Rainy Dawg Radio is throwing a tantrum! After 12 years of feeling brought down by the man, we’re ready for our final years of pre-teen excellence. THIS FRIDAY, our favorite bands are setting up shop in Sylvan Grove to celebrate our terrible twelfth birthday (we’re soooo old)!
If you haven’t already, you can RSVP via our facebook event! There you can find updates before and during the show, including posts about food, fun and free swag. For example:
If phantasmagorical frybread isn’t enough, there will also be music! Lots of music… including:
Y2K nostalgia could be captured in in an artist’s sound, that artist would be LIZ. A valley girl hailing from Tarzana, California, her sound and style
represent the aesthetic of the Y2K R&B generation. Think Sailor Moon
R&B, Hello Kitty aesthetic, kissing on the high school bleachers, unicorns
riding on rainbows, and trying to dance in an over-sized jersey. And that would
to Diplo’s label “Mad Decent,” LIZ has already released a string of singles and
even an EP (“Just Like You”). The latter is a cozy collection of colorful tracks
that range from representing a generation (“Y2K”) to being cautious about a
love (“Do I Like You”), with songs about pondering “what if” situations (“Say
You Would”) strewn in between. Even songs outside of her EP, such as “Hush” and
“You Over Them” all undoubtedly come from the same mentality, one of an R&B
princess cooing vocals wrapped in the warm productions of yesteryear.
Jaapur’s latest release starts out as a series of digital noise. Its momentum and tones feel like a throwback to the over-dubbed days of 8-bit remixes. A series of high and low pass filters add dynamics to the track, which make “Double Much.aac” an excellent introduction to the eclectic (yet satisfying) Organic.
The second track, “Conclusion.txt” starts out quietly as it, like the other songs on the album, plays off of the various computer file-naming conventions. Bass-heavy and trance-like, the contrast between synths and snares provides a basis on which to build a vibrant system of sounds. The melody alternates between instruments, each subsequent variation adding to the last. Towards the middle of the track, the rhythm becomes increasingly danceable, each instrument battling for its turn in the spotlight.
Following the quick-to-end instrumental that came before it, “Effigy.jpg” traces the line between highs and lows. Each synthetic instrument stays within its chosen scale – the unique sounds finding their individual places in the track. Various voices interrupt the flow, interjecting with plays on the name of the song. Although the bass line leaves something to be desired, the catchy chorus makes this track one of my favorites on the album.
The album continues in various forms, the tracks in themselves progressive as they build along with the broken pieces of the same theme. An occasional rap-track, featuring iamlogan and (most likely) Jaapur himself, can be found on the album – the flow, slow to match the tempo.
From disco beats to trance suites, Organic takes us back to a time before heavy-hitting bass lines ruled the boiler room. Be sure to take a good listen to the standouts (embedded below), “Akebono.flac” and “But Do You Know” which features Sarah Rain, Jaapur’s IRL sister, on vocals.
In this dreary period of somber winter nights, I’ve felt a little melancholy. I’m pining for sunshine, for sweet summertime nights, for nights around the campfire drinking some lemonade. I’m pining for the days of cool relaxation and no stress. Mostly, I’m pining for cool, fresh new music, and I think I found it.
So… we should meet JUNGLE FIRES.
A New York based duo composed of artists Menashé David Israel & Kéren Or-Tayar, JUNGLE FIRES is a brand new artist that puts indie pop and indie soul on the map. With beautiful piano harmonies,some chill electric guitar, and soulful vocals, their debut album Bliss Point is sure to take center
It’s a six-track album with its number one track creating
the perfect interest into their record. Brilliant song, “Nothing Can Be
Changed,” JUNGLE FIRES builds this track up softly, quietly, but very, very
clean. Kéren, one of the artists in the duo, dominates in terms of vocals with Menashé
backseating it. However, the two harmonize well, and Kéren’s voice is beautiful
as she rolls on with excellent control. This track is full of acoustic
harmonies and some nice piano melodies that hints to me of some jazz
influences. This song sounds cool and all, right? Yet, I think what makes it
excellent is its free-flowing rhythm and very distinct lack of catchy “boppiness.”
This is no Alex & Sierra piano pop duo in which you take hold of the
predictable chorus and happily sing along. The melody in this track takes turns
you wouldn’t expect, but the artists do it very masterfully with soft vocals
and strong instrumentals reminiscent of instrumentalist artist Explosions in the Sky. Ending the first
track with some echoing whistles, I got the campfire, classy soul vibe and I
I’m not going to spoil the entire album for you, as you should
take a listen for it yourself. But, we definitely need to talk about my favorite
track off this new record, “It’s Okay.” There are so many reasons I love this
track. It’s a little more fast-paced, and we hear more of Menashé’s vocals and
it’s great. But more than that, the two did something awesome, and added horns into
this track. The trumpet that’s going on gives this Middle Eastern/Spanish vibe,
and it creates this song as jazz, soul, and pop all in one. I think what I love
most of about this track is its ethnic reminiscence and its musical diversity.
They have soft vocals, and they have good vocals, but I could definitely see the two going off in this direction that is
very acoustic guitar pop, very cookie cutter radio style. And the fact they are
doing their completely own sound makes me very happy.
The rest of the album is pretty fantastic for a debut. Their
October 2014 single, “Hold,” is a track that is a bit more folk based, but has a bit
more traditional harmony with Kéren leading the vocals. I like it though, and I’m
glad they put in the record. “Open Eyes” is beautiful as Menashé softly almost
whispers “Shouting as loud as a siren of war/ Just to desperately reach to your
world” over the hints of tambourine, violin, and guitar. “Best of Me” ends the record
on a fantastically high note, with a much more pop vibe, and I’m not complaining.
These guys know what they’re doing.
Agh, have I converted you yet? Hopefully, enough for you to
listen to their album here:
hi fellow dawgs. if you’re like me, these past two weeks of midterms have been a struggle… and it’s not over yet. if you need to just vibe out and get a good music high, here’s a quick playlist to decompress between the hours of studying that lie ahead.
Alright, now that i’ve gotten past that awful but necessary pun, let’s be real here. chance the rapper & the social experiment have been dropping some cool and unusual tracks, but this one is especially different. and, not to mention, a complete conceptual turnaround from the previous song they released, “Wonderful Everyday.”
“No Better Blues” is essentially chance ripping on the world, laundry-list style. but the stuff he says he “hates” are things like “artists,” “creatives,” and “bright people,” which, in my opinion, are all things chance is considered to be. and he repeats that “it don’t get no better,” despite that it already has for the rapper himself.
so, you can interpret this song any way you want. there have been two main competing opinions: it’s a satirical piece meant to be taken light-heartedly & to speak on how ridiculous pessimism and hate has become, or it’s our favorite 21 year old Chicagoan using the facade of sarcasm to expose some deep issues & unpopular opinions.
take it how you want, it’s a good song with a symphonic intro, SoX style, and a cool piano progression on the beat. i’d recommend a listen, or twenty (gnovs style).
Peter Cottontale, noted as a member of Social Experiment, tweeted the track saying:
“#SoX My friends and I made a funny song for you , here’s new music.”