COINreleased a whole new studio album, and it is exactly what I was waiting for. The new album, titled How Will You Know If You Never Try, was released April 21, 2017 and is COIN’s second full studio album. It includes the single “Talk Too Much”, which was released in 2016. Personally, I’ve been waiting for new music from COIN ever since they released “Talk Too Much”, the hit banger that brings a party with it’s awesome dance-worthy beat and melody. As soon as I heard “Don’t Cry, 2020”, the first song off the new album, I knew it was going to be just as entertaining as “Talk Too Much” promised.
The album flew by the first time I listened to it. Not every song on it is a hit, but a couple definitely stand out. “Boyfriend” includes funny elements of back and forth dialogue and features big drums and an upbeat tempo. “Lately II” starts slow, does an interesting pickup halfway through the song, and basically sounds like two different songs fit under one title. I was feeling the beat from “Feeling” and “I Don’t Wanna Dance”, which brought the cool guy vibes of “Talk Too Much” back to the album. As a bonus, I got Neon Trees vibes from the whole album, which I was definitely grooving with.
The chill, sweet tones of “Malibu 1992” was a good finish for the album, and I appreciated the nostalgic mood it set for the second listen through. COIN gained some popularity with the 2015 single “Run” from their first full album, self titled COIN. The new album capitalizes on this success and delivers with a few danceable jams and a solid overall album. COIN’s new music is worth a listen, so check them out.
Last night I saw Bastilleperform at the WaMu theater, just outside international district in Seattle. In a word, it was WILD (pun intended). I bought the tickets because a friend and I were (and still are) really into their newest album, Wild World. Also – it was her birthday, so, perfect gift. I wasn’t super interested in their older stuff, from Bad Blood, but there was simply no denying I’d heard it all before. It had been force fed to me by the various radio stations that played almost all their songs relentlessly. Bad Blood, particularly the track “Pompeii” was what made this band absolutely explode (yes, like the volcano). Bastille has some kick-ass merch, so naturally as soon as we got to the venue and I immediately bought a shirt from the merch stand, no regrets. You can find their merch here. With a belly full of hot Asian soup, bubble tea, and a new Bastille T-Shirt on my back – I was pumped to see them perform.
[As a side note – I was too busy buying merch that we missed the opener, Cosmo Mondo, but the drunken woman behind us assured me they were fantastic.]
If you haven’t seen the music video for their song “Fake It” you should watch it now, because it’s pretty important to several aspects of the concert.
Anyways, the newcaster guy from this video was displayed on the two huge screens on either side of the stage for about 20 minutes before Bastille took the stage. Essentially, it was just behind the scenes footage (although clearly staged) of this news caster being a pompous asshate to basically everyone in the studio. It was really interesting and gave a lot of context to the music video. There was a lot to read into here, but I know I’ll get carried away talking about it so I won’t even start.
When it was time for Bastille to enter, we heard “Pay attention to this breaking news” (or something like that) as the beginning of “Send Them Off!” began to play. Bastille stormed the stage and the concert was in full swing in a matter of seconds. They rocked, they destroyed really. Dan (the lead singer) had excellent control over his voice and completely blew me away. You can check out his vocal performance compared to the track performance here, and you’ll see there’s very little discrepancy. In my opinion, he was better live, Bastille as a whole was.
Between the amazing guitar solo (during “Four Walls”), the mesmerizing background, and the awesome sound of Bastille 20 feet away from you – I got lost. I took too many pictures, and I’m not normally one to take photos of a concert, I’m all about that “be in the moment” bullshit. But, they were so picture worthy. I was dancing and singing along, the concert lasted 2 hours and I loved every second of it.
Back to the background for a moment, did I mention it rocked?? Because it did, each song had its own really intriguing music video esque background to accompany it. Some of it was new perspective on their already released music videos, and a ton of it was new content. I couldn’t get enough of it. Again, so many ways to read into it… don’t even get me started. Basically justa huge amount of playful commentary on how the media and politics can destroy and mold us.
