore Anyone that has followed Paramore for a few years is likely aware of the rollercoaster that is the group’s member history. Similar to Panic!, frontwoman Hayley Williams is the only original member in the group that has been involved throughout the entirety of the band’s career. Former guitarist Josh Farro and Williams wrote their first three records together, but when Farro and his brother Zac left the group in 2010, it felt as though they took with them the group’s energy and pop punk-like sound that initially drew fans in. Following that, bassist Jeremy Davis left in 2015, and Zac re-joined in 2017. Davis’ departure, Williams and guitarist Taylor York have been writing and have moved the band in a much more pop and radio-friendly direction. Clearly Williams is a central part of the group’s story and overall draw and she clearly has a lot of say in how the group’s sound evolves. It’s difficult to say whether these shifts can be attributed to the band’s changing members or if they were just a natural development, but it seems at the least very coincidental that the band’s genre has shifted so dramatically after each event.

• Taylor Piepenbrink (Music Industry)

Cover Story

A POSTMORTEM OF VO CA LO I D C U LT U R E

Fall 2018

The blue-haired 16-year-old Japanese girl has over 300,000 songs credited to her as a vocalist, including collaborations with the likes of Pharrell Williams, SOPHIE, and Zedd. She has opened for Lady Gaga, gone on her own sold-out worldwide stadium tours, and even appeared on the Late Show with David Letterman. With so many accomplishments, it may not be surprising to learn that she is not real. So, who is this 16-year-old illusion, and how did she take over the internet? The technology to create digital singers – voices generated from a computer using melodic and MIDI input from a producer – is almost 20 years old. While VOCALOID (the brand of singing synthesizer to which the likes of Miku belong, developed by Yamaha) has existed since 2003 and been available to producers for purchase, its popularization

didn’t occur until 4 years later. The original voices available for purchase were faceless, with no character association or unique identity beyond the utilitarian nature of digital vocal computer software. What was missing from the inaugural days of digital singers was the same thing we crave in our flesh-and-blood celebrities: a face, a unique name, a story. The software was marketed more as a sort of MIDI-based instrument than a singer itself. This however, changed with our blue-haired heroine. Miku was released in August of 2007, and notably she was accompanied by the aesthetics of a character: two pigtails that touch the floor, a retro-futuristic schoolgirl outfit, and the basic biographical information that she was “16 years old” (if that even means anything as a fake person). The only missing thing was a personality. Several songs began to appear and accumulate millions of views on the Japanese video-sharing site Nico Nico

Douga, including the likes of “ミクミクにしてあげる♪” (“I’m Gonna Miku Miku You♪”), “Packaged,” and “メルト” (“Melt”). Juvenile in nature, these tracks detailed everything from young love (see the latter) to the entirely cryptic and nonsensical (see the former). But more importantly, they set the basis for who “Miku” is. Miku is light-hearted: she is youthful and cares about what others think and gets caught up in the frivolity of being young and in love. Songs like “ロミオとシンデレラ” (“Romeo and Cinderella”) developed her clumsily romantic persona, and “恋は戦争” (“Love is War”) brought about a sense of teenage angst in the young idol. Miku is simultaneously profound and aware of her existence as a computer program and the existential implications of such. The song “初音ミクの消失－DEAD END－” (“The Disappearance of Hatsune Miku－DEAD END－”) both established Miku’s fear of being uninstalled and created one of the fastest vocal melodies in musical history, commonly perceived to be impossible for humans to sing. The songs that propelled Miku, and other VOCALOID characters to their success’ were not made by well-versed

Cover Story professionals but rather young adults and teenagers on their computers. Most if not all instruments were digitally synthesized, and for many of the musicians garnering fame alongside VOCALOIDs, it was their first stint in songwriting and record producing. Equally a catalyst of digital singer’s popularity was the derivative work that followed. Artists created viral illustrations inspired by Miku’s songs, and animators even created full length music videos. Human singers made covers and people invented choreography, tagging them on Nico Nico appropriately as “歌ってみた” (“I tried to sing”), “踊ってみた” (“I tried to dance”) and “MVを作ってみた” (“I tried to make a music video”). VOCALOID (and other brands of singing synthesizer software, for that matter) experienced a peak of sorts between the years 2012 to 2014. Producers created thousands of songs for a diverse and ever-growing roster of digital divas, and the culture started to spread outside of Japan, as American producers such as Crusher-P, Eyeris, and Circus-P began to amass views on YouTube with their songs in English. ZEDD featured Miku on the

Fall 2018

Japanese release of his debut album with a remix of the song “Spectrum” created by livetune, a popular Japanese producer, with the assistance of Circus-P. Pharrell Williams in turn remixed livetune’s track “Last Night, Good Night” for the 2014 film Jellyfish Eyes. Crusher-P spawned “ECHO,” an English song featuring the VOCALOID Gumi, which has gone on to receive more than 60 million views across platforms, effectively making it the most popular English VOCALOID song to date. As with most niche internet subcultures, even the largest bubbles must burst. 2015 saw the beginning of speculation for the so-called “death of VOCALOID.” Fewer videos were uploaded to Nico Nico Douga, and the list of songs entering the “Hall of Fame” and “Hall of Legend” (receiving 100,000 and 1,000,000 views, respectively) on a yearly basis was diminishing. Popular producers responsible for the birth of the phenomenon, such as ryo and Hachi, had either moved on to other ventures or entirely ceased from creating music in any public sense. Fans theorized that a cause of the marked decrease in viewership was the trend of no longer

including the VOCALOID “character” in music videos, instead opting to include other characters to tell a producer’s own original storyline. Some even skipped on the anime-adjacent aesthetic all together. cosMo@暴走P, responsible for “初音ミクの消失－DEAD END－” released a sequel to the song titled “リアル初音ミクの消失” (“The Real Disappearance of Hatsune Miku”) which featured cryptic lyrics on the “new” overwriting the “old.” Fans speculated the song was about the death of VOCALOID culture. When commissioned to create the theme song for Magical Mirai (the largest yearly Miku-themed stadium concert) in 2017, Hachi, who had since retired from VOCALOID music years ago, created the jaded song “砂の惑星” (“Sand Planet”) which morbidly described Miku’s desertion by creators like him in favor of pursuing other endeavors. The fact that a song about the death of Miku would be the theme song for the largest yearly VOCALOID concert is not only delightfully meta, but also mimics the self-aware characterization originally endowed to Miku. For a hologram (and a dead one at that), Miku and friends are still doing pretty

one-trick pony. As producers become more and more relevant globally, musicians who only market their career off of one instrumental trait (where the voice is also considered an instrument) become more endangered as they are interchanged for whoever, or whatever, is easier to work with. Poll a group of producers: a majority will say they favor the sound of a real violin to a MIDI based virtual instrument. Poll that same group and a majority will say that it is easier to get a MIDI violin virtual instrument or a sample than it is to work with a real violinist, and low and behold we hear “fake” strings all the time in pop and hip-hop. Hatsune Miku teaches us in a sort of Black Mirror way that in a saturated market, talent doesn’t cut it – relevancy requires a sort of aesthetic practice. If we want to stay alive, we too must become shapeshifting mavericks or risk defeat by the ghost of a hologram – which would admittedly be a pretty cool way to go out. • Nik Greenwald (Chemical Engineering)

Designer: Jackie Arce (Experience Design)

well. Several years after the rumors of her “death,” songs are still being created in her name, and are doing exceedingly well, both in Japan and overseas. Some older producers, like Mitchie M and みきとP have stuck around, and newer producers such as KIRA frequently produce songs that go on to surpass a million views. What is unique to the VOCALOID phenomenon in the broader spectrum of global music culture is that it is not inherently tied to a specific genre, styling, or personality. Hatsune Miku is only limited by the will of those who work with her. She doesn’t have an ego, and she has no artistic integrity. There are no songs she “won’t do.” Her digital complacency has allowed her to live through a substantial cultural shift, the kind that has been shown to end the careers of many living, breathing musicians. She is the quintessential sellout. People commonly misjudge VOCALOID when first introduced to it by assuming its endgame is to replace real singers entirely; it’s an unlikely dystopian future, the likes of which even a fan like myself is reluctant to see. Where VOCALOID does endanger current artists is where it unveils the weakness of the

IN DEFENSE OF

TEGAN AND SARA

Fall 2018

THE CON

“ Lyrically The Con is one of the best written albums of its decade.”

On “Nineteen,” one can imagine what it feels like to be in love for the first time with lyrics like, ‘I felt you in my legs before I ever met you.’ This song in particular has lasted the test of time as one of the most beloved Tegan and Sara tracks. It means so much to people in fact that when I saw the duo on

their 10-year anniversary tour of The Con, you could not find a dry eye in the room while they played this. Other lyrical triumphs come from the only true LGBTQ anthem on the album “I Was Married,” where Sara questions those that oppose gay marriage: ‘I look into the mirror for evil that just does not exist. I don’t see what they see.’

“ The unpolished feel of The Con only aids in its message and vulnerability.” The scattered lyrics are met with equally dramatic melodies. On “Burn Your Life Down,” the drums build to the last line where Tegan screams out, ‘I break my heart around this.’ The duo plays with dark pop as they sing about being trapped in a relationship on “Are You Ten Years Ago.” Stylistically, The Con is all over the place, jumping from piano ballads on “I Was Married” to upbeat pop-rock on “Back in Your Head,” and ending with an acoustic guitar on “Call if Off,” effectively doing Ed Sheeran prior to Ed Sheeran. On the surface, I would agree with critics that called this album erratic. Of course an album that is written about the most emotionally turmoiled part of the artist’s life is going to be erratic! The unpolished feel of The Con only aids in its message and vulnerability. It is a shame it took 10 years and a covers album for people to finally recognize Tegan and Sara as artists in their own right and not just the butt of every butch lesbian joke. • Emma Turney (Communication)

Designer: Stephanie Miano (Interaction Design)

Etcetera 16

In 2007 when Tegan and Sara released The Con, the world wasn’t ready for two lesbians with emo haircuts singing about their feelings (in fact, in their early days their haircuts were talked about more than the music). The album was bizarrely ahead of its time and it showed in the reception, with Pitchfork infamously calling the record “tampon rock.” Even though The Con may feel all over the place both lyrically and musically, it only further reflects the emotional turmoil presented on the record, best summed up by lyrics from “The Con”: ‘Well, nobody likes to but I really like to cry.’ Lyrically, The Con is one of the best written albums of its decade. That is one of the main reasons it cemented a hardcore fan base of other LGBTQ people who saw themselves in the twins. The album covers themes of first love, emotionally abusive relationships, bittersweet breakups, and even death. The mood swings that develop over the 14 tracks are extreme and honest as a result. Even when critics slammed the duo for being off key or out of tune at times, everyday people connected with this album because, in all its irregularities and imperfections, it feels authentic and real.

