wmucradio

[wmucradio]

Staff Picks: Round Two

Maura Beste, Graphic Design Manager

“beach life-in-death” by car seat headrest

This song feels really personal to me, there was a point I would listen to it and get so emotional every time but it is also perfect for screaming in the car with your friends. This was their encore song when I saw them last spring and the energy was amazing!!

 Jimmy Nolan, Chief Engineer

“When My Love Ends” by smle

It's a song my brother played a lot over the summer so it reminds me of summer and overall has a good beat

 Kevin Gu, App Manager

Hi, my fav song at the moment is “Smile” by Ed Motta. The song extremely vibrant and funk-influenced and gives me the energy to go through the day even though classes turn my smile upside down. Thanks.

 Olivia Duley, Operations Director

“my pic is good ones” by slaughter beach dog

I'm in love with this song, its been stuck in my head since I saw them two weeks ago. the whole new album is so great!

[wmucradio]

Review: Deerhoof + Speedy Ortiz + Pygmy Lush @ Union Stage, February 22nd, 2019

Deerhoof and supporting acts Speedy Ortiz and Pygmy Lush took Union Stage on a journey during their show February 17th.

Pygmy Lush, a band from Northern Virginia began the night by enveloping the stage and its audience with an eerie and atmospheric sound, like what you would expect a lonely walk in a foggy night would be. As the set progressed their sounds became more frantic yet restrained, building tension in the crowd. You could feel the quiet angst bubbling inside of yourself and the energy yearning to be released by everybody.

 With Pygmy Lush charging up the venue with a quiet, yet restless intensity, Speedy Ortiz opened the valve of emotions with their lively performance. Originally a solo project for guitarist and lead vocalist of this Massachusettsian act, Speedy Ortiz, alongside its colorful cast of members, enchanted the crowd with their great chemistry which is especially evident in their performances of “Buck Me Off” and “Lean in When I Suffer”. Seeing their flair on the stage made everyone quick to start bouncing and dancing.

Immediately following Speedy Ortiz was a prompt cleaning of the stage. Immediately, everyone knew that the main act Deerhoof will give everyone a visual treat. The space cleared became reserved for this San Francisco band’s eclectic members, from the Japanese singer and bassist Satomi Matsuzaki to avant-garde drummer Greg Saunier.

Deerhoof’s sound is characterized by an experimental and noise rock soul alongside a pop flair, with Matsuzaki’s voice rounding off the distorted guitars and the expressive drums with its sweet sound. The performances of “Fresh Born” and “Paradise Girls” showed how well this combination worked.

 During a brief pause in their set, Saunier told everyone that he wanted to improve the “ticket holder’s experience”, which was clearly evident. Every member looked to be from a different era, with each of them gracing the stage with their distinct personalities that managed to create a cohesive and unique experience for the audience. Greg’s frenzied yet technical drumming on his minimal drum kit to the frequent instrument switches between the members meant that every moment is a surprise. Satomi’s dancing with her bass was a highlight and a very good reason on why the band needed the space that it made.

Deerhoof rolled alongside the audience’s unkept energy and performed an encore to finally satisfy and end the spirited journey everybody went on. Surely, Deerhoof is an act not to miss the next time they come around.

Written by WMUC Assistant Music Director, Neon Air DJ, Joaquim Malcampo

[wmucradio]

Review: Jakob Ogawa Wows at Songbyrd

Swedish singer/songwriter and bedroom pop king Jakob Ogawa made his D.C. debut this month at Songbyrd Music House in a sold-out show for the Teen Angel tour. With mesmerizing vocals and ethereal energy, Ogawa captivated the audience in totality. 

Jakob Ogawa’s performance was preceded by Nathan Bajar, a songwriter from New York who was just featured on Spotify’s Pollen, a newly-emerged authority on fresh and urgent music in a diverse range of genres. Armed with a guitar, a SP-404, and a microphone, Nathan performed several tracks from his newest release “Playroom,” which he said was inspired by stories from his native family home and the relationships he watched play out throughout his life. 

Bajar brightened the room with his tender R&B crooning and warmed up to the audience and performing as the set rolled on. As he performed he dared to take risks (mixing guitar with samples, taking different vocal routes) and meshed with the energy of the crowd, who met him with support at every turn of his set. Formerly known as a photographer, Bajar ended his set by taking multiple film camera photos of and with the crowd. Bajar balanced his vulnerability with heart and a dedication to demonstrating his musical skill and was a perfect addition to the Teen Angel tour. 

Jakob Ogawa and his band took the stage adorned with glittery eyelids and a playful mood which the audience loved. Throughout the set, Ogawa shared his marvelings of the United States and the District especially since it was their first time visiting the city. Gratitude was in the air— both from Jakob but also from the audience. 

