Take pride in the student section at the Phonebooth. Vote today for Georgetown as having the best fans in the Big East (better than Louisville, Cincinnati, and Notre Dame). This is the first of what will hopefully be many rounds of voting, as the Hoyas win the contest! Go to www.msg.com/collegehoops to vote today, and remember you can vote as many times as you want so keep hitting that Georgetown tab!
Also, remember to vote for your favorite Big East coach, John Thompson III, in this year's Big East Coach of the Year Award Poll. The winner will be announced on March 7th, so you still have time to vote for JTIII. You can vote approximately once a day. Go towww.myfavoritecoach.org to vote today! Remember to keep it locked to WGTB Sports for all your Georgetown University Athletics news and broadcasts! GO HOYAS!
Who knew there were so many Floridians in DC? The crowd at DC9 Wednesday night seemed to be littered with little conglomerates of Florida folk who came out to see that band that made it out. Florida isn’t quite renowned for the indie-rock it produces (are we counting Dashboard? No. But I want to), and perhaps that made the experience all the more special. The show had an appropriately casual feel to it; without an elevated stage and the performers eye-level with the crowd made the show more like it was at Jeff’s house party than a DC bar.
Don't miss our WGTB-hosted Third Annual iPod Battle in Bulldog Alley tonight, totally free, come dance your pants off as DJs compete head to head to bring you slammin' tune after slammin' tune. There are sweet prizes for participants as well as the most intense dancers so come prepared.
San Francisco’s Citay are a classic rock revival group with solid songwriting, Allman Brothers guitars and Steely Dan vocals. Soundscapes are built with guitar solos free from electronic studio effects. Like Dead Oceans label mates Bowerbirds; Citay tends to keep it simple, relatively. Dream Get Together, the group’s third studio album,is hardly raw. The guitars are more Styx than Stones, and keyboards are layered throughout with strings and organs. With nary a song under four minutes, three reaching over seven, Citay’s songs indulge in what has been rock taboo for almost decade, without leaving you bored. They allow themselves be virtuosic without stuffing their crotch. What makes this album enjoyable is the way the songs shuffle without having heavy snares or dance beats, as well as being able to have lengthy tracks without forcing or feigning avant-garde. Citay pulls from their influences very well. They even have a tongue in cheek tribute to CCR with “Fortunate Sun”. This album is worth a listen if you know your classic rock canon. The album lags as every song begins with the “strumma strumma struuum” acoustic guitar, but JET they aren’t, so play on.
-- Nico Dodd
Host, Size 14 (The Big Shoe) Monday 4:00 - 6:00 pm on WGTB
Nobody seemed to appreciate the subtlety of the awfulness of last weeks entry. Alright, you uncivilized apes. See if I invite you to my next french-film screening. See if I offer you some Carmenere. For those of you who appreciate subtlety like the bear is christian who sleeps in the woods and ate the Pope, I offer you hitmanbreakeroftheeye.
You thought that this song finally went away. You thought that the next time you pulled up to a blue 2004 Honda Civic with sweet tints and a killer exhaust, you would hear something else coming out of his totally bomb subs. Nope.
For a reason that I will never understand, hitmanbreakeroftheeye decided to not allow us to embed this video. But believe me you, this video is worth every quarter of a millisecond it takes you to hold down the ctrl key and click.
DC’s resident “more than your average indie-folk band” Pree has garnered a fair share of attention since sparking into existence in late 2008—from the Washingtonian, to NPR’s Second Stage, to Prettiest Young Things’ blog, the band has received various, albeit quiet nods from local reviewers. Pree consists of DC locals May Tabol on guitar and lead vocals, Chris DeWitt on drums and backing vocals, Vanessa Degrassi on, well, everything (see below), Dave Barker on electric guitar, and Jesse Hinson on bass guitar. The band was charming enough to let me experience their pre-show meal backstage, minutes before performing at the Black Cat on Monday.
(more on Pree and a video after the jump!)
In an electronic era where Daft Punk’s beats reign, Four Tet’s refined electronica is an innovative breather. Though Kieran Hebden a.k.a. Four Tet named one of the songs on his album “Plastic People” after the London club he DJs at, on There Is Love In You he has developed his sound by basing his work on a folk mentality instead of approaching every song as the next European club hit. This record holds its power in its minimalism, creating ethereal landscapes of sound that are mesmerizing without slipping into mindless repetition. By layering computerized tones and looped voices over drum kit and guitar, Four Tet’s latest has achieved a unique warmth and freshness that captivates upon first listen.