Album Reviews Fucked Up

Dose Your Dreams 9 Release Date October 5 Label Merge Records Genre Art-Punk / Post-Hardcore Tasty Tracks “None of Your Business Man,” “I Don’t Wanna Live in This World Anymore,” “The One I Want Will Come For Me” Since their inception at the beginning of the 2000s, Fucked Up has evolved from the bare basics of hardcore to join the ranks of the few modern punk bands still worth listening to. By eschewing the monotony of squawking vocals and poor guitar playing, Fucked Up has become one of the stalwarts of a new wave of art-punk, joining the likes of IDLES, Parquet Courts, Tropical Fuck Storm, and more in trying to breathe new life into a genre that was left on the brink. And if they are successful at anything on Dose Your Dreams, it’s proving that Fucked Up can do much more than write a catchy but generic punk song. For better or for worse, Dose Your Dreams is a genrebending epic that asserts Fucked Up can still keep up with the new generation of punk. Unlike their contemporaries, though, Fucked Up has been playing catch-up all along, and on Dose Your Dreams especially, it’s clear that the band isn’t sure what they want to do. “I Don’t Wanna Live in This World Anymore” approaches metalcore levels of aggression and features a church choir outro, while “How to Die Happy” is a dream-pop ballad that wouldn’t feel out of place on a Beach House record. “Mechanical Bull” feels like a Nine Inch Nails song and “The One I Want Will Come For Me” a smooth dancepunk tune. Somehow, the genre flopping never feels too jarring, though; it’s just a red flag of how little focus is here. Dose Your Dreams is a full hour and 22 minutes long, certainly pushing the limit of what’s reasonable. It feels like the album could have been easily cut down to 10 tracks and less than 50 minutes without losing much. It’s sad to say the biggest detriment to the album is its length, though, because much of the material really is catchy, innovative punk at its finest. But when there’s so much to plod through to get to the real gems, Dose Your Dreams is left without much replay value. The production also leaves something to be desired, as the epic

Edible

nature of Fucked Up’s sound and Damian Abraham’s guttural voice is simply not matched by equally maximal production. That being said, not enough compliments can be thrown at the songwriting and instrumental restraint of “Normal People” or the unbridled energy of “None of Your Business Man.” As far as single tracks go, Dose Your Dreams is full of many memorable moments. Listening to Damian scream “I don’t wanna live in this fucking world for one minute more” is simultaneously inspiring and terrifying in its nihilism. Guitarist Ben Cook’s incredibly smooth vocal melodies on “The One I Want Will Come For Me” stay in your head for hours as he pens an eloquent ballad. What could have come off as a sappy heartbreak track instead feels like Cook reminiscing over a persistent love and fleeting youth with startling nuance. The concept of the album follows an interesting (if slightly underdeveloped) storyline, following up where the band’s 2011 record David Comes to Life left off. It’s just unfortunate all these fantastic

pieces failed to come together in the end. If Dose Your Dreams was cut down to a manageable length and featured slightly better production, it would be a genredefining classic. There are so many fantastic compositions, catchy tunes, and inspired ideas that it’s sad to say that Dose Your Dreams doesn’t accomplish what it set out to. Even though they are as conceptually original as you could ask for, in true punk fashion, Fucked Up lack restraint, and because of that Dose Your Dreams is left an album that only could have been great.

Grant Foskett (Computer Science)

10 9 8 7

Fresh

6 5 4 3 2

Reviews

Lil Peep Come Over When You’re Sober, Pt. 2 Release Date November 9 Label Columbia Genre Hip-Hop/Rap Tasty Tracks “Sex With My Ex,” “Life is Beautiful,” “Fingers” There are few album cycles more troubling than that of the posthumous release. Since death boosts popularity, it’s impossible to ignore the commodification that pervades these projects. In some cases, such as Elliott Smith’s From a Basement on the Hill, the artist’s original vision is tangible enough that the resulting product earns a place in their canon, simultaneously a gift to longtime fans and a jumping-off point for the newly curious. Sometimes, however, the result is more contentious. In the years following the untimely passing of Notorious B.I.G., Bad Boy Entertainment forced out two bloated, featureheavy compilations that remain divisive to this day. The controversy surrounding the 2010 release of a posthumous, eponymous Michael Jackson project is more unsettling; a class-action lawsuit alleged that three tracks are sung by an impersonator, and Sony has neither confirmed nor outright denied these accusations. Cases like these muddy the watters of the tribute/ cash grab beyond recognition. With such trajectories established, it’s hard to tell where Lil Peep’s Come Over When You’re Sober, Pt. 2 should land. Released a full year after the 21-year-old’s tragic Fall 2018

overdose, fans will inevitably question the project’s authenticity. Long-time collaborator Smokesac’s production is high-fidelity and carefully balanced, and Peep’s voice has been postprocessed with echoes, autotune, and filters. Tracks like “Sex With My Ex” have been remixed to the point where they barely resemble the leaked originals, and “Broken Smile (My All)” sounds downright radio-ready. For fans who know Peep for the heart-wrenching rawness of Hellboy, this may seem like a betrayal. However, the sound is not entirely new. Peep already embraced pop sensitivities on Come Over When You’re Sober, Pt. 1, so it’s not a stretch to say that he might have taken them further with its sequel. More to the point, Peep’s original vocal tracks betray a move towards the catchy; “Cry Alone” in particular would sound perfectly at home on alt-rock radio. That being said, the clean 808s and full bass that pervade the album are a markedly new approach to Peep’s production, and it is clear that Smokesac took a number of artistic liberties as he built beats around the singer’s remaining snippets. Thus, the question of COWYS 2’s faithfulness is, at best, unresolved. What these deliberations fail to address, however, is the positive impact of a Spotifyplaylist-ready Lil Peep. No matter how heavy the production, his songwriting is intact, and he is in peak lyrical form. He is both an understanding peer and a cautionary tale, blending rebellious anthems and eerilyprescient lines about addiction and premature death. Take “Life is Beautiful.” For most of the song, Peep commiserates with the listener on everything from unrequited love to police brutality. The track ends, however, with an eerily prescient meditation on death: “There comes a time when everybody meets the same fate / I think I’ma die alone in my own room.” Thanks to Smokesac’s smooth production, these heartfelt lyrics will be heard by millions of young adults who may be experiencing their first battles with depression and substance abuse. If Come Over When You’re Sober, Pt. 2 helps them get through them, this cannot be seen as a negative development. With this in mind, we must ask ourselves what matters more — that this is probably not the album Peep thought he was making, or that it will expand his legacy beyond what he ever imagined.

Tim DiFazio (English & Linguistics)

10 9 8 7 6 5 4 3 2

Rotten

Juicewrld x Future Wrld on Drugs Release Date October 19 Label Epic/Freebandz Genre Hip-Hop/Rap Juicewrld is a new but increasingly recognized product of trap’s new emo phase, initially hitting charts with “Lucid Dreams”. Future is a rap veteran, largely responsible for popularizing both mumble rap and Lean as ever present. In fact, it’s not a stretch to say that the ground broken by Future would eventually allow Juicewrld to have mainstream appeal. But approaching their work stylistically, the tandem begins to look a bit more confusing. Yes, both artists heavily lean on the same drug-use motifs, but beyond that the collaboration feels strange. Future has built his brand on dense, grainy, beats paired with his raspy, baritone rapping. In contrast, Juicewrld takes a more melodic vocal approach and is backed with softer, watery beats. So from the start, their chemistry didn’t really feel right. This feeling proved true as their collaboration produced an unmemorable, thematically redundant, sonically lethargic album that will almost immediately forgotten. To preface, I do believe that you can still have a really entertaining album without the strongest lyrics or a particularly creative narrative. Wrld on Drugs could have gone this route, as it neither paves much conceptual ground nor offers much introspection. However, it’s inescapable that the tape still has to sound good and this effort sounds borderline unlistenable. The instrumentals

are either so minimal or subverted into the background that it borders on inaudible (i.e. 7am Freestyle). The beats really have little variation from song-to-song, only ranging from simple and spacey to borderline arrhythmic. The decision to give the synths such little real estate seemed ill advised as both artists are historically reliant on fleshed out production. Beyond making it less listenable, this really shortens the album’s creative runway. Neither Juicewrld nor Future have the chemistry or variation in delivery to really justify forgetting thoughtful production. These limitations manifest in an album that has close to no stylistic variation, barring a few solid feature performances from Yung Bans and Lil Wayne. The artists do have moments where they flash potential, like in the opening song (“Jetlag”) where their catchy flows play off each other in an entertaining back and forth. Another highlight is “Different” which features a sharp, choppy flow and a fun Yung Bans verse. However, these flashes don’t compensate for what is a repetitive, sonically nonsensical remainder of the album.

Pratik Reddy (Math & Economics)

10 9 8 7 6

Edible

5 4 3 2 1

Sheck Wes Mudboy Release Date October 5 Label G.O.O.D. Music/Cactus Jack Genre Hip-Hop/Rap Tasty Tracks “Mo Bamba,” “Live Sheck Wes,” “F**k Everybody” In recent years, few artists have been able to cultivate hype and notoriety at the pace that Sheck Wes has in 2018. Viral SoundCloud singles like “Mo Bamba” and “Chippi Chippi” have garnered millions of listens in the months since their releases. These songs generated enough buzz to pique the interests of Kanye West and Travis Scott, who signed Wes to a dual-label deal with G.O.O.D. Music and Cactus Jack Records. The explosive energy and eerie melodies that define these tracks provide a glimpse into the mind of the Harlem-raised rapper, and tie in seamlessly with the sound of his 14 track, 49-minute major label debut: Mudboy. Mudboy is a project that lives up to its name in many ways. Not only do the overblown bass and aggressive synths that run through the track list evoke a dirty, muddy atmosphere, but Wes’ lyrics throughout the project tell the uplifting story of his trials in

raising himself out of the gutter in pursuit of a better life. These themes are typified by Wes’ lines on “Never Lost”: “Where I come from, no books in our stores. / Where I come from, there’s hate and no love,” which offer a sense of the hopelessness that plagued his upbringing. This rags-to-riches story is developed somewhat loosely, with many of the verses on the album sounding more like freestyles than focused narratives. Nevertheless, on songs like “Live Sheck Wes,” “Gmail,” “Kyrie,” “F**k Everybody,” and the aforementioned singles, the explosive instrumentals and the raw energy in Wes’ vocals are more than enough to keep the momentum of the album pulsing forward. Unfortunately, the energy displayed in the standout moments is not consistent throughout the entirety of the album. The second half of the track list includes a handful of songs on which Wes assumes a more low-key role over moodier trap instrumentals. On tracks like “Burn Slow,” “Jiggy on the S***s,” and “Danimals,” the Harlem rapper’s underwhelming lyricism and grating signing voice start to wear on the ear. On “WESPN,” Wes’ tired contemplation of his own selfdestructive habits fails to progress beyond his desire to ignore the outside world in favor of smoking backwoods and watching TV, while on “Danimals,” the listener is forced to sit through lines like “Danimals yogurt, bitch her skin like yogurt (yogurt, yogurt),” and an entire verse about a Chapelle’s show skit. Overall, Mudboy makes for an entertaining, but inconsistent listen. The album features hit-or-miss quality, but the raw energy and emotion Sheck Wes brings to the table ultimately shine through and expose a solid bedrock of potential. Although Mudboy’s rough-around-the-edges aesthetic is a large part of its appeal, I’d like to see Sheck Wes cultivate his sound, pull from the experience of his label mates, and return with a more focused and purposeful sophomore project.

Fisher Hunnewell (Management)

10 9 8

Fresh

7 6 5 4 3 2

Reviews

Kero Kero Bonito Time ‘n’ Place Release Date October 1 Label Polyvinyl Genre Indie pop Tasty Tracks “Only Acting,” “Dear Future Self,” “Make Believe,” “Swimming”

Designer: Claudia Bracy (Graphic Design)

Fall 2018

Artists reinventing their sound with new releases is by no means a revolutionary concept, although few create as surprising and satisfying a shift as Kero Kero Bonito do on Time ‘n’ Place. A surprise release, the UK band’s latest album is quite the shock to those only familiar with their previous full-length projects. These releases offered dance-centric electropop coated in clean, sugary production, accompanied by vocalist Sarah Perry’s quirky, wholesome lyrics about childhood and whimsical storytelling. Of these qualities, only one translates perfectly to Time ‘n’ Place—the quirkiness. This album is far more experimental, drawing heavily from their recent EP TOTEP, which foreshadowed the band’s new style. Both projects fuse noise pop with dreamy electronica, even approaching indie rock through the new additions of crunchy guitars and live drums. The group has endless production tricks at their disposal on Time ‘n’ Place, never letting on what’s coming next. Perhaps no song demonstrates the vast range of styles covered in the modest 33-minute runtime better than “Only Acting.” It begins with Perry singing over a simple programmed drum

beat, sequentially joined by a funky bassline, steady hi-hats, stretched-out synth flourishes, and clean guitar chords. A wave of feedback then transitions into the chorus, turning the song into an indie rock anthem. Following the chorus, Perry speaks in heavy reverb over a spacey industrial noise interlude, sounding like a captain’s announcement over a crashing spaceship’s intercom. Somehow this bizarre detour transitions smoothly back into the rock instrumentation, eventually reaching the chorus in a new key, but before Perry can get two lines out, the intercom breaks. Her vocals start skipping, the instrumental warps out of form, and for the remainder of the song, the spaceship has crashed. All that’s left is a soundscape of broken machinery rumbling around space with Perry’s vocals playing in reverse faintly in the background. Not even the madness of “Only Acting” covers all the stylistic bases of Time ‘n’ Place. Perry sings a somber tune over moody pads and eerie call-and-response synthesizers in “Dump,” while “Time Today” sounds like the summery soundtrack to a stroll through a utopian neighborhood. Perry’s verses in the latter progressively get more depressing, from basking in her excess of free time to getting overwhelmed and regretting mistakes, to subtly contemplating mortality in the final verse. This contrast in mood speaks to the album as a whole—it can be musically or thematically dark at times, or playful, glittery, and upbeat at others. For example, “If I’d Known” opens with a distorted yawn and alarm clock, followed by bouncy synthesizers and bright arpeggios, before a sudden abrasive guitar takes charge as the cheerful beat continues on its course. Despite all its strengths, Time ‘n’ Place may disappoint listeners looking for a return to the cutesy electro dance-pop vibe that Kero Kero Bonito conveyed so well before 2018. This album is decidedly less accessible, but it’s still KKB. Despite being experimental, it maintains the band’s defining catchy hooks and quirky sound design. The group also occasionally shelves the darker lyrics for their traditional wholesome messages, such as on “Sometimes,” on which the whole band sings about staying positive through tough times over acoustic guitar and twinkly electronic plucks.