Ogawa opened with favorites like “All I Wanna Do” and “Sunshine Girl - Demo,” and anyone could feel the happiness and joy radiating off the band. This positive energy filled the room all night and supported the band when they performed a new track called “You and I” and a psychedelic cover of the 2003 popular hit “Hey Ya!” by Outkast. As the set went on the band became more playful and engaged with the crowd. 

Jakob’s music is ethereal and imaginative, and he brilliantly managed to convey those moods throughout the set in a way that elevated every person in the room. 

Written by Alexya Brown, General Manager at WMUC 88.1 and DJ of “welcome to your higher consciousness”

[wmucradio]

EXECUTIVE STAFF SUMMER PICKS

Calvin Crunkleton, Music Director:

My song is "This Must Be The Place (Naive Melody)" by the Talking Heads

I chose the song for a bunch of reasons, one is it reminds of my dad, he's really into new wave music and it was sorta this cool bonding thing between us. Another is its absurdist nature, it's a stream of consciousness lyrical style, which is my favorite way artists write their music. Finally, the song is just such a different sound than a lot of Talking Heads stuff, and it really shows the bands range and musical ability. 

Jillian Yagoda, Program Director:

I’d probably pick “Borderline” by Tame Impala it’s an absolute banger and will probably be my most listened to song this summer.

Josh Schmidt, Video Team Manager:

“i used to” by imbi the girl ft. SUPERGO I’ve been loving this song this week because it has a fun beat. It’s about past struggles which is such a mood.  This pride month I’ve been catching up on all the songs my trans and queer artists have put out this year! And this is one of them! Take a listen if you want to explore an artist and support the trans community!

Monique Wingo, News Director:

Beyoncé’s “Before I Let Go”— It’s a fresh remake of a classic hit for the culture! The song is too irresistible not to sing along with and the choreo is fun to try!

#wmuc #WMUC 88.1 #WMUC RADIO #WMUC-FM #music #collegeradio #radio #communityradio #talkingheads #patch #this must be the place #beyonce #before i let go #imbi #borderline #Tame Impala #video #news #college news #journalism #college park #university of maryland #dmv #md #summer #summer tunes

[wmucradio]

Step into Luna’s Dreamscape on “The Femme EP”

DMV/MIA rapper Luna released a five-track EP in June that just might be your bougie poolside jam all Summer 2019.

Coolness and confidence are the natural modes that Luna sits in as she pilots us through her dreamy June release The Femme EP. Preceded in release by an all-female concert held in her native D.C., Luna asserts herself as an advocate for female artistry, expression, and thriving, all while proving her own grit, lyricism, and posture. With Femme, Luna serves us a thesis on why women can carry the game all on their own and how community builds strength.

The EP opens with a hazy track called “Patron,” where you can tell that Luna is in her pocket with one of her favorite boozy muses. “Patron” is perfectly bouncy, serving as the necessary pre-requisite track to assert her lane and alert listeners to Luna’s style, beliefs, dreams, and what she will and will not “give a f*ck” about. Luna gives us imagery of female camaraderie and royal rap status. 

“Silky” is not just a title, but a whole mood. Luna’s self-analysis so far?: “[I’m a] DMV joint so the raps is kinda bougie.” Produced by Samurai Sly (DMV producer who’s teamed up with Luna in the past to craft some otherworldly sleekness), this track rolls on effortlessly and Luna keeps right up, dripping in coolness that just might be a particular DMV-exclusive charm. She and Samurai Sly are no doubt a formidable force of jih-opulence. 

The Femme EP begins to center itself around themes of family and community on the third track with production credited to none other than her father, OG Mike. “Pink” features artist Mila, whose heart-searing vocals carve the listener a path into the dreamy and soulful landscape of being in love, a la Luna. It makes sense that “Pink” was placed right in the middle of this track list-- the song has a particular heartbeat and soulfulness that uplifts the entire project.

“Pretty Girl County Interlude” is actually a poem written by fifth graders from a Prince George’s County elementary school and produced by DMV’s Willie. Luna performs this piece as a nod to her D.C. nativity and to the community she rides with, and the results are so effortlessly on-brand for The Femme EP. The interlude slides right into the culminating track “Le Pearl” featuring Luna’s Pretty Girl County (a nickname for their shared home Prince George’s County) counterpart, Odd Mojo. The track opens with Mojo questioning why she’s always the only one bringing “the crank” to parties anymore. Luna and Odd Mojo are grade-A on this final track, proclaiming that not only is this their year, but they’re ready to link up with their fellow DMV girls and build community through unbridled feminine power and with the uncensored crank. 

The Femme EP by Luna is available on Spotify and SoundCloud. 

Photo credit: Jada Imani. 