Recommended Tracks: “Love Cry” “Sing”
--Ella Mitchell
Host,"Regional Rotations," Wednesdays 2-4 PM on WGTB
Via Audio w/ Pattern is Movement Tuesday, Feb 23 @ DC9 $8
Via Audio has been building buzz for a couple years now, and were lucky enough to have Spoon's Jim Eno produce their first album. On the cusp of releasing their follow-up album, Animalore, you can be sure to catch a lot of their new tunes on Tuesday. Danceable but not diluted, (Think XX, less sexy but more fun) you can't really go wrong for eight dollars. Check out some of their songs here.
They are going to drop by our studio before their show at 4pm on Tuesday, so be sure to listen in!
By Clio Seraphim Host, "Just You, Just Me," Tuesdays 4-6 pm on WGTB
From its outset, Vampire Weekend’s newest album, “Contra,” is nothing short of exciting. The first song, “Horchata,” which was pre-released before the entire album came out on January 11, firmly sets the listener in the mindset of vacation. Since “winter’s cold is too much to handle,” chants lead singer Ezra Koenig, he recommends an escape to somewhere where you can drink horchata—a traditional Latin American concoction—in December, where “crabs pinch at your sandals” and you can regain “a feeling you thought you’d forgotten.” That feeling, the rest of the songs go on to remind the listener, is one of escape to something grander and full of sheer fun. “Holiday” continues this trend, singing the praises of being able to just get away and enjoy oneself. While certainly not a departure from the style of their first album, “Vampire Weekend,” the impression that one gets from “Contra” is lighter, airier, almost pop-ier. It’s almost like “Vampire Weekend,” with hits like “Campus” that clearly recalled the band’s Columbia University origins, is the fall semester: the fun is still there, but it’s tempered by something more serious, maybe the changing of the weather or the imposing school schedule. And then comes “Contra,” and with it, vacation time.
In addition to our Modern Mixtape column, Fridays will alternately feature Celebrity Playlists or a feature called "iProf," where we get to check out what Georgetown University professors, visiting guests, and other major campus presences are listening to. For the inaugural week of this column, we were lucky enough to hear from GUSA candidates (pictured above) Matt Wagner (SFS '11) and Emmanuel Hampton (COL '11). GUSA elections are in full swing, and you can check out their platform at their website.
Matt's Presidential Picks: 1. "Life Less Ordinary" by Carbon Leaf. Whenever I listen to it, I feel like someone must have written it knowing how I see life. It calms me down every time I hear it, and it makes me miss this place in the mountains in California where I went with my family every single summer of my childhood. I am also a sucker for acoustic music and syncopation just because they sound so chill. 2. "Crazy Ever After" by The Rescues. There's a real story to this song which is something I always love, probably largely because of my background as a musical theater kid. I first heard this song done by an acapella group on Youtube (The SoCal VoCals from USC in Los Angeles) and then I found the original and loved it even more. I will confess I have a habit of singing along particularly loud to this one in my car back in San Diego when nobody else is around. 3. "I Will Follow You Into the Dark" by Death Cab for Cutie. I've seen them in concert three times, but hearing this song always reminds me of the second time, when my best friends and I saw them for free (sort of) in high school. They played a show on the San Diego Bay, and we found this hill that overlooked the concert venue so we could see and hear perfectly the whole time but never officially went to the concert. It was awesome - I'd almost say it was better to be able to look out and see all the boats and the whole bay while hearing this too. It was like a shot from a movie, it was the best. 4. "Who Loves You" by The Four Seasons. I know it's an oldie, but it reminds me of my grandfather and I think about him and take a second to pause in his memory whenever I hear it. 5. "If My Heart Was a House" by Owl City. Say what you will about Owl City selling out (which it seems like it's sadly in the process of doing), but I love this song. It's one of those idealist type situations I think, where you wish the story in it was your own and kind of hope that someday it will be. I also find the sound really relaxing, like you can just sit and listen to it in the dark and feel totally relaxed.
Read about Emmanuel's favorites and listen to the playlist after the jump!
So remember when I said that the criteria for each weeks entry is more or less subjective? This is one of those times that I am invoking that stipulation. The performance here is quite impressive; its almost a perfect replica of Elliott Smith's gorgeously arranged tune.
THEN WHY DO I HATE IT SO MUCH?
I can't even explain the feeling that this cover gives me. It depresses me in a way that only people who prefer Friends to Seinfeld can. It raises so many questions: why are you doing this...