As a pop group, KKB took a surprising risk with Time ‘n’ Place, but undoubtedly succeeded—leaving the listener hungry for more psychedelic ear candy. Through its eccentric creativity, the album is not only their best to date, but proof of the limitless possibilities in the digital age for fusing genres and sounds to create something nobody has ever heard before.

Chuck Stein (Computer Science/ Music Composition & Technology)

An Interview with

Brandie Blaze There’s something uniquely satisfying about an artist who makes you feel as if they’re writing just for you, especially when that artist specializes in all of the things that you wish you were brave enough to say. This is the mission of recent Green Line Records signee Brandie Blaze, a Boston-based rapper whose bold, brazen flow speaks directly from, and to, the experiences of black women in hip-hop. An entertainer at heart, Blaze was a ballet dancer from age three, dabbling in acting, singing, and poetry along the way. Singing was the medium that truly stuck, at least until her voice underwent a puberty-induced shift in high school, leading her to channel her poetry into rapping instead. After years of honing her craft, Blaze stopped practicing in secret and began to pursue rap seriously after an overwhelmingly positive response from friends. She has spent the last five years on the Boston hip-hop circuit, a scene plagued by fragmented fan bases fiercely devoted to their own subgenres, and promoters who are hesitant to book rap acts. “It’s not like Atlanta or New York” she tells me. “Boston just has this reputation for being a ‘rock ‘n’ roll’ city...I think a lot of the venues and the promoters buy into that.” Most large and mid-size venues in Boston will book hip-hop artists touring from out of state, but smaller local spaces consistently focus on indie and noise rock (with a few exceptions, like Dorchester Art Project). Whether this decision stems from perceived demand (read: stereotypes surrounding college students’ music taste) or a more serious exclusion based on promoter and venue assumptions about hip-hop fans, depends on who you ask (many would argue the latter). The bottom line, however, is that it can be difficult for local hip-hop artists to gain momentum in the community. Blaze often finds that rap show attendees, and by extension, lineups, flock towards a particular sound and stay there.

Brandie Blaze

Photo by Rio Asch Phoenix

Her music, rooted in trap but featuring rapid-fire verses and a straightforward delivery, toes the boundaries of these siloed subcultures, as does the fact that Blaze herself does not fit typical expectations of female rappers: “I would play other peoples’ shows and have men saying, ‘She’s dope, but she’s way too vulgar,’ and I would be like, ‘There’s a guy here who just said worse.’” It’s true that Blaze does not shy away from explicit themes - just take “Kiss Him,” a track from her 2017 debut Spinster, which details successfully taking a sexting relationship offline for the night. But this isn’t a male rapper going off about his latest escapade; it’s a woman describing sex in her own words, unabashedly crude and confident as hell. Throughout Spinster, Blaze confronts preconceived notions about herself and throws them right back at listeners (“call me a bitch / It’s only ‘cause they think I’m pushy”). Channeling

this mentality on stage can be challenging, but Blaze says that learning from the other female artists around her, witnessing how unshakeable they were in their art and their image, helped her gain the confidence she needed to stay true to her persona: “I’m a plus-size black woman...I’m also a rape survivor. Being able to own my sexuality, own my body, and the way that I present myself means a lot to me. This is what feels good for me...and I know that it helps other women. That’s what I want to do.” When I asked Brandie how she wants people to feel while listening to her music, she used the word “empowered.” Empowering herself first, in order to empower her community and then her listeners, is the heart of her vision.

• Justine Cowan (Marketing)

Editorial

The Sober Guy’s Guide to

Designer: Anna Smith (English & Graphic Design)

Fall 2018

I’m completely sober, but I have a confession: one of my favorite genres is stoner metal. When people hear about drug-tinged music, they usually think of The Grateful Dead or Pink Floyd. Stoner metal is a unique strain though, combining elements of the blues, heavy metal, acid rock, and the devil’s lettuce. Typical metal is known for its speed and howling ferocity, with double kick drums and a blistering pace. Stoner metal places an emphasis on the opposite: slow, heavy, and huge sounding riffs that wash over the listener. It’s music that’s extremely dependent on the mood it creates, which makes it unique. It’s some of the most epic sounding music you can find, but it also can be incredibly complex, thoughtful, and unique.

It all began with a cough, which then sputtered into the ferocity of Black Sabbath’s “Sweet Leaf,” a rocking ode to weed. The first track of their 1971 album Master of Reality, it set the mold for stoner metal going forward. There’s little technical mastery here, just a distinctive sound, psychedelic tones, and guitarist Tony Iommi’s amps cranked to the max. The album touches on it all: weed, war, Satan, and the cosmos. Black Sabbath were the progenitors of heavy metal as a whole, with countless bands citing them as an influence, but Master of Reality was the arguably the beginning of stoner rock. By blending their previously established dark themes with slower tempos and psychedelic imagery, Sabbath created a new genre.

From there, stoner metal essentially went into hibernation, with speed dominating the metal scene. Thrash and power metal became the default sound, with even Sabbath becoming faster and shred-heavy, especially when Ronnie James Dio replaced Ozzy Osbourne as lead singer. The metal bands of the era took inspiration from Sabbath, but musically they lacked any of the characteristic “sludge” and slow tempos that define stoner rock. There were some close examples though, especially in the emerging doom metal scene. Saint Vitus and Swedish metal band Candlemass dispensed eerie and heavy riffs, some of which could be described as the continuation of Sabbath’s creation.

The proper, modern birth of stoner metal occurred predominantly in California, in the early 90s. A number of bands emerged during this period, but one of the most well-known would be Kyuss. Their album Welcome to Sky Valley is often held up as one of the genre’s best. Guitarist Josh Homme (of later band Queens of the Stone Age) blasted down-tuned riffs through bass amps, with their sound as a whole being inspired by the nearby deserts they often played in. Sounds strange, foreign, and haunting fill the album, with fuzzed out guitar propagating the whole thing. From San Francisco came the band Acid King, who, as the name suggests, wove psychedelic elements heavily into their sound. The Sabbath inspiration is very clear in albums such as Busse Woods with wahheavy guitar and a clawing metallic bass tone that definitely calls back to Sabbath’s bassist Geezer Butler. If one was to look for the magnum opus of the stoner metal bands, there is only one album to be named: Dopesmoker by Sleep, who are likely the most legendary of the genre. Emerging in the aforementioned California doom metal scene, Sleep put some of the heaviest sounds ever created on tape. Leaning heavily into psychedelia, their first two albums took Sabbath’s fuzzed out headbangers, slowed them down even more, and played with evolving scales and lines that surprise. Despite the genre’s simple reputation, it can be quite complex, even more so than thrash metal acts like Megadeth.

It was their third album, Dopesmoker, that cemented their legacy. The album is an epic one hour-long song. Built around evolving riffs and a steady marching rhythm, it intoxicates the listener, no substances required. With its alien tale of marijuana pilgrims marching towards the holy land, time seems to warp and bend, turning into a meditation of hashish. California was far from the only place producing druggy and enormous sounding metal though. The Melvins are a Washington punk/metal band that produces a wide range of heavy sounding music, but considering one of their best albums is called Stoner Witch I feel pretty safe considering them part of the stoner metal lineage. They definitely are distinct from prototypical stoner metal, with a bass sound and speed inspired by hardcore punk, and vocals that retain some of the kick-assery of thrash bands like Metallica. North Carolina produced Weedeater, whose album God Luck and Good Speed includes pulverizing jams like “Wizard Fight” and even a Lynyrd Skynyrd cover that is comically heavy compared to the funky original. There’s Wisconsin’s Bongzilla, who...well, with a song titled “666lb. Bongsession,” you know what you’re getting into. Crossing the ocean to Britain, there’s Electric Wizard, one of the few major stoner metal bands still going today. Their first album Dopethrone goes between two extremes: a rubbery, funky sludge and

Stoner metal is defiantly old school while also rejecting the conventions of popular metal and rock.

absolutely gigantic sounding walls of fuzz. Distorted lyrics pierce through the layers of riffs, with odd vocal samples lending an air of the requisite psychedelia. One of my personal favorite aspects of stoner metal is typified by the song “Funeralopolis.” Beginning, just like “Sweet Leaf,” with a cough, it hits with such a huge sound that you can’t help but grin at the ridiculousness of it all and tap your foot along. Stoner metal has never been a commercially successful genre. Considering the current popular success of rap and pop, this seems unlikely to change. But it deserves a listen, even if you don’t like what you think of as metal. A genre built entirely around the worship of the riff, stoner metal is defiantly old school while also rejecting the conventions of popular metal and rock. While it’s largely in a lull right now, there are still bands making stoner music, and some of the legends are actually making returns. Just this year, Sleep came back after two decades and dropped a new LP The Sciences on 4/20. So it’s worth still keeping an eye on, and giving a listen. Stoner rock isn’t dead, it just needs a spark to really light up. • Bryan Grady (Political Science)

Editorial

SPOTLIGHT:

The Next Greats of Hip-Hop and R&B YO

J. Cole used to be mentioned alongside Kendrick Lamar in fiery debates over the king of hip-hop. Now, J. Cole’s name is brought up alongside Lil Pump, Lil Uzi Vert, and 6ix9ine, the faces of the SoundCloud artists infiltrating the rap game. Once lauded for going double platinum with no features on 2014 Forest Hills Drive (which is now a meme), Cole’s reputation has transformed to that of a self-righteous, preachy old-head even at the age of 33. However, Cole’s founding of Dreamville Records, started in 2007 and now featuring nine young talents, is rarely discussed. Yet, it’s Dreamville that will end up being Cole’s greatest contribution to the world of hip-hop. This is not to say J. Cole’s rap career hasn’t been and won’t continue to be impactful. Rather, this is a testament to the incredible pool of artists Cole has curated and nurtured — and they’re about to change the game.

EARTHGANG

J.I.D.

Atlanta rappers Johnny Venus and Doctur Dot make up the indescribably energizing, inspiring duo EARTHGANG. With a sound that fuses southern rap, funk, soul, and R&B, the duo is one of the most creative and dynamic artists currently putting out hip-hop music. Since being signed this past year, EARTHGANG has released a trilogy of EPs: Rags, Robots, and Royalty. Featuring politically charged bangers like “Meditate” alongside somber, soulful cuts like “LOLSMH,” the three EPs show the duo at their best, flaunting their limitless abilities and versatility. The three ‘Rs’ in the titles allude to the three ‘Rs’ in Mirrorland, the name of their debut Dreamville album to be released early 2019. In the meantime, EARTHGANG released a video for “Up” on the COLORS YouTube channel, which gave Venus and Dot the space to show their magic. Venus’passionate vocal performance makes it hard to believe he’s not a soul singer, and Dot’s laidback, charismatic delivery on the hard-hitting beat makes you wonder just what genre to which the track belongs. EARTHGANG has yet to put out a track that is anything but overflowing with energy and ingenious, setting up Mirrorland to be one of the most exciting releases of 2019.