Written by Alexya Brown (@whoislexybrown), DJ and General Manager at WMUC Radio 

#music review #local music #college radio #College Park MD #luna #dmv #the femme ep #odd mojo #samurai sly #og mike #prince george's county #wmuc #wmuc radio #radio #new music #albumreviews

[wmucradio]

SALES’ newest album Forever & Ever will give you peace of mind

During the middle of summer, SALES released their newest album, Forever & Ever on July 19, 2018.

The album produces a lo-fi pop sound to slightly mirror their 2016 SALES LP. Band members from Orlando, Florida, Lauren Morgan and Jordan Shih, create the soft sounding album which delivers a melancholy vibe while giving perspective on small life situations.

Originally, SALES started producing music on Bandcamp prior to releasing their first EP in 2014. Shortly after that, it was only two years later when their long play album made its debut.

The guitar, played by Jordan Shih, creates a gentle and romantic sound in each song while the beat of each song echoes in the background from a simple drum machine. SALES uses this instrument to make each song special, and their delicate melodies help to set their sound apart from other current indie pop bands. 

Lauren Morgan’s vocals remain airy, almost reminiscent of Victoria Legrand’s vocals in the band, Beach House but with a sweeter resonance which surrounds their emotional lyrics.

To share an example of the different moods that Forever & Ever reflects, their song “White Jeans” centers around attraction to someone at a party where that person’s white jeans stand out, showing that they’re noticed. The person wearing them is just having a good time dancing around, acknowledging the attention. The song is reminiscent of a simple part of a fun night.

In a more emotionally complex song on the album, “You Look Well,” shares an experience of meeting someone familiar again after a long period of time. The song could hint at past miscommunication with an old flame, but also shares how both people are doing well even though a longing feeling on each side may still linger.

These are personal takes on what situations both songs could represent, but as a listener the simple lyrics throughout make expressing difficult emotions sound easier.

Other dreamy songs off of the album consist of “Moon Dogs,” “Spiral,” and “Rainy Day Loop” which are some of my favorites.

Suitable for the over-thinkers and the day-dreamers, Forever & Ever resembles a relatable race of thoughts. And while your head may be stuck in thought bubble clouds, the album reminds listeners that your thoughts are important and beautiful. It shows that even though moments can be short and small in size, they are significantly large at heart.

SALES will be performing at the Rock & Roll Hotel in D.C. on September 26, 2018. Tour dates and tickets can be found here.

Written by WMUC Music Director, Teresa Johnson.

Photo courtesy of SALES’ Bandcamp.

#SALES #WMUC 88.1 #WMUC RADIO #lo fi #indie pop #bandcamp #forever & ever #album review

[wmucradio]

Preview: Lauren Ruth Ward returns home to Ottobar

Former hairstylist, Lauren Ruth Howard, will be returning to play a hometown show in Baltimore this Saturday at Ottobar. On the phone, she likened the occasion to a wedding - the venue filled with friends, family, exes (she collects them)... and you, if you’re smart.

“It honestly feels like a birthday or a wedding - like I get to have a wedding with my music every time... I’ve been very lucky, it’s been very positive.”

Ward’s attitude toward her career, experiences, and life became apparent in our brief conversation. She is inspiringly present in the moment and positive, without letting go of everything that has brought her to where she is.

“I see ex lovers, people I worked with at my first salon, you know, all my hair clients. It’s just fun- it’s a life thing. It’s like ‘oh, you’re doing this now and we still get to wear this other hat and also wear our old hat.’ It’s just life life life life.”

Born and raised between the city and the “boonies” of Maryland, Howard says she owes her openness to experiences to her home state. She “doesn’t know too much about other places,” but she feels like Maryland’s a “really great combination of everything.”

“[Maryland’s] kinda made me like everything. It prepared as much as one could be… It’s made me need and love all kinds of vibes- families, artistic communities...”

Now, LA based, it is clear that Ward still has a place in her heart for the people, arts, and food in the city she calls “grimy, in a beautiful way.” Her local restaurant recommendation: Clavel’s.

Recently, people have been focusing in on her performing under her name as opposed to a stage or band name. “My authenticity is being up-front and wearing my heart on my sleeve. At the same time I’m guarded in the ways I need to be. There are things I don’t tell everybody. I’m actually not baring all. I’m only telling people things I want them to know.”

While remaining protective of herself, her confidence and authenticity has gone a long way with her fans. In 2 short years of being in the music world, Ward has quickly adapted to being a bit of a gay icon, with Out Magazine calling her “the raspy, queer soul singer we deserve.”

“I’m really lucky to have people open up to me after shows, and even if I don’t have time in the moment, I will go and read every comment on everything. It’s always people thanking me for being honest… You know, super personal shit about how something I said or did helped them be okay with just saying it out loud to themselves, and saying it out loud to people. Which is incredible. That’s what this entire thing is all about, right?”