The concert ended with an awesome and emotional encore. The whole idea of encores seems silly and planned to me, so usually I find them superficial (not that I’m not thankful for the extra songs, but yeah). But, right before they played the last song of the set Dan told the audience that they’d be back, obviously, for the encore, so not to be worried. He commented on how silly it felt, but he had no choice. Awesome. Speaking of which, Dan (and the whole band) had great stage presence and audience interactions. At one point Dan walked right through the middle of the audience to the back of the theater… I tried to snap a picture, but I didn’t do a great job. I didn’t get close enough to actually see him. (Maybe you can spot him here in the middle of the spotlight somewhere)
When the lights came back on, the newscaster dude was back on the screens. And he FREAKED out. It was awesome. I can’t even explain how much commentary about the political and media climates there were, but it was a lot. And it was done perfectly, considering the Wild World album focuses a lot on the media and how our views can be shaped. I was sad to leave, but I wasn’t disappointed. Next time Bastille is here in Seattle you can be I’ll be there.
Foster The People have released three new singles from their upcoming full length studio album, and if these songs are any indication of what the rest of the album is like, I am extremely ready for it. The singles, collected in an EP called III, were released on April 27th, 2017. The band also announced a tour this summer to support the new album (sadly, they have not announced any Seattle dates). The EP includes the songs “Pay the Man”, “Doing it for the Money”, and “SHC”.
The three singles are reminiscent of their 2014 album, Supermodel, and have the same bursting energy and moving beats. Foster The People are still best known for their 2011 debut album, Torches, which won them a large fan base and a critical following due to the popularity of the singles “Pumped Up Kicks” and “Helena Beat”.
The riff in “SHC” reminded me of a sped up “Montanita” (Ratatat), and the distorted sound of all three singles had definite similarities to Tame Impala’s synthesized sound. “Pay the Man” included the interesting talking-rap elements that are drawn on in songs like “The Truth” and “Are You What You Want to Be?” (from Supermodel). “Doing It for the Money” had a much more youthful feel to it, and I liked this song the best of the three on the EP. The song seems to reject the notion that in order to be successful, an artist has to sell out. Instead, it speaks to fighting time and focusing on living in the present, and of the three singles has the most danceable beat.
The band is facing some criticism due to the similarities between the III EP cover and the album cover of Low Teens by Every Time I Die. The similarities are hard to deny; the two pieces of cover art are nearly identical in colors, placement, and font style. Every Time I Die commented on the EP art on twitter, but no action has been taken against Foster The People as of now. See the cover of Low Teenshere.
Keep an eye out for the new full length album, which is rumored to be called Sacred Hearts Club, and is set to be released June or July 2017. It’s going to be good.
On Monday afternoon, Sampha held an in-studio performance at KEXP prior to his concert with The xx that night. The performance was free, so I felt it was the best possible excuse to avoid studying. About fifty of us were crammed into a dark room, separated from the studio by a wide window. Inside the studio a piano sat in the middle of the room, surrounded by technicians and cameras. We were told there was no talking or use of cell phones, so that Sampha would be the only sound heard on the radio. Minutes later, Sampha graced us with his presence, taking little time to introduce himself. Though he only performed four songs, each one was astounding to watch performed. Sampha brought no band members along with him; it was only him and a piano. Looking back on it that was the best choice he could’ve made, because it directed attention towards his voice alone. His voice sounded identical to the tracks on Process, only with more emotion and intensity in his tone. This made the tracks he performed- “Plastic 100ºC”, “Incomplete Kisses”, and “(No One Knows Me) Like the Piano”-sound much more emotional than I had previously heard. His demeanor was surprisingly down to earth as well; in between songs he answered a few questions, and he was quite humble despite the praise he received from KEXP’s host and the audience. Despite a short performance, Sampha was well worth seeing and I look forward to seeing a full performance in the future. Sampha’s performance should be on KEXP’s YouTube channel soon, which you can visit here. Until then please enjoy the above potato quality picture of Sampha I took following his performance.
Last week’s battle of the bands brought four groups head-to-head for a chance to perform at Rainy Dawg Radio’s 14th annual Birthday Fest. Don, a future bounce group, came out on top and opened for Kero Kero Bonito on Tuesday.
The band includes lead vocalist Stefán Kubeja, bass player and vocalist Phinehas Nyang’Oro, drummer Bobby Jimmi, synth player Daniel Salka, and keyboardist Ori Levari. Stefán, Daniel, and Ori are all UW students.
I interviewed Don before the show on Tuesday about how they got started, how their jazz backgrounds influence their current work, and what’s next. Some responses have been shortened for clarity.
How did you get started?