“Standing next to Lil Tay when that bullet hit him / Shit, I miss him, I wish that that bullet missed him but it didn’t / And since I been living with it like a sickness,” J.I.D. raps before accelerating the flow to supersonic speed on his recent single “151 Rum.” Such personal, profound lyrics delivered in the most intricate of flows over a hypnotizing instrumental has come to be the norm from this Atlanta-based rapper. The type of rapper that will make you cry while head-banging and trying to keep up with his lyrics on Genius, J.I.D. started turning heads with his debut album The Never Story. Released in March of 2017 shortly after he signed to Dreamville, The Never Story is a refreshing breath of air in today’s oversaturated trap scene. Cuts like “EdEddNEddy” and “Underwear” showcase J.I.D.’s effortless flows and wit, and “NEVER” and “LAUDER” put his darker, technical side on display. A few months back, J.I.D. was featured on the cover of XXL’s 2018 Freshman Class, and the hype around his name has been building up more and more. He’s set to release DiCaprio 2 later this year, which is shaping up to be his breakthrough project.

Could be the next OutKast

Fall 2018

Could be the next Kendrick Lamar

ARI LENNOX

LUTE

Vulnerable, soulful, and sexy, Lennox and Lute are the newest signees to Dreamville, both signed in December 2015. With just an EP and a 2018 single, Lennox’s discography puts quality over quantity. Pho, released a couple of years back, is 22 minutes of some of the smoothest contemporary R&B out there. Lennox’s vocals, which range from the bursting high-notes seen on “La La La La” to the melodic, sensual humming on “Backseat,” pop on the jazzy, experimental instrumentals. Her 2018 single “Whipped Cream,” which features an accompanying music video, shows Lennox at her best yet, revealing her romantic and emotional struggles: “I’ve been eatin’ whipped cream, havin’ vivid dreams / Of your face and through people on TV screens.” Lennox isn’t afraid to push the boundaries both lyrically and sonically, and her music has been nothing but exceptional thus far.

Lute will make you feel like you can do anything. Born and raised in Charlotte, North Carolina, Lute’s adverse upbringing is a common theme throughout his music — which is limited to one mixtape and one album, respectively titled West1996 and West1996 pt. 2. Lute’s crisp, annunciated delivery makes it clear his message is bigger than music: he’s made it this far and he’s not satisfied, and you shouldn’t be either. West1996 pt. 2 is consistent in its uplifting lyrics and light, snaredominated instrumentals, making for a feel-good experience. However, the lack of diversity in Lute’s flows and song structure does takeaway from the album’s quality and impact. On “Premonition,” Lute raps about his future stardom, and the song’s impressive wordplay and synth-infused instrumental is proof he’s got the potential.

Could be the next Erykah Badu

Could be the next J. Cole

Designer: Aarti Amalean (Graphic Design)

Bas, Cozz, and Omen round out the Dreamville roster as the first three to be signed to the label. Bas is the second most streamed artist on Dreamville after J. Cole, supplying celebratory, beachy atmospheres with his newest album “Milky Way.” Cozz balances out the label with a trap meets R&B sound, bringing darker lyricism with a commanding delivery. Omen, who has been involved with Dreamville since its inception, is by far the least well-known without a project on streaming services. However, this is a true case of last but not least — Omen is a true lyricist, with poetic rhymes over instrumentals that range from minimalist, jazz-infused beats to layered, lush ones. He is clearly a behind-the-scenes talent, so it’ll be interesting to see how his music career progresses. Say what you will about J. Cole, but in a few years, it’ll be impossible to doubt his knack for identifying and developing talent. The Dreamville wave is on the horizon, so do yourself a favor and get on it now.

• Miles Kirsch (Bioengineering)

Local Photos

local photos

Troye Sivan, Boch Wang Theatre

Photo by Lauren Scornavacca (Industrial Engineering)

local photos

Swells, Red Room

Photo by Casey Buttke (Criminal Justice)

Josh Groban, TD Garden

Photo by Brian Bae (Industrial Engineering)

Dee Digs, Paradise Rock Club

Photo by Hang Nguyen (Digital Media)

Yaeji, Paradise Rock Club

Photo by Hang Nguyen (Digital Media)

Sure Sure, Brighton Music Hall

Photo by Catherine Argyrople (Media & Screen Studies)

Busty & The Bass, Great Scott

Photo by Catherine Argyrople (Media & Screen Studies)

Editorial

ARTIST vs. the ALGORITHM Designer: Ryan Fleischer (Marketing & Design)

Fall 2018

There’s a war coming. On one side, the streaming service; on the other, the pop artist who has to maneuver its algorithmic maze. It’s becoming more than clear to us listeners/spectators that there are tangible artifacts of this ongoing battle. We try to unravel the endless questions associated with streaming services’ predictive methods, but it is the album, the artists’ breaching mechanism into this intelligent labyrinth, that answers many of these questions. For the past few years, the algorithm craved more, and the artists responded. To secure the place of general of the musician army, your album had to contain the most tracks possible. In an effort to lead the charge, listeners basked in the glory of 75+ minute albums and mixtapes. Drake has performed consistently with 25 track releases, but Chris Brown may have secured a spot at the top with a 45 track album. Drake did make the first significant step with his mixtape More Life, which he coined as a “playlist.” The label made it even clearer that Drake intended this release not to flow or be listened to as an album, and its length could saturate the streaming economy with music in hopes of hitting the top curated playlists.

This year, a new strategy has been deployed on the pop landscape. The hip-hop label G.O.O.D. Music sent multiple albums with just 7 tracks; other rappers are now more privy than ever to release shorter mixtapes. It seems like an attempt to defy the pressure to cater to the algorithm, but rather avoid it altogether. But these are not the grand conceptual statements that many associate with the quote “album experience”: Pusha T’s Daytona comes in at a surprising 21 minutes. According to the Recording Industry Association though, it constitutes an album since it is more than 5 tracks. The phrase “ a war is coming” is actually misleading, in that this current war is just a mere battle in an ongoing war between the artists and their recording distribution mediums, going all the way back to the early 1900s. Back then, there existed some reason for concern about recording as potentially unable to capture the essence of performing. People like John Philip Sousa might have gone overboard with thoughts of recording completely replacing the live performance, but the original phonograph and vinyl records had their fair share of issues: recording up to 1955 involved only a single microphone. Nevertheless, what affected the song’s composition was the standardization of the 78 RPM (revolutions per minute) vinyl, capable of holding only 3 minutes on each side of a 10” and up to 5 minutes on a 12” vinyl. Long jazz and classical pieces had to succumb to the paltry amount of music each side could hold, which affected what listeners would hear on their gramophones. The pop singers of the time found a sweet spot of 3 and a half minutes to fit the format, a length still in use today. The late 40s brought the 45 RPM 12” and 7”, which held about 22 and 5 minutes on each side respectively. 50s rock n’ roll bands choose to record music to the single in that it worked better as a way to get both radio and jukebox play. Each decade of vinyl seemed to make musicians record with a different vinyl in mind: the growing maturity of the rock audience and high response to conceptual music led to longer albums on the 45 RPM

12”, and a desire for extended dance mixes led to longer tracks on a 12” single, usually with an instrumental dub on the B-side. The 7” could fit around 30 minutes total, which I believe has crafted the average perception of an EP as under 30 minutes; an album is therefore above 30 minutes, which can be misleading. In the 80s, independent artists took to the cheapness of the cassettes and typically created long demos with the capacities of 45 minutes plus. Sony created the first digital medium in the compact disc; Sony’s CEO requested a standard runtime of 74 minutes to fit the entirety of Beethoven’s 5th, so classical pieces no longer had to shrink to fit the mediums of decades before. Now the double album could be over two hours, and the 90s saw some of the longest albums ever recorded. The remnants of past mediums still affect artists’ decisions on how they release their music: singles usually have a “B-side,” and double albums are still usually split into two 45 minute pieces a la the 12in vinyl. But the restrictions of having to flip or even switch a CD are gone, and the tracks on streaming services usually are not sectioned to fit it, thus feeling like a playlist. The declining popularity of radio has allowed some artists to push beyond the 3 and a half minute standard. I think the emphasis on the album, particularly in the rock tradition, has had massive consensus on what people consider to be significant releases. People often favor the magnum opus, one that is grand and conceptual and will even prefer it to a shorter and more consistent album if the latter is not thematic in scope. Many tend to overlook the weaker points in a piece if they still fit into the overall landscape of the work, and generally favor when an artist occasionally overdelivers or comes off “long-winded” in presentation. I think this is completely reasonable, but it can cause listeners to occasionally judge shorter albums initially by their runtime. Mitski’s Be the Cowboy runs barely eclipses 30 minutes, and presence of many songs under 3 minutes points to an artistic purpose of creating musical vignettes. Many punk albums have strong lyrical messages that blast through under 20 minutes. I will use my listening background to offer a window into a scene where albums are few and far between. My cousin introduced me to a lot of drum n’ bass and garage music, and as I continue to hear new releases, they seem to follow the presentations of their influences. Many artists do not release albums, opting to just release singles and EPs. The decisions to keep things brief harkens back to DJs and how they catered to the desires of clubgoers. The EP format allows electronic artists to briefly delve into a variety of genres with ease. Maybe it’s a focus on the record label, a term which references the label on vinyl to signify who released it.

• Chris Miller (Music Industry)

Designer: Roman Distefano (Computer Science and Design)

Etcetera Fall 2018

Can your favorite rapper spit 32 consecutive bars about cunnilingus without sounding boring, corny, or repetitive? Detroit MC Danny Brown’s breakout album XXX balances its overt raunchiness with master lyricism and weighty themes in a way that the album art cleverly hides at first glance. Yes, the title refers to drug use as the pill’s engraving on the cover suggests, but it also signifies self-reflection, considering Brown released the album at age 30 (“XXX” in roman numerals). The symmetry of the record reflects these two contrasting themes; the first thing Brown says is “30” and the last is “Triple X.” The first half is a hyped up, drug-fueled, “XXX”-rated dive through Brown’s psyche and lifestyle, delivered in his signature yelpy intonation, whereas the second half uses a more traditional vocal inflection to reflect upon his dark past and upbringing in Detroit. Early points of XXX sound so druggy they could help wean addicts to sobriety. Listening to “Blunt After Blunt” feels like taking too many stimulants, as Brown’s inflection rises and falls in a highoctane ride without a moment to breathe, putting more grit into every subsequent delivery of the word “blunt” during the repetitive hook. In the banger “Die Like A Rockstar,” Brown rattles off a barrage of pop culture references over an instrumental sounding like a psychedelicinfused alien rave in the year 5000. Comparing his drug use to that of numerous celebrities who died from overdoses—from Brad Nowell to Frankie Lymon—Brown not only showcases his eclectic influences, but presents the central theme of drug abuse. By contrast, later tracks discuss these themes in a nonglorifying, cautionary manner. “Nosebleeds” features an obscure eerie electronic sample with swelling horns, acting as a prelude to the somber cut “Party All The Time.” The former details a young woman’s life deteriorating due to her cocaine habit, while the latter describes her existence revolving around partying every night to find solace in substances. Her loved ones hopelessly try to break her downward spiral, but she can’t be reasoned with, as Brown proclaims: “Lost in the fog, head in the smoke / Laughing at the world ‘cause her life is a joke.” XXX is an intensely personal album: on the opening title track Brown tells the listener straight up that he’s dependent on drugs. Other personal notes include his self-absorbed onslaught on early tracks like “Pac Blood,” contrasted with vulnerable self-expression later on, addressing topics ranging from poverty and gang violence to hereditary addiction. The former is a typical boastful hip-hop track about how godly a rapper he is, except Brown forces you to actually believe it. He nimbly “weaves kicks and snares,” providing not only unstoppable flow and lyricism, but one of the greatest hooks in hiphop, by listing all the insane undertakings his bars could evoke from the tamest people—from Gandhi to the Virgin Mary—and closing it off with “Rhymes so real, thought I wrote it in Pac blood.”