Her favorite song to perform off of Well, Hell: “Staff Only”

“I like it because it’s different. It’s more psychedelic, it doesn’t really have a chorus, and there’s no real structure to it. It has a line and then a ‘jammy jam,’ and then another line, and a drum beat jam. It’s cool! I feel like it’s 1969 when I’m performing it.”

Lauren Ruth Ward is a force to be reckoned with and her fearless spirit is contagious. If you’re in need of a pick-me-up in the form of some Joplin-style showmanship, make it out to Ottobar this Saturday. Her latest album, Well, Hell is out now via Weekday Records.

Written by No Boys Allowed DJ and WMUC Promotions Director Ava Mirzadegan.

Photo courtesy of Lauren Ruth Ward’s Facebook.

#previews #live music #baltimore #college radio

[wmucradio]

Review: Ed Schrader’s Music Beat’s ‘Riddles’ proves step in the right direction

Baltimore-based duo, Ed Schrader’s Music Beat, have returned with their third full-length, Riddles. A genre-bending amalgam of sometimes furious, sometimes beautiful noise, the record is a big step for the group’s catalogue. An important factor in this is the production by fellow Baltimore musician, Dan Deacon. 

The album sounds full and fleshed out, shedding the lo-fi feel of previous efforts, Party Jail (2014) and Jazz Mind (2012). Riddles is almost double the length of both these releases and provides much more variety in both its songwriting and range of sound. 

“Dunce,” and “Dizzy Devil,” provide non-stop energy and show off Devlin Rice’s driving and heavy basslines. Contrastingly, tracks like “Wave to the Water” and the title track provide a much more spacey, almost new-wave background to Schrader’s bombastic vocals. The record even features an instrumental, “Humbucker Blues,” a first for the group.

Older fans of the duo might find themselves a bit disappointed in the face change, with “Rust” being the only track reminiscent of older cuts like, “Gas Station Attendant” or “Televan.”

Nonetheless, Riddles is a massive step in the right direction for the duo, in being a truly complete LP that realizes the potential shown on both their previous releases. They’ve come a long way since the days of the sparse arrangement of a bass and floor tom.

Written by WMUC Operation’s Director, Alex Minassian.

Photo courtesy of Ed Schrader’s Music Beat’s Bandcamp.

#local music #ed schrader's music beat #baltimore #musicreviews

[wmucradio]

Preview: Lord Huron Visits The Anthem

Lord Huron has stepped away from their Indie Folk roots and created a record that blends their usual softness with a new, somewhat electronic vibe. A few of the songs on their newest album, Vide Noir, are reminiscent of classic Lord Huron tunes, “When the Night Is Over” being the best example of this. 

A few songs, though, incorporate new techniques and sounds that give them a new spin and some edge, like “Ancient Names (Part I).” Frontman Ben Schneider and his band really pulled a Bon Iver on this album, and it works.  

See Vide Noir performed live at The Anthem on May 4! The album gives Lord Huron’s discography a pickup and a little something new that is sure to make concerts more dance-y and energetic.

Get tickets here. 

Written by Rigby Philips.

Photo courtesy of Lord Huron’s Facebook.

#previews #live music #dc #lord huron #the anthem

[wmucradio]

Preview: Sasami Visits U Street Music Hall

Sasami Ashworth has been creating music in several bands throughout the past few years, namely Cherry Glazerr, but she's now on her first solo tour as "Sasami.” Her sound is a blend of ambient vocals, guitar-driven 90's rock, with an added synthesizer to taste. "Callous" is a glimpse into the musical world she's created- it's really something and I cannot wait to hear more of it. 

Sasami will be supporting electronic musician, Baths. His sound is bubbly, glitchy, and impossibly infectious.

The show will take place Saturday April 21st at U. Street Music Hall. Don't miss this impeccable lineup. 

Get tickets here.

Written by No Boys Allowed DJ and WMUC Social Media Director Ava Mirzadegan.

#previews #live music #dc #college radio

[wmucradio]

Review: Ezra Furman + Anna Burch @ Rock And Roll Hotel

With new a February record in tow, Ezra Furman and supporting act Anna Burch hit the stage of D.C.’s Rock And Roll Hotel for a melting pot of the mellow and the insane.

Anna Burch and her band, an act from Detroit, worked the already packed room with a collection of laid back songs that gave me impressions of Alvvays with their elegant harmonies and vaguely romantic lyrics.

The band’s composure matched their music, as the lead guitarist and bassist held blank expressions for nearly the entire set, giving off a vibe of indifference and yet serious focus.

Anna herself mostly kept the same front, but while she didn’t convey much in stage theatrics, the audience could see the power of her lyrics in the ways her eyes changed as she sang them, and by the time she finished the set with “Tea-Soaked Letter” the growing energy in the room had finally manifested through the rowdy finisher.