Stefán: Originally it was just Daniel and me. We used to just play music together. Then we went through a big series of lineup changes until we met Phinehas. Phinehas stuck with us, and Phinehas introduced us to Bobby Jimmi, because they knew each other from playing in jams. We played a gig, and we felt like it worked, so we just stuck together. Ori was actually a replacement because Daniel couldn’t make Battle of the Bands, so we called him. And now he’s officially in the band. This is his second gig with us.
How did it feel to play your first show with Don at the Birthday Battle?
Ori: It was great. It was fun. I’ve always wanted to play this kind of music, and it’s cool to have that opportunity. I play a lot of jazz, which is fun in its own right, but hip-hop is pretty cool.
Stefán: Everyone has a jazz background except for me and Bobby Jimmi. So we take a lot of influence from the Seattle jazz scene.
What was it like switching from jazz to this style of music?
Ori: It’s cool to have jazz influences in my playing, at least for this group. I think it lends itself really well to having jazz influences. But I see them as being pretty similar, to be honest. It didn’t seem like a very big jump.
Phinehas: I’m from North Carolina, so I was already doing stuff like this in high school. I moved to France, so they weren’t doing this type of hip hop. I’m just happy to be in Seattle, where they’re giving me a little bit of what I used to do back home.
How did it feel to win Birthday Battle?
Stefán: It was cool. Everyone was sitting there, and we were all watching the numbers go up. Phinehas was like, ‘Yes!’ when we got a vote, and then when we got passed, he was like, ‘No!’ They ended up having people vote on the way out, so by the time we got informed that we won, it was just us and the people running the event. So we got to have our own little celebration. We’re psyched.
What are you looking forward to about tonight?
Stefán: I think there are a lot of people who saw us perform at the battle and are excited to see us tonight. I’m excited to have some fun and perform in front of the people who really like us.
Phinehas: I just want to be thankful for being able to play this music in front of an audience. I hope that I can give them something of satisfaction.
Bobby Jimmi: I get my energy from the crowd. If they’re dead, I’m going to be dead.
Ori: I’m just excited to play for a full house. It should have good energy.
How do you balance being a UW student and being in a band?
Stefán: People say it’s hard, but it’s not really that hard. I can speak for all of us when I say that, beyond school, what we do is music. We just make time for it. Maybe we don’t go to parties or we don’t chill with frats. Instead, we’re doing music. I don’t find it to be that difficult. I find it to be kind of natural. It’s like work and play.
What’s next for you guys?
Stefán: We’re in the studio right now, recording our debut, which is coming out June 1. We hope to do a West Coast tour come August. Beyond that, who knows. After this show, just having more fun, doing everything we can. Being grateful, being thankful. Sharing energy, receiving energy.
Unless you’ve been living under a rock since 2010, you may have a decent idea of who Kendrick Lamar is. Since his official label debut good kid, m.A.A.d city, Lamar has earned himself worldwide appeal as both a popular and conscious rapper. Now, two years since his genre-shattering To Pimp A Butterfly, Lamar has returned to the spotlight with DAMN., a record dense with personal reflection and exemplary production that once again establishes him as one of the all-time greats.
“So I was taking a walk the other day…” Kendrick starts DAMN. off with a short narrative in which he describes his own death. It seems that the remainder of the album revolves around Lamar contemplating his own life, considering if his life would have been worthy of living had he actually died. The album even reverses on “DUCKWORTH.”, the final track, and returns to where DAMN. started off. The song titles cut no corners; each previews the song’s subject matter. “HUMBLE.”, for example, delicately balances on Lamar’s own bravado and the constant reminder to “sit down” and “be humble.” Other tracks cut deeper. “FEAR.” outlines Lamar’s fears, including death’s unpredictability and of losing the fame and wealth he’s earned. The mood throughout the album sways between vulnerable and confident; it’s a blend of what made both To Pimp A Butterfly and good kid, m.A.A.d city unique. Despite relying on similar tones, Lamar delves into new topics and makes DAMN. feel just as unique as his previous two works.