The album concludes with showstopper “30,” tying together both sides of XXX through Brown’s constant alternation between his two personas. Unpredictable percussion and bizarre synthesizers dance across the mix, squeezing out their sound just as Brown squeezes out every remaining effort to produce a remarkably passionate delivery. He begins with the familiar wild braggadocio from the album’s first leg, before detailing his own death by overdose in a more intense tone. His life then flashes before his eyes—from the hardships of childhood in Detroit to the success of his rap career—gradually getting more frantic as the timeline approaches his present overdose, leading to the final bar: “Doing all these drugs, hope I OD the next Triple X.” This line unsettlingly parallels the sentiment in “XXX”: “It’s the downward spiral, got me suicidal / But too scared to do it so these pills will be the rifle.” The clever symmetry of opener “XXX” and closer “30” demonstrates to even the most skeptical listener that Danny Brown offers more than meets the eye. He is an intelligent, multi-faceted artist, and XXX is his magnum opus. A cohesive, personal display of lyrical mastery, it simultaneously juggles serious themes and hilarious one-liners, using completely left-field production that only Danny Brown could rap over, like the industrial noise sample on “Adderall Admiral.” Whether Brown’s self-depiction on XXX is truth or exaggeration, one needs some degree of delightful insanity to conjure lines like: “Still fuckin’ with them freak hoes / Stank pussy smelling like Cool Ranch Doritos.” In fact, it’s impossible to mention all the quotable bars without this review being as long as the album itself. While it’s certainly nothing new in hip-hop to hear a line like “You know who you is? You the greatest rapper ever,” when Danny Brown utters this trope to himself at the culmination of the masterpiece, it’s difficult not to align it with his earlier sentiment: “What the fuck I got to lie for?” Recommended Tracks: “Die Like A Rockstar,” “Pac Blood,” “Lie4,” “Blunt After Blunt,” “Party All The Time,” “30” • Chuck Stein (Computer Science & Music Comp and Tech)

Religion

in Popular Music: How Artists Make God Mainstream

Designer: Anna Rychlik (Design and Marketing)

With the release of Twenty One Pilots’ third album Trench comes the idea that religious lyricism can propel popular artists, rather than hold them back. Twenty One Pilots have not used overt religious imagery in the past, but all present members of the band are open about their belief in Christianity and the lyrics allude to themes of faith in every album they have put out. Other musicians who have created albums with more obvious religious undertones, like Sufjan Stevens and Years & Years, come to mind; however, none of these artists – even Twenty One Pilots – are considered “Christian artists.” Trench in particular manages to use the artists’ personal views on religion in such a nuanced way that the messages still reach a wide audience.

In Trench, Twenty One Pilots tackle topics like depression and faith. Their second single “Nico and The Niners” as well as fan favorite “Morph” both explicitly reference Nicolas Bourbaki - the collective pseudonym of a group of mathematicians who aimed to prove God real with numbers. In each of the aforementioned songs, lead singer and lyricist Tyler Joseph makes “Nico” out to be a villain: in “Morph,” he says, ‘He’ll always try to stop me, that Nicolas Bourbaki…’ This could be due to the fact that Joseph disapproves of man trying to take God’s matters into their own hands and prove His existence mathematically. To Joseph, this means that they don’t have the faith in God that he does.

Feature One of Nicolas Bourbaki’s theories known as axiomatic topology also states that “properties or objects remain unchanged by continuous deformations” - or as the song “Morph” implies, morphing into someone else. Through his lyrics, Joseph states that this villain he has constructed, Nico, wants him to think that being inauthentic is okay. Joseph knows that changing his opinions to conform to society is “tearing him apart,” but he struggles with that; now Nico is mocking him for it. These “opinions” are likely the fact that Joseph is religious, and he questions his beliefs in the face of the many people in his genre that do not share the same thoughts. In “Levitate,” Trench’s third single, the lyrics, “Now show up, show up - I know I shouldn’t say this / But a curse from you is all that I would need right now, man,” is yet another example of Joseph questioning his Christian beliefs. This time, however, rather than just question his faith, Joseph makes an implicit demand for proof. He invites God to “show up” and even goes as far as to say that he would be okay with God cursing him as long as it proves that He is real. The opening, “I know I shouldn’t say this,” refers to the fact that a request like this would be frowned upon by a traditional Christian community, as Christianity requires followers to have faith and simply trust that God is real. A line in the chorus, “You can levitate with just a little help” could even be from the perspective of God, telling Joseph that he would be more confident in his religion if he had some more faith.

Fall 2018

Twenty One Pilots’ current trilogy of music videos for this album use heavy religious imagery to reinforce the songs’ themes as well. The repetitive imagery associated with the series’ villain called DEMA could be criticizing the rigid dogma that tells one what and how they should believe. Joseph’s group of rebels in the series seek freedom from the constraints of DEMA, which implies that they are striving for a more authentic relationship with God than can be found in the constraints of some organized religions. DEMA may be a metaphor for how such organized religion can be oppressive by frowning upon natural doubts or variation in one’s personal beliefs and actions. On the flip side, artists like Years & Years use religious language without giving much thought to its meaning. Olly Alexander, the lead singer, has confessed that their first album Communion got its name because when Alexander was creating an album title, he looked at all the song titles (like “Take Shelter” and “Worship”) and felt they gave the album a religious vibe. He basically just gravitates towards the aesthetic of spiritual imagery in lyrics, and wanted the title to reflect that. Since all of the songs on the album are about relationships, Communion was a fitting title, in that relationships can be considered a communion of people. Alexander has stated that he is not a particularly religious or spiritual person, but he enjoys using that kind of language because of the powerful aesthetics elicited by spiritual terminology.

Meanwhile, Sufjan Stevens’ relationship to Christianity is one of personal connection strained under institutional religion, just like Joseph’s. While there’s plenty of, and maybe even more obvious, biblical allusions in Stevens’ music, he prefers to express his beliefs ambiguously, avoiding the didacticism that makes most non-believers ignore faith-based music. Whether this was a business decision or a personal one, this choice lends itself to the religious motifs popular music uses without alienating its audience. Stevens and Joseph don’t deal directly with biblical matters in their lyrics, instead exploring themes of love, death, anxiety, and suicide, what theologian Francis Schaeffer called the “totality of life.” In other words, they sing about topics that matter to humans, regardless of their worldview in a way that turns the whole Christian-music stigma on its head. But the history of religious music in America was never as stigmatized as it is now. For centuries, Christians dominated the arts and shaped culture, from Michelangelo to Bach. In the 20th century though, popular music took the idea of religion in art too far, to the point that audiences now view it with disdain.

“But the history of religious music in America was never as stigmatized as it is now.” The concept of “Christian music” emerged in America during the 1960s. Until then, a divide between the sacred and the secular hadn’t yet affected the musical endeavors of Christians. There were hymns created by and for the church, but otherwise, there was simply music that was made by anyone of any religion, without a care. However, in the 60s and 70s, evangelicals targeted the subculture of “flower children.” They wanted to find a way to stay relevant amidst a movement of sex, drugs, and rock-and-roll. Church leaders established an alternative to the popular music of the time. This new wave of Christian music didn’t try for artistic excellence or music that spoke to popular culture; it viewed music as a mere tool to push evangelism through propaganda. Christians defaulted to writing songs that imitated those of the mainstream, with lower production values and with a ton of Jesus name-dropping thrown in the mix. It was like Kidz Bop for God, and people didn’t like it very much. As a result, overt Christians over the past 50 years haven’t seemed to make a dent in the realm of popular culture. While praising Twenty One Pilots for their religious lyricism, a website called “God Reports” said, “even though they are open about their faith, the band continues to sneak like a hacker through the world’s default gospel-rejection mechanism.” Current singer-songwriters like Joseph and Stevens don’t just see their music as just a means to an end or a way of preaching to people. Instead, they focus on telling compelling stories that resonate with the human experience, while still expressing themselves personally and spiritually. Christian themes and ideas are still woven throughout their lyrics, but they are successful because they focus more on writing good songs than converting the world through music. • Stacy Andryshak (Media and Screen Studies)

Editorial

The Americaniza

Grime

Fall 2018

Designer: Brooke Dunahugh (Studio Art)

The United Kingdom is home to one of the most developed music industries in the world. According to a 2015 UK Music report, one in every six albums sold worldwide is by a British musician. Movements like the ‘British Invasion’ of pop-rock groups in the 1960s or the emergence of punk rock in the mid-1970s are examples of Britain’s everpresent position on the cutting edge of music. However, British artists failed to develop any sense of communal identity or mainstream appeal when it came to hip-hop in the '80s and '90s when electronic music was a more popular alternative, and existing rappers often put on American accents to hide their British heritage. This all changed in 2002 when a group of teenage classmates under the name Ruff Sqwad released a series of mixtapes that birthed the genre known as grime. These tapes took heavy influence from existing electronic music styles like 2step, UK Garage,

and Jungle, but employed a darker, more visceral sound accentuated by rapid fire 140bpm rap verses. Throughout the mid2000s, grime’s popularity grew rapidly in Britain’s underground and eventually achieved mainstream appeal mainly due to the efforts of breakout stars Wiley and Dizzee Rascal. From here, an entire generation of artists were able to push grime’s popularity to new levels, although the genre’s reach never truly extended past the bounds of the United Kingdom. By the end of the 2000s, grime’s original stars had reached a point of creative stagnation. The siren call of mainstream success sucked the authenticity out of a genre that had initially been defined by rebellion and discord. This shift left Britain’s rap scene at a relative standstill, and between 2010 and 2013 a period of regression left fans hungry for a new crop of characters willing to push the culture forward.

Unlike the events of the early 2000s, when a new genre was born out of popular British subgenres, the resurgence of grime in the mid-2010s was informed by American rap movements such as Chicago drill and trap. Beginning in Brixton, London in 2014, artists like Giggs and 67 Crew began to incorporate trap influenced beats and violent, grim lyrics into their music. This new subgenre, commonly referred to as “new grime” or “UK drill,” marked a return to the rebellious, aggressive attitude that had defined the early material of grime’s forefathers. Once again, rap became a vital part of youth culture in cities like London and Manchester, with scores of rival crews emerging from each neighborhood. On top of spurring the rebirth of grime music within the bounds of the UK, the adoption of American sounds led to previously unparalleled success across the pond. Cosigns from Kanye West, whose performance of “All Day” at the 2015 Brit

ation

e LO

Awards featured a mob of 25+ grime artists, and Drake, whose 2017 playlist More Life included features from Giggs and Skepta, prompted an awakening among American listeners. Before long, artists like Skepta, Giggs, Stormzy, JME, and Dave were experiencing widespread international success. The blending of American and British rap in its current form is mutually beneficial. Rappers from the UK are selling more records than ever thanks to their access to American ears. American hip-hop, which has grown increasingly uniform in recent years, is being injected with a refreshing, authentic sound developed by electrifying young stars. However, with the spread of grime’s influence to the US, this new generation of British rappers are faced by the unique challenge of appealing to an American audience without abandoning the sound that has defined British hip-hop for nearly two decades. It is the duty of these artists to

“Pandering solely to the fickle tastes of American listeners puts grime in danger of becoming a musical fad as opposed to an international movement.”

push the sound forward in a way that does not compromise the values of the genre that has provided them a platform. Skepta’s 2016 album ‘Konnichiwa’ is a perfect example of an artist updating his style to keep up with a changing landscape without losing sight of the core sound of grime. This album featured a diverse set of guests ranging from Wiley to A$AP Nast, and presented the rapid flows and morphing instrumentals associated with grime in a way that appealed to the specific tastes of US rap fans. On the other hand, albums like Giggs’ Wamp 2 Dem and J Hus’ Common Sense are examples of grime rappers shamelessly chasing American listeners and, in doing so, renouncing the musical style through which they have risen to prominence. Giggs’ album in particular sounds like it came out of Atlanta rather than London, featuring production from Zaytoven, Cool & Dre, and London on Da Track while pulling most of its guest verses from southern trap artists like 2 Chainz, Lil Duke, and Young Thug. It’s important for grime artists to understand the precarious position in which they have found themselves. These British rappers are faced with the opportunity to turn the genre into an international movement, but if they fall into the same trap as their predecessors by chasing pop stardom, grime will once again lose its sense of artistic integrity and regress into monotony. Wiley,