If Anna Burch was heading up a slow incline of energy, then Ezra Furman was already at the peak, and he stayed there the entire show. 

With his new backing band The Visions, he hit the crowd with an immediate volley of songs ranging his past three albums. “I Wanna Destroy Myself,” gave way to “Maraschino-Red Dress $8.99 at Goodwill,” and “Haunted Head,” before the audience could even comprehend this wouldn’t just be a showing of his latest album, Transatlantic Exodus.

While Furman stood front and center in a flowery dress, The Visions surrounded him in all-white suits, bearing instruments from wooden bowls to cellos to chimes, giving the impression of a 50s beat rock group corrupted by a punk DIY ethic.

Needless to say, Furman wasn’t the only one worth watching on stage. The man at the keys had the constant expression of one being electrocuted by the music, and the saxophonist commanded his portion of the stage with the showiness of a circus ringleader.

I could go into so much more: the classical house music that lead them on, the incredibly wide age range of the crowd, the raw emotion emanating from Furman in songs like “No Place,” and “Suck the Blood from My Wound,” the killer sax solo in “My Zero,” or even the sheer genuine sentiment of him saying “I’m happy to be alive,” before plunging into the suicide themed “Ordinary Life.”

Sadly, I don’t want this to go too long, so just rest assured that the next time Ezra Furman’s in town, you won’t want to miss it.

The last thing I’ll touch on is the band’s encore: an unplanned rendition of “Teddy I’m Ready,” and “Tell Em All to Go to Hell.” While the half-changed band (it really wasn’t planned) closed out the night, I caught snippets of other audience members praising the show’s “great energy,” its “great message,” and, in one case, it being “the most rock and roll thing [they’d] seen in a while.”

I’d have to agree.

Written by WMUC Recording Studio Director, Crunch Time & Fireside DJ Jay Kinnaman

Photo courtesy of Ezra Furman’s Facebook.

#musicreviews #ezra furman #dc #college radio #live music

[wmucradio]

Avril Lavigne, NPR and the Future of Femme Musicians: A Conversation with Diet Cig

Pop-punk duo Diet Cig graced D.C.’s Rock And Roll Hotel last week in front of an eager sold-out crowd. Front-woman Alex Luciano, known for her contagious energy and sweetly provocative lyricism, left no one disappointed with her hyperactive splits, kicks and jumps while drummer Noah Bowman held down the fort by keeping time.

Diet Cig’s latest release Swear I’m Good At This made up the majority of the set, grabbing the audience immediately with “Sixteen,” then progressing through hits like “Maid of the Mist”, “Barf Day” and “Tummy Ache.” Woven between the new material were classics “Harvard” “Dinner Date” and “Sleep Talk.”

Diet Cig was supported by Seattle-based rock group Great Grandpa and Scottish queer-punk band The Spook School for a night of powerful rock and roll, laughter and occasional intimacy.

WMUC had the privilege of talking to Diet Cig before the set, affirming that the cheerful persona Luciano and Bowman maintain while performing, is a reflection of their authenticity even off stage:

Jordan: This show brings you to the last leg of the tour! How does this compare to tours you’ve had previously?

Alex: It’s been really different because we’re traveling as a four-piece, so playing as a four-piece has been probably the biggest change, which has been super fun. It’s still the same songs and the spirit of Diet Cig is the same, but it’s just more stuff.

How has being a four-piece affected your normal dynamic?

Noah: It’s definitely a fuller sound. It feels like we can actually do a lot more of what the record sounds like—like having the synth lines on the record that we couldn’t do before, having the bass to fill in the low end—it feels really powerful now.

Alex: I have to be more careful on stage to make sure I don’t kick anyone.

Noah: The first couple shows, you and Anna hit headstocks.

Alex: I knocked myself out of tune. But it’s been really fun to have more people on stage to goof around with.

And this isn’t the first time you’ve been to D.C. You just played an NPR Tiny Desk not too long ago. How was that?

Noah: It was wild. It was one of those things where you’ve seen it so many times and then you’re there and you’re just like “whoa.” Kind of an out-of-body experience.

Alex: We were so excited and honored to have a Tiny Desk performance, and so we wanted it to be perfect and so good. I think we were pretty nervous because we love and respect it so much, but it ended up being really fun and cool. We’ve never done anything like it before so it was really special.

—It looked like you were having a lot fun standing on the desk. Has that happened before? Did they say anything?

Alex: I don’t think so…maybe like one time before.

Well that’s an honor then, you should get a plaque for that.

Alex: Yeah haha. And for not breaking the Tiny Desk…

This is random, but I was reading around and learned that Avril Lavigne was one of your favorite artists growing up.

Alex: Yeah, I love Avril! That was my first concert ever.

In what ways do you think she inspired you?