Unlike To Pimp A Butterfly, DAMN. features a departure from jazz rap, rather fusing pop, electronic, alternative, and trap music into a refreshing sound that caters to Lamar’s versatility. The production credits are indicative of such; to name a few, James Blake, 9th Wonder, James Blake, Steve Lacy, and BADBADNOTGOOD all lend their production talents on DAMN. Each song is an otherworldly experience on its own, yet listened to side by side reveal the narrative of Lamar’s latest work. “XXX.” features perhaps the wildest beat switch (one of many) on the album, exploding from a dark, bass-driven beat into a flurry of sirens. Other highlights include “LUST.”, a song empowered by a delayed entry of the drums, and “PRIDE.”, whose guitar chords slow the pace to a melodic crawl.
To Pimp A Butterfly took some time to grow on me when I first heard it. I was initially disappointed because I was hoping to hear more tracks reminiscent of good kid, m.A.A.d city, but instead what I got was vastly opposite. Once I had come around to it, however, I learned that artists aren’t supposed to rely on formulaic music to become successful. Real artists grow and change; they learn and evolve to create new, exceptional music that keeps them one step ahead of the competition. Lamar’s competition, Drake, has fallen victim to this and chosen to stick to what works rather than take risks and mature as an artist. Lamar, on the other hand, continues to grow and surprise his fans, with each new album being more unprecedented than the last. DAMN. is a shining example of such. An album inspired by Lamar’s own life and attitude, it stands alone as a masterpiece and singular experience. Lamar continues to solidify his placement upon the Mount Rushmore of rap, and he will most certainly surprise us all with whatever he has planned next. Listen to DAMN.here.
So, a few weeks ago a few friends and I went to go see Hayley Kiyoko live. The performance was at the wonderful Crocodile in downtown Seattle (although the roof was leaking??) and we were excited to see the show. We got there praying there wouldn’t be an opener, we just wanted to get straight to the Hayley Kiyoko part of the night. But there was an opener, of course, the upcoming band Flor. To our surprise, Florblew us away with their music and stage presence – they rocked our socks right off. Surely, we thought, Hayley would top them by leaps and bounds – this wasn’t the case. Hayley Kiyoko was fine, she got the job done but all in all she was a beautiful mess. The show felt unprofessional, and I’d describe her stage presence and remarks thereof as a long Tumblr text post I did not want to read. So, this blog is gonna be about Flor, because I fell in love with them. Sorry Hayley.
Although Flor has just only started touring and doing large live performances, they still managed to impress us. The lead singer, Zach, was adorable and so awesome and kind to the audience. He had sort of a cute and quirky way of getting us pumped up. After their first few songs he thanked the audience, “Thank you guys for applauding, you really didn’t have to. It could’ve been totally silent, and I just wanna thank you guys for the applause”. I hope that in the future, if Flor gets big, that he doesn’t lose this thankfulness to a jaded look at fame and performance. All four members of the band had a stage presence that played off one another, they worked as a cohesive organism that made awesome rock sounds. Not only was their stage presence just fantastic, so was their music. The indie and high voice of the singer was the perfect complement to the airy indie rock music flow they had going on. They did a really cool rock style performance of Adele’s “Send my Love (to your new lover)” that you can watch here:
All in all the concert rocked, and it was really worth it to see Flor – oh, and Hayley Kiyoko was there too. I ended up buying this sick hat from the Flor merch, I liked them so much.
My fascination with Diet Cig started when I saw them open for The Front Bottoms and Brick + Mortar last year. At that time, they had one 5-song EP and two singles. Almost exactly one year later, they dropped their first full length album, I Swear I’m Good at This. Frontwoman Alex Luciano keeps it real with her audience and her unbridled honesty makes her lyrics so much more relatable. The opener of the album, “Sixteen”, details cringey moments of dating someone with the same name. Luciano addresses many relationship struggles and problems commonly encountered as one enters adulthood, or at least tries to.
Among the sweet melodies and talk of relationships are discussions of heavier topics such as gender roles and consent. On “Maid Of The Mist”, Luciano spits out “I am bigger than the outside shell of my body and if you touch it without asking then you’ll be sorry”. Luciano may refer to relationships and seemingly mundane topics, but she remains feminist pop-punk and empowered. “Tummy Ache” and “Link in Bio” is where some of this feminist frustration boils over.
Overall, Diet Cig nails combining a young innocence with ferocity and empowerment. They blend elements and themes together in a bubbly, dancy pop. I Swear I’m Good at This is an amazing debut album and I’m excited to see where they go from here.