ON D N

the self-proclaimed “Godfather” of grime, has been very vocal in this regard. As someone who has played a pivotal role in the evolution of the genre ever since its inception, the East London rapper holds a deep understanding of the genre’s position on the edge of the global zeitgeist. In a recent interview with The FADER, he acknowledged that current grime artists have the opportunity to take the sound further than he or any of his peers could have. However, he also recognizes the danger associated with this type of popularity, and has called out rappers like Krept and Konan for making music that sounds too much like Drake, as well as Skepta, who he called a “popstar” in a recent Instagram Live rant. Although it’s easy to view Wiley’s rebukes as an old man yelling at a cloud, it’s important for these young artists to recognize the truth in his words. Pandering solely to the fickle tastes of American listeners puts grime in danger of becoming a musical fad as opposed to an international movement. As long as the artists on the front line of this exploding genre remember the path taken to get here, they can maintain grime’s upward trajectory and reach unprecedented heights. • Fisher Hunnewell (Management)

INDUSTRY PLANTS Editorial Fall 2018

In the age of the internet, we live in a world of the “independent” and “DIY” artist. Anyone can post a video to their social media account and, given their talent, achieve the success of artists like Adele or Lorde. It’s almost as if we live in a world of self-made Kylie Jenners. The term “self-made” is tossed around rather freely and apparently anyone can fall under the umbrella of a self-starter without acknowledging their previous connections to an industry. The term “industry plant,” although not a new, has become a rather prominent topic in the last year or so with the rise of the indie pop artists. But what exactly is an industry plant? And is my favorite artist one? HELP! In the most basic sense, an industry plant is an artist or band with a label or person leveraging connections for them, but are presented on social media and in interviews by themselves or a marketing team as a selfmade, organic presence in the music industry. However, with the development of the internet and streaming services, the lines between industry plant and independent artist can appear blurred. Streaming sites like Spotify have been exceptionally helpful for independent and small artists, as they can upload tracks to streaming platforms and reach a broader audience on their own. Artists like BROCKHAMPTON are the epitome of the DIY internet success era, budding from a Reddit forum to selling out arenas across the country. The group has been transparent about their rise, with the help of a VICELAND documentary to promote the group and previous success of founder Kevin Abstract. Through all this, the group has never denied the connections these assets provided them as they were launched into the mainstream. BROCKHAMPTON escapes industry plant territory, as even their manager is one of the boyband members.

Our most notable plant on the other hand, and arguably the spark of the discussion, is Clairo. Born Claire Cottrill, Clairo is a bedroom pop artist who came to fame with her song and music video for “Pretty Girl.” Soon after the success of her hit, she landed an interview with The FADER magazine and opened for Tyler, the Creator, skyrocketing her career. Clairo was the indie success story every aspiring artist needed: she was someone who just happened to get noticed in the age of the internet through a Photo Booth music video and lo-fi single. However, there’s much more to her anyonecan-do-it success story than Clairo lets on. Although Clairo is a talented songwriter, there’s no refuting her father, Geoff Cottrill, had something to do with her quick success. Cottrill is a marketing executive who has worked with Converse and was one of the executives behind Rubber Tracks, Converse’s record label. During Clairo’s explosion, her father connected her to Jon Cohen, an executive of the marketing agency behind The FADER magazine and label, leading to her record deal. Connections like these were essential for Clairo to achieve the mainstream indie success she’s garnered in such a short amount of time. Clairo was then marketed as a self-made, independent artist who just happened to land a few interviews and headlining gigs with major artists. Rather than acknowledging this, Clairo and her team chose to spew DIY propaganda, misleading an audience from the nepotism the entertainment industry perpetuates.

“Connections like these were essential for Clairo to achieve the mainstream indie success she’s garnered in such a short amount of time.”

Designer: Roman Distefano (Computer Science and Design)

Shockingly, I’m not writing this to bash Clairo and cannot stress enough that there is nothing wrong with being an industry plant. The '90s were full of great industry plants from Britney Spears to *NSYNC. It is, however, the look of the industry plant that has changed significantly within the last few decades. The indie, lo-fi artist today is what the pop star queen was in the '90s, and the music industry isn’t blind to this. “Lo-fi” and “bedroom pop” artists were once the epitome of anti-establishment and anti-industry, and perhaps this is what makes the genres so attractive: the idea that the artist controls themselves and their art. But as Clairo proves, not even the independent artist can escape the murkiness of the industry. Some artists are born having connections in the industry, giving them a leg up on the other thousands of artists trying to make it. There’s nothing wrong with using connections for the advantage of an artist’s success but there’s something a little slimy about not acknowledging your privilege within one of the toughest industries. Without a doubt, Clairo and fellow industry plants are talented and furthermore, being backed by a record label isn’t necessarily negative. In fact, this can open up opportunities that would have been unreachable as an independent artist with little connections to venues and other musicians in the industry. The problem lies with artists profiting from false, disingenuous narratives that all they had to do was click a few buttons on their laptops to skyrocket themselves into the mainstream world. • Maya Dengel (Communications & Media Screen Studies)

Show Reviews Kali Uchis

House of Blues 10.16.18

Reviews

Kali Uchis comes across as sleek. With a cool and mellow voice, weaving seamlessly between tangled instrumentals rich with R&B and Latin influences, she is able to project power, assertion, and confidence – all while singing softly into the mic. Debuting in 2012 with the mixtape Drunken Babble, she has steadily built her career, releasing a number of singles and collaborating with well-known artists ranging from Snoop Dogg to Gorillaz. However, it wasn’t until 2018 when she finally released her debut album, Isolation. As a lover of Isolation, I walked into the House of Blues expecting to be entranced, to stand in the crowd and simply sway. I was be proven wrong. The show opened with Gabriel GarzonMontano, an American singer/songwriter hailing from Brooklyn. Beginning with a soaring bassline and almost jarring instrumentals, the singer crooned sweetly in contrast. By the end of his act, every note he sang seemed to captivate the crowd, who cheered on his every move. He charmed us with his unique sound, one that tread the line between genres, and didn’t fail to lift the venue to a sky high climax before dropping us down into tangled and heavy musical interludes. After a thoroughly enjoyable opening, Kali Uchis took the stage. Accompanied by two guitarists, her silhouette projected onto a curtain, and the crowd immediately

roared. The memorable opening riff of her song “Dead to Me” echoed into the dark, which only prompted more excitement as the whole venue became alive with noise. Cool and collected, Kali Uchis quite literally parted the curtains with half-lidded eyes as the crowd burst into a frenzied state. Slowly lifting her mic, her mellow voice seemed to fill our ears, and the crowd eagerly sang along. Strutting across stage, gyrating to a frenzied melody which had once calmed me, the album came alive to me in a different way that night. While her songs had always been soothing and almost meditative in my earbuds, the performance was meditative in another way. Instead of perfectly tuned synths and studio edited riffs, Kali opted for harsher, more realistic instrumentals. The guitars were sharp in my ears, the beat was quite literally pounding, and while it wasn’t what I was used to, it presented an entirely different yet still satisfying alternative. While not a polished and buffed performance, it was humanizing, and witnessing Kali perform brought her further into my reality. Picturing her as a sleek it-girl, her performance solidified her as a woman with the simple desire to share her music and experiences with us. The show was an hour and a half of some of the best tracks from Isolation, along with some previous singles. She crooned and eased the crowd into near silence on

more soulful tracks such as “Loner” and “In My Dreams,” but at the same time, she could rouse the crowd into a deafening frenzy on more upbeat songs such as “Just A Stranger” or “Nuestro Planeta.” Combined with belly-dancing and little anecdotes about each song’s inspiration, Kali Uchis demonstrated herself as a performer, and a relatable modern woman. She talked about her troubles with relationships, her struggles with sharing feelings, but she still emanated with self-confidence before us. In fact, right before performing “Your Teeth in my Neck,” she mentioned that the song is a criticism of the way corporations take advantage of the working class. The crowd immediately cheered, and I did as well. The show eventually ended off with her single “After the Storm” which features rapper Tyler, the Creator. The crowd rapped his part word for word as she held out the mic, and the finale ended off with a minute long guitar solo, soaring and crazed as the chords left us breathless and our throats raw. And while this isn’t what you would expect from an R&B or neo-soul performer, it still amazed me. Kali Uchis proved herself to be a great performer, one that still shines even after defying my expectations.

have easily been swallowed in the arena setting. Instead, Little Dragon filled the venue in warbling synths, intense drum fills, and enchanting reverberated vocals from frontwoman Yukimi Nagano right out of the gate. As a fog machine formed a faux wall separating the stage from the pit, it became clear that Little Dragon was in their own universe and we were just bystanders. The show resembled a jam session; Little Dragon was obviously having a blast playing their songs, and their synergy was undeniable. By the fifth song, the casual head bobbing of the now almost-full crowd turned to mimicry of Nagano’s astral swaying.

Little Dragon served as the perfect opener for Gorillaz; the band exists in the virtual group’s canon through features on Plastic Beach and matches the zany and upbeat aesthetic Gorillaz strives for. While the crowd may have been there for the main event, by the last leg of their set, Boston was welcoming Little Dragon with open arms. As Little Dragon’s set finished, the venue became packed with super fans waiting for Damon Albarn and his backing band to take the physical stage and for fictional characters 2D, Murdoc, Noodle, and Russel to appear behind them. The idea of an animated band going on a world

Mona Yu (Undeclared)

Little Dragon & Gorillaz TD Garden 10.14.18

Fall 2018

Walking into TD Garden on the night of October 14 felt less like a concert and more like the first night of Comic Con. Thirty minutes before the opener, Little Dragon, took the stage, the venue was bustling with an even mix of tweens dressed up as their favorite animated band members and drunk twenty-year-olds impatiently awaiting the band that defined their high school years. It was safe to say that the crowd was not stuffed to the brim with Little Dragon fans, but as the band took the stage, their energy told a different story. Playing a stage meant for Gorillaz’s 13 touring members, the four-piece Swedish electronic group could

tour seems ridiculous, but Albarn and artist Jamie Hewlett take it in stride. It became clear from Albarn’s first bellows of “Is anyone there?” from the track “M1 A1” that fans were in for a religious experience. Gorillaz shows serve as a live greatest hits album with an even distribution of tracks across the band’s discography, features included, making live shows a sort of pilgrimage for both hardcore and casual enthusiasts alike. Frequent collaborators like De La Soul, Jamie Principle, and Pevan Everett were in attendance while artists like DRAM and Popcann performed their features through prerecorded videos

plastered on the jumbotron behind the band. Gorillaz have created an experience that makes every fan feel truly special, and I have a newfound appreciation for the movement they have created because of it. There was an obvious shift in Albarn’s stage presence when performing Gorillaz classics like “Feel Good Inc.” and “Clint Eastwood” to songs off of the almost featureless The Now Now through his choice to either perform with a microphone or 2D’s trademark megaphone. Megaphone Albarn was at many times more reserved and true to the character of animated frontman 2D, whereas microphone Albarn pointed toward

his Blur roots and had him interacting with fans in the pit. Both versions of the lead singer carried the show, and while the music videos and short interludes featuring the band’s titular characters absolutely added to the affair, his obvious love for this project showed profusely. The night was a bittersweet tour down memory lane that presented Gorillaz four shows away from a looming ten-year hiatus but it is clear that Damon Albarn taking a break soon.