Alex: I think the thing with Avril Lavigne was she was the first rock artist that was not a white-cis male. And I don’t think I necessarily currently take a whole ton of inspiration from her music, but I think as a kid it was really important for me to see a femme person rocking out and doing their thing unapologetically like that, and I think that was like very formative.

Speaking of your music, Swear I’m Good At This got an unusually negative review from Pitchfork. How do you respond and bounce back from opposition like that?

Alex: Honestly, it definitely sucks, but we have such incredible, sweet fans of our music that their support means more to us than anything a publication could write. Even when we get great press and people are like “Oh my gosh you got this write-up in The New York Times you must feel so validated!” Honestly, the press is not the thing that validates us. It’s really cool, but the real stuff that makes us feel good is seeing our fans at shows and interacting with them. 

The Pitchfork thing was a bummer, but we don’t do it for the press because we love our fans and we love making music, and that interaction is the most validating part. So we just brushed it off and were like “Okay, cool, let’s go play a show and be with our fans who are on the same page as us.”

Have you noticed a change in your fanbase from when you started making music to currently?

Noah: I guess it’s just growing. More and more people are coming out and more people know the words. The cool thing is what songs resonate with different cities. Sometimes “Bite Back” will be the song that everyone is yelling, and then “Sixteen” is always the one everyone misses the cue.

Alex: Everyone always beats me to it…it’s really funny. It’s been really cool to watch our fanbase grow. It feels so wild and amazing to return to cities we’ve been to and sell them out, and meet folks who like our music from the very beginning, and meet folks who are like “I found you on Spotify three days ago and I’m obsessed with your band.”

Noah: Or the ones who are just like “I found out about you just now. My friend brought me here, and I had no idea and now I’m a fan.” That’s awesome.

Alex: I feel like the demographic of our fans isn’t necessarily changing, but broadening. It’s interesting to see the newer groups of people who gravitate towards our music. We’ll have moms come and be like “I love your music. I’m going to show it to my kids who can’t come tonight” or really young kids who love it, or bro dudes who are jamming to “Tummy Ache” and I’m just like “How does that even resonate with you?” But they love it, and it’s kind of a funny thing to see how so many different people have been coming to our shows and like having a blast all together.

You guys are from New York, right? How does it feel when you play back home—is it any different from your other tour destinations?

Noah: It’s just kind of a special thing because all of our friends are still there. We don’t live in New York now, we live in Richmond, so going back is a treat.

Alex: And our family comes.

Noah: It’s always a special show every time we go back to New York.

Alex: And most of the people we work with professionally are based in New York, so our whole team is there. It’s almost like when people at their wedding joke that they never get to talk to everybody. It’s almost like that. We have so many friends and people we want to talk to and hang out with, but it’s so hectic. It’s like a tornado of love.

Alex, you mentioned The New York Times earlier, and in their piece they released last fall about women making the best rock music today you mentioned how you feel that there’s a preconceived expectation placed on you as a “small girl” on stage. What are these expectations for non-male musicians, and how do you combat them?

Alex: There are so many expectations put on non-cis-male musicians, especially contradicting ones. Like, you can’t be too bitchy but you have to be tough. It’s like you’re never enough as you are. I think our record especially is super honest and emotional, and it really covers a lot of ground across the spectrum, and I think I wanted to show that every emotion and every nuanced bit of myself and others is important. Even the stuff that is not super powerful. Even the stuff that is gross and annoying and angry.

I think just being honest and vulnerable on stage and in my writing is a really radical way to combat this view that women and non-cis-men have to be some type of way. And it’s bullshit. Rock and roll is for everybody, and your feelings are valid regardless if they aren’t easy to swallow. I think being unapologetically yourself as you make our art is a really radical way to combat that sentiment.

On the flip side, Noah, what kind of things have you experienced on this topic from your perspective?

Noah: I feel like I’ve become more aware of what is going on now, having Alex be the front person and dealing with everyone around. I kind of hate dudes sometimes. I get really almost defensive and protective. The other night this guy came on stage while we were playing. I immediately stopped, and it wasn’t a malicious thing at first, but I was just like “I don’t know what’s going to happen because when a guy comes on stage, we’ve all seen the worst that’s happened.”

Alex: I feel like you totally have our backs in a really important way.

Noah: I hate too when people come to me to ask questions about what Alex is doing, about the guitars. I’m just like “I play drums. I don’t know the answer to that question. Maybe you should ask the person who’s playing guitar.” It’s a lot of going to the guitar store and the guy’s talking to me and I’m like “I’m with her. You should ask her.” I hate that most men just go straight to the other dude. I don’t even play guitar, I can’t even have a conversation with why are you coming to me? Alex could talk you out the freakin door about guitars. I can’t. That’s what I’ve noticed.

What can you say about the community of female artists right now? Is it tight knit?