Ok, just one question. Why is he doing this? It makes so little sense. I mean, you know what else provides a really accurate representation of the original 'Son of Sam'? The original 'Son of Sam'.Why would I go to plectrum34 for a near perfect copy when I can just listen to the real thing, which by the rules of logic that bind this great nation, is as close to the real thing as anything can get. I am awarding ten points to anyone that can explain to me in the comments why this video hurts my soul as much as it does.
Slowly gaining buzz over the year prior to the release of their first album, Mumford and Sons finally debuted their first full-length LP, Sigh No More, in October of 2009. The “folk ‘n’roll” band had gained a spot in a forward-looking December 2008 list constructed by BBC entitled “Sound of 2009,” which included fourteen other artists, the likes of Lady Gaga, Kid Cudi, and Passion Pit included. Mumford and Sons’ anthemic style perhaps makes their inclusion in this list less bizarre, but only slightly. The Londoners instead sound a bit like Appalachian transports who have settled in the Amercian Northwest, their music recalling Americana colored with wisps of harmonious chamber pop.
Here's what WGTB DJs are spinning this week. Click the links for our album reviews from our Music Board team, and make sure to tune in to WGTB this week to catch some of these great tunes. Lots of these reviews will be posted later this week so keep checking back!
Remember these two? From that collabo.album with Jenny Lewis? They’re still around, but with no lead singer to support they don’t do too much by themselves. I expected to hear an alt-country album, but this sounds as if it were recorded with a jazz band playing indie rock fusion. Lots of wahwah pedal. I would expect more from a group this talented. There is little that makes this record stands out. Sounds like a pair of cabaret singers who never made it. At some points the organ and guitar sound great. The last minute of “Midnight” sounds like a late night classic rock radio jam, but is quickly ruined by the next track, “Savin’ You”. I think it’s because they started singing again. On the whole, the songs are pretty hokey, very pieced together. There are holes in the songs that could have been built up more.There’s a sort of spaciousness that is felt throughout the album, as if it were recorded in a large studio. reeeeverb. There isn’t much to say about it because there isn’t much here. They sing songs they wrote. That’s about all they do on this record. It doesn’t sound as if they were very involved with the instrumentals.
It never gets too loud, or too interesting. Too bad.
-- Nico Dodd
Host, "Size 14 (The Big Shoe), Mondays 4-6 pm on WGTB
If it weren’t for the heavily-accented crowd banter that came from We Were Promised Jetpacks, you would have trouble guessing which act on Saturday actually came from Scotland. Although Bad Veins are from Cincinnati, Benjamin Davis and Sebastien Shultz have that signature Glaswegian drive.
With just two of them on stage, they looked quite appropriate in the already equipment-crowded, basement-show feel of the Rock and Roll Hotel. And as soon as the show started (after a rather lengthy and what seemed to be stressful soundcheck), I found myself asking, “Where is all that sound coming from?” Not to say that lots of sound makes for good music, but the sheer amount of music they were able to generate between just the two of them was impressive. I don't even mean the question rhetorically. There was a lot more going on than the guitar and drums they were playing, and from what I could infer, the sound was coming from this thing .
Between the reel recorder and an old telephone which he rigged in a way that he could sing through the ear piece and become Julian Casablancas, Davis’ shows a propensity for techy quirks. More importantly, though, he shows a desire to find a way to diversify their sound. Bad Veins, particularly when they play a show with sloppy sound checks and in close quarters, run the risk of falling into the infectiously poppy and annoyingly distorted line of bands. Davis has the vocal range and control to fill an arena with sound, but Saturday night it was coming at me from point blank range.
I think that Bad Veins have a more nuanced and interesting sound than maybe the show delivered. Regardless, the delivery was very tight, and you could tell that these guys, even in their relative inexperience, were suited to performing. Free of any pompous, rock star-esque demeanor (unlike some certain other duos from Ohio), Davis let the intuitive pop qualities of his songs carry the show, aided by astonishingly accurate vocals and whatever that reel recorder 4-track thinga-ma-bob was doing.
Igor German Is this Thing On airs Wed 9-10 pm and Sun 12-1 pm
Put a smile on, DC, Wale’s Attention Deficit has landed and will not disappoint. Although Attention Deficit is Wale’s formal debut, he needs no introduction.
It was three years ago that I first saw Wale's name while on a transcontinental flight, skimming through a Rolling Stone hoping to find a distraction from my boredom. Soon after, on the magazine’s recommendation, I downloaded “W.A.L.E.D.A.N.C.E,” a mixtape masterpiece from his humble beginnings, and it was love at first listen.