When Garbage took the stage to begin the show proper, it was clear to me I was in for a similar experience via very different means. The tour, a 20th anniversary celebration of their flagship album Version 2.0 did not cut corners on the setlist. Frontwoman Shirley Manson walked calmly out with her signature red hair in a ponytail and a thick blue stripe of makeup as a mask over her eyes: she came to party. Boldly beginning with B-side tracks “Afterglow” and “Deadwood” from the landmark album, Garbage were clearly aware that the audience were the kind of fans who already knew their discography front to back, and would not be disappointed that they would start off with such deep cuts. The energy on stage was in a phrase, quintessentially ‘90s, but Garbage were able to update their style to include that modern edge. “Gender is dead,” Manson calmly stated during one of her many between-song banter-sessions, introducing with eloquence the ahead-of-its-time “Soldier Through This” to the crowd, before promptly yelling “this next song is about cunnilingus!” as a means of transition into “Lick the Pavement.” This may have been an anniversary tour, but that doesn’t mean the tracks weren’t without innovation. Soundbites from popular movies and interviews punctuated many tunes, several of which also were intercut with a covered verse from the band’s favorite songs (Like replacing the

bridge of personal highlight “Wicked Ways” with Depeche Mode’s “Personal Jesus”). Despite a stumbling block or two, like the occasionally forgotten lyrics and some mixing issues, Shirley was able to use that Scottish charm of hers to turn problems into punch lines; after complaining on stage about the loose speakers on the ground, she quickly announced: “Now that I’ve been a bitch, it’s the perfect time to sing a party song!” before launching into “Get Busy with the Fizzy.” But like Rituals of Mine, it was all about Shirley Manson’s innate ability to turn the performance on and off, switching from theatrically acting out elements of songs like the “Hammering in My Head” outro like she is talking to herself alone on her room, to comedically hand-gesturing during the “Medication” refrain, to smiling profusely as she recognized a fan in the audience and rattled off an embarrassing story about her from the early 2000s. It’s hard not to smile along with a band that’s clearly just having so much damn fun on stage, and while Manson swung around the mic like a baseball bat to signal song drops, and acted like a cat by meowing and swiping her hands at Duke Ericson’s keyboard, you could tell she was just having the time of her life.

Max Rubenstein (Entrepreneurship)

Garbage

House of Blues 10.23.18 To me, one of the many markers of a good performer is the ability to switch that performance persona on and off on a dime; to transition effortlessly from anything from a bombastic, brooding, or enigmatic ball of energy, to, for lack of a better phrase, their normal human self. A good performer knows their own style, how to manipulate it on stage and in the studio, and how to use it to endear themselves to an audience. Both Garbage and opener Rituals of Mine showcased a mastery of this skill in vastly different ways at the House of Blues on the 23rd of October, making for one of the most immersive shows I have experienced in some time. Rituals of Mine gave me a clear, and neatly packaged idea of exactly what their band’s live brand was with just their first song. They are disciplined, calculated, brooding, confrontational, and emotional. Lead vocalist Terra Lopez conveyed effortless stage presence with only a bellowing voice, precise, almost robotic movements, and facial expressions that could crack concrete. She’s on stage to work, but the minute each song ended she releases all the tension in her shoulders and immediately smiles wide as she thanks the audience for watching the band “live their dream,” and reminds everyone that she’ll be at the merch table right after the performance, ready to give out free hugs when needed.

Jason Levy (Marketing)

Mitski

House of Blues 2.20.18

Reviews

“I’m actually deathly afraid of people,” Mitski admits halfway through her set at the House of Blues, grinning sardonically at one of the few times during the night she breaks her otherwise stoic demeanor. Luckily, Mitski’s music is an exercise in empathy, rendering her subjects’ lives in whole and devastating vividness. Her lyrics are simultaneously secretive and confessional, revealing perhaps more about us than Mitski herself. It’s apparent too, in that every audience member seems completely infatuated with different tracks from varying eras of her career, latching onto their own derived meanings and clinging tightly. The opener, Overcoats, reimagine what First Aid Kid might sound like with Lorde style beats, dancing along with woozy exuberance. Their voices morph to the point where they become indistinguishable from one another, ethereal and careful. They’re charming, albeit formulaic sonically, and though they enliven

the room, the lineup may have been better served with a more experimental artist. Be The Cowboy may be a considerably more conventional work than Mitski’s previous albums, though that doesn’t prevent her from tending visually towards the more theatrical and bizarre. In almost Stop Making Sense fashion, her choreographed motions are impulsive and exaggerated. She moves with nearly geometric precision; it’s robotic but delicate, as if her body has caged itself. In “Francis Forever” she paces the length of the stage in quiet fury, back and forth with motivated exactness. During “Thursday Girl,” she collapses on the floor in ardent despair. She slaps her own hand away during “Nobody,” reaching out in foolishness for intimacy she’ll never find. Often, she flaps her arms as if she is trying to fly off the ground, appearing to be held down not by gravity but the confines of her own form. Behind her, optical illusions swirl on screens, similarly mesmerizing and mathematical.

Newer, pop-adjacent tracks blend seamlessly with older fare; “Me and My Husband” is twinkling and buzzy, its campy bounce bellowing. Mitski places a chair center stage as she performs it, straddles it, and opens her legs with point-blank sarcasm. Pulsating yet weary, “Drunk Walk Home” is as fed up as ever. She replaces her usual screams with hostile thrashing, the guitar line scratching at some open wound. Encore track “Goodbye My Danish Sweetheart” jitters with the chaotic restraint of a Mitski love song, desperate and pleading at one turn and brimming with liberating bliss at the next. Only during “Happy” does she truly let go of her fracturing composure, jumping and shaking her body with uninhibited, fervent joy. It’s a moment of fleeting freedom, and for that, it’s all the more affecting.

my coat worries. The band ripped through favorites from their last three full lengths, but they were able to sneak in a pummeling live version of “Scissors” from their new compilation. Pile brought a little something for everyone, as it was the last stop on the tour. Lead singer Rick Maguire maximized the riffage of the most famous Pile song “Prom Song” as well as its evil twin “Rock n’ Roll with the Customer in Mind.” On the former’s iconic solo, he hid himself behind the amp in a chair and stretched his legs out to let the solo do the talking. I’m glad he did it, as it hilariously plays on the fact that people want to hear it so badly that he himself does not need to be in sight to please fans. They switched gears in between these two songs to unveil a new batch of ideas for those itching to hear new material, which took the dynamic interplay to another level. The pieces hit with unparalleled aggression to the other songs but also featured a section not unlike a barn square dance. Speaking of homages to the American south, the guitar’s playfulness reached a peak with a cover of Thin Lizzy’s “Cowboy Song” where the band kept the goofiness of the guitar dueting intact. Last but not least, and what excited me the most about the

show, was a chance to see one of my favorite drummers play on such crisp speakers. Pile drummer Kris Kuss locked eyes with the bassist to form a rhythm section that both knew when to turn down and bring up the heat. Kuss excels at both playing and making his drums sound as piercing as on record.. He knows when to honor a great recorded fill or transition, but his performance also kept me constantly engaged due to his razor fast ability to shift into a different playering gear. Pile has earned cult status in Boston rock, and this live show only adds another high mark to their live canon.

Willa Shiomos (Computer Science/Design)

Pile

The Sinclair 10.25.18

Designer: Claudia Bracy (Graphic Design)

Fall 2018

I came into the Sinclair ready to shed my warm outer layer and let loose. But alas, the coat check was not in operation on a rather cold October evening, and I worried my coat would anchor me. But suffice to say, both sets, wildly different in their approach, made me forget this worry. Unfortunately, opener Spirit of the Beehive made any and all attempts to stifle dancing through their very herky-jerky set. Their recent album Hypnic Jerks owes as much to modern indie rock as it does to the traditions of 60s psychedelic pop. I was hoping that their sonic presentation would take that soothing sound a bit farther into washed out bliss, but the band seemed too scatterbrained and unwilling to commit. The lead singer/guitarist engaged in an energy battle with the rest of the band through songs that jumped from a calm indie pop to Weezer-esque distortion and then over to electronic math rock reminiscent of Palm, minus the looser interplay. Interludes ranged from effected guitars to awkward stops where the band tuned in silence. The unsure signoff, and whole set overall, felt like a unprepared class presentation. On the other hand, Pile absolutely delivered, and their high energy vaporized

Chris Miller (Music Industry)

We publish show reviews online too! tastemakersmag.com

See You On A Dark Night My Favorite Song: “Oblivion” by Grimes

There’s something almost invasive about ‘Oblivion,’ as Claire lays out her deepest fears for all to see.

After being alone for long enough, everyone begins to long for companionship and compassion, but for some, a crushing paranoia in the back of their mind prevents them from ever actually seeking it. That paranoia is a primal fear of life itself, simultaneously selfdestructive and self-enabling. There is nothing worse than to be suffering with help in sight but without the ability to ask for it; as you stray away from that help and fall further into darkness, you reach “Oblivion.” Claire Boucher wrote “Oblivion” in a drugged-out, sleep deprived haze of self-imposed isolation. Retreating into her Montreal apartment for three-weeks of tumultuous work to start and finish an album with a fast-approaching release date, she didn’t have time to be perfect or indirect, but ultimately, that only emphasizes the endearing, yet deeply wise nature of /Visions/. At the album’s center lies the messy catharsis of “Oblivion,” though the song serves primarily as a form of penance: as Grimes says, “I make the album for me and then it’s like, oh, fuck. Everyone else has to hear this.” There’s something almost invasive about “Oblivion” as Claire lays out her deepest fears for all to see. That intrusion is certainly intentional, in that the song is the story of her sexual assault and the fear of which pursued her for years. “I never walk about after dark / It’s my point of view / Cause someone

• Grant Foskett (Computer Science)

Designer: Sam Marchesi (Graphic & Information Design)

could break your neck / Coming up behind you / Always coming and you’d never have a clue,” sighs the opening lyrics, juxtaposing Grimes’ ethereal, hopeful voice with words that resign themselves to dread. As the chorus comes in, however, “Oblivion” is turned on her attacker. “See you on a dark night” loops confidently, challenging him to join her in her darkness. There’s a dash of ambivalence in Grimes’ voice though, and the more the line is repeated, the further it devolves into a spiraling and infiltrating paranoia. It’s clear that the assault still haunts her, no matter what facade is put up, and at the point where that confident facade fails, the only next step is to cry out for help. Though as the second verse reveals, there’s nothing easy about that. “I would ask if you could help me out / It’s hard to understand / Cause when you’re running by yourself / It’s hard to find someone to hold your hand,” comes the line that never fails to break my heart. It’s such a clear depiction of loneliness, and as followed by “I need someone else / To look into my eyes and tell me / Girl, you know you’ve got to watch your health,” a devastating realization surfaces that that may never happen. “Oblivion” is more than a sad song: it is a soul-crushing song, the kind that never reassures you things will be alright in the end. As Grimes tries to repeat her plea for help, her voice is drowned out by a childish refrain of “La la la la la.” Her trauma is minimized as immature, so all she is left to do is repeat “see you on a dark night,” knowing that she will never fully heal. What makes “Oblivion” my favorite song is the ease and nuance with which Claire envelops you in her own experience while simultaneously empathizing with listeners who might share her story. The song is a solemn pact that sometimes life feels like all the light has been bled out of it and there is no one looking out for you, but maybe it’s some solace to know that anyone else feels the same. “Oblivion” is equally empowering and resigning, heavenly and nightmarish. It’s calculated, yet imperfect, and ultimately a very real portal into the void of loneliness. It leaves you empty, longing for closure or hope or a light at the end of the tunnel, but in the end, all you are left with is oblivion.

UNDER HOOD

Feature

It’s no secret that we are passionate about music. But beyond this obvious platitude, I wanted to dig a little deeper and see, what really makes Tastemakers tick? What makes us get up and dance? What cools us off? How do we even get our music? Sure, maybe we’re just one big indie hive mind, but I suspect there’s more going on. To answer these burning questions, I fielded a survey to our writers, designers, photographers, and promotions staff – here’s what I found!