Alex: I think it’s tight knit, but not in a way that feels cliquey or anything. It’s super supportive, and the internet is really cool because we can all have each other’s backs even if we don’t live in the same place. Like Karli who plays keys with us plays in a band called Plush, who we’ve met through playing shows in San Francisco where they’re based out of. It’s really cool how connections like that have been forged by playing together and collaborating now because we’ve always supported each other’s projects.

What does the future look like for gender diversity and femme presentation in the music scene?

Alex: I think the future is looking so hopeful and amazing, and I think there has always been incredible femme musicians. I mean, women created rock and roll, and the presentation in the media and in major outlets will keep increasing. Women and femme folks will get more coverage in a way they’ve always deserved.

I feel super privileged to be making music in this time because of that, and am thankful for everyone who has come before me. I feel like it’s coming to a time where women are even more recognized for their achievements, not only as artists, but as team members: management, booking agencies, and the parts of the industry that you don’t hear a lot about. The ones that have been traditionally run by men at the top for a very long time, and I think changes are being made in big ways right now in the industry, and more women are running shit and more femme folks are taking over management and giving artists an experience that is inclusive and safe and I think that more than anything is going to change the face of music in general.

And just wrapping up, what are your plans for after tour?

Noah: We go home, and sleep in our own beds for a second, have a couple shows at some colleges, and then we’re pretty much writing our next record. So, that’s the next big thing we’re thinking about.

Written by WMUC Music Director and Socks And Sandals DJ, Jordan Stovka.

All Photos by Jordan Stovka.

#interviews #live music #diet cig #dc #college radio #musicreviews

[wmucradio]

Preview: Ezra Furman @ Rock And Roll Hotel

With a novel record in more ways than one, inspired by a range of artists from Beck to Kanye to Angel Olsen, Ezra Furman is sure to deliver a heart-stopping show as he addresses his sexuality and religion through the saga of falling in love with an angel. Transangelic Exodus was just released February 9th, making this one of the first opportunities to hear the story live.

If such a dynamic headliner isn’t enough, Furman will be joined by Anna Burch as she makes her pop debut with equally new album Quit the Curse.

Ezra Furman will be performing at Rock And Roll Hotel DC this Saturday supported by Anna Burch.

Ticket information can be found here.

Written by Recording Studio Director, Crunch Time and Crowdsourced DJ Jay Kinnaman.

Photo courtesy of Ezra Furman’s Facebook.

#previews #live music #ezra furman #dc

[wmucradio]

Preview: Bad Gyal @ Union Stage

Combining a unique mixture of internationally sourced influences, Barcelona- based singer Bad Gyal is adding a fresh and personal twist to Dancehall and Reggaeton with her own fusion based music. 

From the Catalonian seaside town of Vilassar de Mar, Bad Gyal, born Alba Forelo fell in love at a young age with the Dancehall sounds of Sean Paul and Popcaan. Giving her own take on this genre has paid off, with her Catalan cover of Rihanna’s “Work” becoming her breakout hit. Her music has subtle elements of Dancehall, and Reggaeton, a mainstream genre for Spanish audiences  Forelo adds her own style by singing and rapping in English, Spanish and Catalan, the native dialect of Catalonia, a place that has recently been in the news more for political controversy than its art scene. 

Bad Gyal is an entire character- with a distinctive 90’s, “Instagram baddie” aesthetic that is curated from head to toe, and displays Forelo’s sharp eye for coordinating music, fashion and her personality in a way that is clearly alluring to the rest of the world. 

Her latest album World Wide Angel is an example of this, with the same intricate mix of inspirations and some brutally honest lyrics about dealing with the difficulties of life in unhealthy ways. 

Bad Gyal brings that entire package to the DC area tonight at Union Stage.

Tickets are still available, and the lineup includes Mathias, a Washington DC based DJ as the opener. More info here.

Written by “Wait where are you *really* from?” DJ, Manuela Lopez Restrepo

Photo courtesy of Bad Gyal’s (Akabadgyal) Facebook.

#previews #live music #dc #union stage

[wmucradio]

Shows We’re Looking Forward To This Week

Diet Cig @ Rock & Roll Hotel (2/28) SOLD OUT

Futuristic, Ishdarr, Scribecash & Saab @ Black Cat (3/1) 

Ed Schrader’s Music Beat @ Comet Ping Pong? (3/3)

DJ Snake @ Echostage (3/3)

Next Week’s Sneak Peak...

Gus Dapperton @ Songbyrd (3/5)

Injury Reserve @ DC9 (3/5)

Public Access TV @ DC9 (3/6)

Vundabar @ DC9 (3/7)

Adrianne Lenker + Nick Hakim @ Miracle Theatre (3/8)

Photo courtesy of Diet Cig’s Facebook.

Photo courtesy of Vundabar’s Facebook.