Diet Cig will be stopping by Seattle on April 28th at Barboza. If you’re able to attend, I highly recommend. The energy present in their music is multiplied by 10 at their live shows. Luciano jumps, kicks, and is an amazing ball of energy. She’ll make you dance even if you’re unfamiliar with their music. You can grab tickets for that show here.
In case you couldn’t tell by the album’s title, Joey Bada$$ is not merely dropping a typical rap album. Inspired by the late Capital Steez’s AmeriKKKan Korruption, Bada$$ has decided to follow in the footsteps of Pro Era’s former great. Exactly five years to the date after Steez’s album, Bada$$ has delivered a project strongly rooted in the “korruption” in present day America.
ALL-AMERIKKKAN BADA$$ features a departure from Bada$$’ typical boom-bop New York sound, favoring a tracklist highlighted by bright production and jazz rap. Long-time producer Statik Selektah produced only two of the twelve tracks on his new album, compared to four on B4.DA.$$. This time around, Bada$$’ producers implement horn sections and electric guitar on a number of tracks, elevating them from decent to fantastic, as well as displaying Bada$$’ adaptability by stepping in a new direction of melody. The middle of the tracklist includes what might be the grooviest sequence of production on an album this year, with “TEMPTATION”, “LAND OF THE FREE”, “DEVASTATED”, and “Y U DON’T LOVE ME (MISS AMERIKKKA)” following one after another. The transition from these four tracks to the next two, “ROCKABYE BABY” and “RING THE ALARM”, is completely jarring, but a welcome shift back towards Bada$$ embracing his ruthless lyricism.
The subject matter is surprisingly heavy compared to the albums upbeat production. Much like Common’s Black America Again, ALL-AMERIKKKAN BADA$$ addresses issues plaguing American’s African Americans, such as police brutality, racism, and inequality. “Y U DON’T LOVE ME (MISS AMERIKKKA)” is reminiscent of an homage to 50 Cent’s “21 Questions”, except Bada$$ questions America’s lack of acceptance towards African Americans. He spits, “Tell me why you don’t love me/Why you always misjudge me?/Why you always put so many things above me?/Why you lead me to believe that I’m ugly?”. Bada$$ doesn’t hold back, and it pays off. The last two minutes of the album are when Bada$$ is at his strongest; he effortlessly dismantles the U.S. government, accusing them of trying to start a civil war between its black and white citizens. He encourages his listeners to unite and fight back, rather than fight each other like he believes the government wants.
Bada$$ hits the mark on every aspect of this album. The production is solid, the guest appearances burst each track into flames, and the themes present relevant issues that need to brought forth time and time again. The focus of ALL-AMERIKKKAN BADA$$ is much tighter than B4.DA.$$, and its production more versatile. Bada$$ has shown great signs on improvement on his sophomore effort and has proved himself deserving of the national spotlight alongside industry titans like Kendrick Lamar and Drake. Listen to ALL-AMERIKKKAN BADA$$ here.
Pure Comedy, Josh Tillman’s third album as Father John Misty, is a calculated mix of both.
The album marks a dark shift in Tillman’s subject matter. While the lyrics on Fear Fun (2012) and I Love You, Honeybear (2015) discuss love, drugs, masculinity, and sexuality, “Pure Comedy” satirizes religion, technology, climate change, politics, and pop culture.
This album lacks the varied pacing of his previous two; almost all the songs on Pure Comedy are slow and moody. One exception is the third track, “Total Entertainment Forever,” an upbeat song you can tap your feet to. It’s a nice breather, and there could have been more songs in this style on the album.
But what Pure Comedy’s sound lacks in speed, it makes up in depth. The instrumentals are far more experimental than either of Tillman’s past solo albums. A minute and a half into “Things It Would Have Been Helpful to Know Before the Revolution,” the fairly simple melody transforms into an angry swell of horned instruments, echoing vocals, and strings. It’s one of my favorite tracks on the album.
Despite these changes, Tillman’s songs still fit his Father John Misty persona like a glove. As usual, it’s sometimes hard to tell whether he’s being sarcastic or genuine. But Tillman knows exactly what he’s doing – he makes that clear in “Leaving LA.” You’ll spend the entire time wondering, “Is he trying too hard, or is he making fun of people who try too hard?” It’s satire at its finest and most frustrating.
Though slow-moving, the album’s beautiful instrumentals and clever lyrics are worth a listen. Whether you roll your eyes or get teary, Pure Comedy will make you think.