ROCK ■ 68% RAP ■ 66% POP ■ 64%

THE

TASTEMAKERS:

INDIE ■ 79% ALTERNATIVE ■ 77%

Genres we like in general

R&B ■ 57% ELECTRONIC ■ 51% JAZZ ■ 38% PUNK ■ 38% EMO ■ 32%

METAL ■ 15% SKA ■ 10%

FOLK ■ 23%

COUNTRY ■ 9%

CLASSICAL ■ 19%

Genres we like for a party

No huge surprises, the college music magazine likes indie and alternative music the most. The next tier is made up of rap, rock, and pop (with R&B and electronic close behind). But looking past the obvious heavy hitters, there’s a good amount of variety – with pretty much every genre getting a non-negligible chunk of support – hive mind be damned.

RAP ■ 83% POP ■ 79% ELECTRONIC ■ 49%

The next reasonable thing to ask about was party music. Here’s a breakdown of our favorite genres to party to.

R&B ■ 38% ROCK ■ 28% ALTERNATIVE ■ 21% PUNK ■ 11% INDIE ■ 11% EMO ■ 9% COUNTRY ■ 6% SKA ■ 4%

METAL ■ 2% CLASSICAL ■ 2% FOLK ■ 2% JAZZ ■ 2%

Beyond just the basic genres, I wanted to get at our staff’s opinion on party music generally - because really, you can tell a lot about a person from their perspective on party music. I asked everyone to “describe their party music philosophy,” and tell me what makes a good party song. A few main themes emerged: The music should suit the mood of the particular event; there’s no one “party playlist” like there’s no one “party outfit.” Many people mentioned that the songs should be known and loved by everyone at the party – which naturally lends itself to throwbacks. Along with this was a theme of striking a balance between a song being danceable and able to carry a good mood that gets people in the right mindset. But of course, true to form some people think a party song should just be a banger, full stop.

Thoughts on party playlists

“My general philosophy when it comes to party music is to know your audience. A good party song is one that matches the tempo of the crowd.” “Everyone should get excited when the song comes on. Throwbacks are always good party songs.”

“Try to watch how the crowd reacts to music in a playlist. Based on this, try to alter the playlist so more people are noticing and enjoying the music. A good party is one that gets people dancing and singing without being too intrusive. It should feel easy and fun.” “It slaps, violently.”

Fall 2018

In addition to general philosophy I asked people to list their top 3 party songs. A full playlist is available at sptfy.com/20Ut, but here are some highlights:

FAVORITE PARTY SONGS

Just like the parties, I asked about their favorite songs to relax too. While the full playlist is available at sptfy.com/20Uu , here are a few highlights:

FAVORITE RELAXING SONGS

OUTKAST

KANYE WEST

APHEX TWIN

ROLLING STONES

HEY YA

GOLD DIGGER

AVRIL 14TH

WILD

LCD SOUNDSYSTEM

SHECK WES

FRANK OCEAN

RADIOHEAD

DANCE

MO BAMBA

FORREST

WEIRD

KENDRICK LAMAR

BROCKHAMPTON

BEACH HOUSE

GLASS ANIMALS

ZEBRA

GOOEY

YRSLF CLEAN

KING KUNTA

BOOGIE

With partying aside, I wanted to know the musical habits of our staff when it came to relaxing. Viewpoints here were a little less varied than when it came to partying: people generally like to relax to music that’s atmospheric, soft, not too crazy instrumentally, has lyrics that aren’t too intense, or doesn’t have lyrics at all.

Philosophy on relaxing music

GUMP

HORSES

FISHES

And what about live music? I wanted to ask about the preferences of our staff, who see an average of almost 7 shows a month, with those on the high end seeing up to 20.

How many shows have we seen? If the music feels like it has space to breathe in it and it’s not overwhelming in lyrics or arrangement, then I can find it relaxing.

0-1 shows ■ 7% 2-4 shows ■ 44% 5-8 shows ■ 27%

292 SHOWS SEEN TOTAL

9-12 shows ■ 9% 13-16 shows ■ 2% 17-20 shows ■ 9% 20+ shows ■ 2%

I asked about people’s favorites concerts too. The spread was wide, here’s just a representative few: Feature

DANNY BROWN / LORDE / KANYE WEST

Finally, I wanted to know what people’s favorite music was. As you can tell, music is a pretty central part of all of our identities, and perhaps none more so than our favorite music.

68% Music is an important part of my identity.

25% 7% Strongly Agree

TWENTY ONE PILOTS / FRANK OCEAN Tastemakers’ live music preferences, I suspect, would differ from the population at large. The vast majority of us say that seeing a band live is as important to us as listening other ways, and that when bands come to town we make it a point to see them. There really is something categorically different about experiencing live music, and obviously our habits reflect that.

29%

Designer: Kat Minor (Graphic Design & Game Design) Fall 2018

18% Agree

Disagree

Strongly Disagree

51% 40% 9% Strongly Agree

0% Agree

Disagree

Who does our staff think are the best artists releasing music right now: There’s quite a lot of variation, but the names that come up the most are a lot of what you might expect, covering heavy hitters spanning genres.

Kendrick / Kanye / Mitski / Radiohead / Death Grips / Frank Ocean / St. Vincent / Lorde / Brockhampton / Lil Uzi Vert / Danny Brown / Snail Mail

60%

18%

Strongly Agree

15% Agree

Disagree

I asked about favorite albums as well, and there too was a nice crosssection of classics across genres - here’s just a few of our favorites:

To Pimp A Butterfly - Kendrick Lamar Blonde - Frank Ocean Paul’s Boutique - Beastie Boys Graceland - Paul Simon OK Computer - Radiohead Since I Left You - The Avalanches

Strongly Disagree

I wanted to ask about how our staff thinks about their music in general:

I have better music taste than most of my friends

0% Strongly Disagree

0% Strongly Agree

When a musician I like comes to town I will make it a point to see their show

Disagree

Who are our staff’s favorite artists of all time? Well, there’s s lot of overlap with the best music right now, but with some other now defunct classics thrown in: The Smiths, The Beatles, Björk, The Cure, etc. Tastemakers favorite artists are a veritable who’s who of indie, pop, folk, and rap legends.

53% Seeing live music is as important to me as listening to music in other ways.

Agree

7% Strongly Disagree

Do we, or are we just being pretentious?

So there you have it, a cursory look under the hood of Tastemakers’ music preferences – what we party to, what we de-stress to, how we listen, and some of our all time favorites. If there’s one thing I hope everyone can takeaway from this, it’s that while there’s a lot of similarity in the answers (surprise, we all like Kendrick), there’s a lot of heterogeneity of opinion too, and that’s something to be celebrated. The music we love does become an important part of our identity – the soundtrack to our awkward teenage years, the songs we let loose to with our closest friends, the sounds that soothe us after long days – and when we share common ground, but differ in key ways – that’s when we benefit from one another. Have you ever asked your friends to tell you about their favorite bands? Their faces light up – everyone likes the chance to share what moves them, and music is of course no exception. • Jonathan Vayness (Psychology and Economics)

Tory Silver

Photo by Rio Asch Phoenix

Local Talent

Tory Silver members Tory Silver

upcoming shows January 13 @ O’Brien’s Pub

sounds like Sidney Gish Margaret Glaspy Julia Jacklin

recommended tracks “Maple Glazed” “Golden” “Apartment”

albums Observere Live at Pete’s Pepper

check out torysilvermusic.bandcamp.com also on Spotify

of her first album Observere, is a Norwegian word. “Sondre Lerke is my favorite musician. I remember I googled Norwegian people when I was 14 just to see what they look like and his photo came up, and I was like, oh he’s actually a musician,” she explained, “When I first moved to Boston, remembering my culture helped me adjust a lot.” In regards to the future, Silver is hungry for more, constantly looking to add more complexity to her tracks and intricacy to her content. “It started with [getting my music on] Sound of Boston for my first album and now with the NPR tweet, I want to keep that going. Next goal is to get NPR to listen and sell out a show.” With her continuous growth and dedication, Tory Silver is one name to look out for. Maya Dengel (Communication/Media and Screen Studies)

Designer: Claudia Bracy (Graphic Design)

Tory Silver, a fellow Midwest transplant, was one of my first introductions to the Boston music scene when I moved here a year ago. During most of my time spent chatting with her in the cozy Bachelor’s Horse in Back Bay, we vented about the struggles of the industry and hustling venues for responses. Despite the battle of breaking into the DIY music scene in Boston, Silver has made quite a name for herself, catching the attention of local music blog Allston Pudding and NPR. The latter came as a surprise early one morning in November with a tweet shouting out her “dynamic, experimental song,” titled “Maple Glazed,” while also giving a nod to the rest of her recent release, Pepper.

Silver’s career comes from the humble beginnings of the open mic circuit throughout college. Besides her love for Boston after a childhood visit – “I like the whole ‘ocean and mountains’ things” – Silver migrated to the East Coast due to a job offer. It wasn’t until she moved to Boston that she started seriously getting involved in the music scene, as she began honing in on her songwriting and guitar skills. After connecting with Heath Timmons of WREMF Radio, she was able to book similar smaller shows, which allowed her to connect with the local community. After a few months of refining her guitar skills through lessons, she began to assemble her first album, Observere which she described as a graceful process compared to her most recent release, Pepper. “The EP was so much harder to get people together and we only had one slot to record all 4 songs in a day. Everyone was so tired by the end,” she told me. “It turned out really well, but it was surprisingly so much more exhausting than my first album.” In less than 2 years of moving to the city, Silver has absorbed much of the indie-folk music scene. She noted some of her favorite local musicians to play with have been Stains of a Sunflower, Alex Hudson, Jackals, and Gentle Temper for their stage presences and groovy sounds. Much of the inspiration for both releases stem from her Norwegian roots, noting the name

JUST A TAST E O F

Julian Yeboah

Etcetera

Where are you from?

What’s your favorite live performance you’ve

I was born and raised in Brooklyn, New York.

been a part of?

How would you describe your sound?

My release party for my album Obsidian.

My sound is something that comes from a lot my experiences. It’s a combination of soothing rhythms and crashing harmonies. I want to be able to evoke something within the listener, whether it be hate or love, joy or sadness, comfort or pain. As long as my

but seeing the smiles and joy on my friends’ faces just gave me a sense of fulfillment. I knew what I was doing had an impact on my friends in some way, and I just love spreading my enjoyment of

sound gets a reaction from you, my job is complete.

music onto other people.

What other musicians are you into at the moment?

Where can people find your music?

John Legend will always and forever be my favorite musician. He influenced me to sing and play

Fall 2018

Performing with my band was something else,

My music is on literally every musical platform. Bandcamp, Spotify, Soundcloud, Apple Music, Tidal,

piano, and from time to time my friends actually

and Google Play.

call me Julian Legend, but I’m far from being a

If you could collaborate with anyone,

legend. Another artist I’ve been into for a while

who would you choose?

has been Daniel Caesar, his mellow and calm

It would have to be SZA. She is just a beacon of

demeanor is something I emulate when I write and

light and raw emotion. I feel like pairing her

perform. I can’t forget to mention Jorja Smith, she

sound with mine would create something wild. But

is something else. Her voice just exudes so much

who knows, maybe it’ll happen one day, you’ll just

emotion and invites you to let yourself just be free.

have to wait and see.

JulianYeboah

LOCAL PHOTO

Jain, Paradise Rock Club Photo by Rio Asch Phoenix (Media Arts)

SPOTIFY PLAYLIST We’ve compiled all the songs from page 12’s The Life & Death of Hatsune Miku and added a few more of our own for a kickass Japanese digital singer playlist.

find the playlist at: sptfy.com/20Iy

1. “Ghost Rule ” — Deco*27 2. “炉心融解” — iroha (sasaki) 3. “Tell Your World” — livetune 4. “Karma”— CircusP & Eyeris 5. “Selfish - Remix” — Kira & heart«breaker 6. “Kusare-gedou and Chocolate” — PinochhioP

FIND BEYONCE We’ve hidden Bey somewhere in this issue. Find her and maybe something cool will happen...

7. “劣等上等” — Giga 8. “ロストワンの号哭” — Neru 9. “Echo” — Crusher-P 10. “Freely Tomorrow” — Mitchie M 11. “砂の惑星” — Hatchi