#misc #live music #concerts #dc #college radio

[wmucradio]

Review: Don Diablo @ Echostage

Don Diablo returned to Echostage February 17th for his first ever headlining show with special guest Lost Frequencies. The line to enter the venue extended pretty far down the road, and soon enough, both the floor and the balcony were packed with fans ready for an amazing set.

The powerful lights and enormous speakers created a fully immersive experience. Sometimes colorful lasers pulsed to the beat and other times a bright white light illuminated the entire venue as if it was midday. Don Diablo was center stage with a hoodie sweatshirt that featured a lit up hexagon on the chest and lines down the sleeves which flashed in sync with the music. His face was always visible thanks to red and blue lights pointed to him, which helped the audience connect with the man behind the booth. There were even a couple confetti bursts if the drop was *that* good.

Don Diablo uses many positive messages in his songs, and overall his music just makes you feel good. One track off his new album reminds us that “everybody’s somebody and nobody’s nobody.”

Later on in the set, the DJ got up to stand on his booth, trying not to step on anything too important. Mic in hand, he began a call and response of “Right Here / Right Now” to introduce his song Momentum.

Don Diablo waited until near the end to play his 2016 hit Cutting Shapes, which received positive reactions from the crowd, especially because he brought out the dancer from the multimillion view music videos, Gabby David.

By the time it hit about 2:00 am, Don Diablo told us this was his longest live set ever and that all of his shows on tour, including that one, have been sold out.

After the incredibly long set was finished, the audience began to chant “one more song.” Soon after, Don Diablo came back out with his signature skeleton sweatshirt zipped all the way up, almost covering his face. He played a remix of Post Malone’s “Rockstar” to round out the night.

Don Diablo at Echostage is the optimal show if you want to dance for hours on end around people that appreciate feel-good EDM.

Written by WMUC Social Media Director and Co-DJ for Kath and Colin Argue, Katherine Zmoda.

#live music #edm #dc #musicreviews

[wmucradio]

Q&A with Prince Fox: Music, The Middle and Australian Shepherds

Before he came to Washington, DC, for the second stop on his “Open Invite” tour, I spoke with Sam Lassner, aka Prince Fox, about his spring tour, upcoming album, and his adorable mini aussie puppy.

The show on February, 8th at Soundcheck DC felt like a house party, just like Prince Fox said it would in our interview the day before. 

Taking place in a smaller, more intimate venue, everyone in the crowd was there to have a good time. Prince Fox facilitated this by spinning a variety of different genres back to back. For example, Skrillex and Poo Bear’s Would You Ever melted into a bass heavy remix of Post Malone’s Congratulations.

In addition to EDM favorites and current hip hop songs, he also mixed in alt rock throwbacks such as Fall Out Boy’s Sugar, We’re Goin Down and Mr. Brightside by The Killers. This blend of genres also was displayed via an intriguing overlap of Coco by O.T. Genasis and Welcome to the Black Parade by My Chemical Romance.

Every time the first few beats of a crowd favorite song were heard, the audience reacted in cheers and Prince Fox smiled back in return. He also received a positive reaction to his most recent single, released just three days earlier, “Open Invite.” This is a song that’s completely written, sung, and produced by Prince Fox himself. (Though he does credit his friend Evan for helping cut the vocals.) When asked how it felt to release a track that’s completely his own, Prince Fox responded “It feels great… I felt that recently, especially in the album process, that I want to become more confident in myself so I just started writing all these songs.”

Regarding his upcoming album, Prince Fox says that “all the songs are going to be pop songs but the production is definitely going to be both reminiscent and fresh at the same time, at least I hope that people receive it that way”.

At Soundcheck DC he also debuted a new cover of The Middle, by Jimmy Eat World, thanks to a quota of likes on his Facebook page:

Prince Fox stays active on his Facebook, Twitter and Snapchat. He says Twitter is his favorite social media platform because fan engagement is pretty consistent and he can post a lot different types of content.

If you find Prince Fox on any of these platforms, you’re sure to stumble across pictures of his mini Australian shepherd puppy named Nash. I asked him what it’s like to be a dog parent, and if it’s hard to be on the road while trying to raise this puppy. 

“My girlfriend takes care of the dog when I’m on the road”, which he says makes it easier. But, at first, little Nash was not a fan of Prince Fox producing music in the house. Prince Fox says the puppy would cry when he heard sawtooth waves, but has since adjusted to the life as a musician’s dog. What a lucky pup!

We’re looking forward to seeing what else Prince Fox puts out as he heads towards this new album, and can’t wait to party again with him next time he’s in DC!

Written by WMUC Social Media Director and Co-DJ for Kath and Colin Argue, Katherine Zmoda.

Photo courtesy of Prince Fox’s Facebook.

#reviews #interviews #edm #live music #college radio #musicreviews