With a number of hit singles (“Nike Boots,” “Family Affair”) already under his belt, Wale’s reputation proceeds his album. Nonetheless, Attention Deficit has finally satisfied a hunger only curbed by his mixtapes and singles for his many followers. All 14 tracks (16 with bonus tracks) showcase Wale’s raw talent as a lyricist over some top-notch producing. Always one for wordplay, Attention Deficit requires a trained ear, featuring puns and allusions that take several listens to fully recognize and appreciate. Like all his works, it is serious at times (“Contemplate”), just plain fun at others (“Chillin”), all killer, no filler, and peppered with collaborations. Though I was sad to see Gucci Mane rear his ugly flow, I was thrilled to see Wale paired with the likes of K’naan, Bun B, and fellow DMV rapper J. Cole.
Having caught him at Rock the Bells in Boston, I can tell you firsthand that he delivers on stage like few else are able, and I suggest that you see him in concert.
Otherwise, big ups to the hometown hero, and be sure to check out Attention Deficit.
Hosts, "The Cosmic American Music Radio Hour," Saturdays 2-4 pm on WGTB
At a mostly empty 9:30 Club—in stark contrast to the crowd that saw Galactic later—Cedric Burnside and Lightnin’ Malcolm took the stage for a short set of some hill country blues. Despite the sparse crowd, Burnside and Malcolm, known as the Juke Joint Duo and The Two Man Wrecking Crew, were not short on energy as they pounded out some edgy country blues.
With its’ gritty and unpretentious sound, the duo channels the great hill country and blues tradition of north Mississippi—launching into extensive trances without the smoother and predictable chord changes of standard blues. Although Cedric and Malcolm performed all original songs, their sound is unmistakably derived from hill country legends Junior Kimbrough and R.L. Burnside, Cedric’s grandfather.
“Me, when I was six, seven years old…and a bunch of other grandkids…we be out there kickin’ up dust, you know to that music. That was our music. And that’s how me myself—I feel like I am the blues ‘cause I just grew up with the blues and it’s always been in me,” Cedric said.
(Read more and hear the full interview after the jump!)
The last seven years have been rough for Miles Kurosky. After his old band Beulah broke up he underwent several shoulder surgeries, lost the ability to use his right arm, and then had a life-threatening kidney troubles. Needless to say, he had a lot of time to think about his life and about music. Beulah always had very honest lyrics, but those in The Desert of Shallow Effects really seem to dig into the personal side of Kurosky. He describes everything from his struggle with God to girl problems to homicidal housewives. Enveloping all these words, though, is music that continues where Beulah left off. Kurosky beautifully layers his songs with horns, accordions, synths, keyboards, oboes, and glockenspiels. “I Can’t Swim” is one of the catchiest songs of this young year. Though at some points his poppy nature gets the best of him and things get a little too major-chordy, the frequent changes in pace and instrumentation help to counteract this. Songs To Listen To: "An Apple For An Apple" "I Can't Swim"
-- Kevin Lynch Host, "Don't You Wish We Were NPR," Mondays 8-10 AM on WGTB
Oh Scorpio is only the second full-length album released by The Films, but even as a relatively new band they have managed to pull off a polished album with a consistent musical style and some really well written, catchy songs. The tracks off this album have a 50s American rock style, with several tracks sampling in pep-squad style clapping and sha-na-na –ing. Their strong point is definitely in well-written lyrics which make up for the less original sound of the album as a whole. I certainly would not call this a sophomore slump album, though I prefer the faster paced, more urban rock & roll sound of their first full album, Don’t Dance Rattlesnake, which sounded more “Arctic Monkeys.” This album could more accurately be compared to the sounds of French Kicks, Hot Hot Heat, or Butch Walker (the album’s producer). Best Tracks: “Completely Replaceable”(1), “Fingernails for Breakfast”(3), “Me + the Thief”(9)
-- Britt Shaw Host, "Under the Influence," Fridays 10-12 AM on WGTB
I can’t say I was expecting too much from Charlotte Gainsbourg, the daughter of possibly the most famous pop singers of the last century, Serge Gainsbourg; if we can take anything from the collected works of second generation musicians it’s that shared DNA does not guarantee shared talent. Fortunately, IRM was pleasantly surprising, there are some definite high points, (tracks 1, 2, 11, and 12) but I can’t help but assume that producer Beck had a lot to do with that given that they sound pretty similar to his most recent releases. Overall, Gainsbourg’s third album leaves something to be desired. Her distinctively smoky voice makes even the most underwhelming class at least interesting. However, sometimes her near whispering voice seems to get overwhelmed by her instrumental backing and certain songs tend to really be dragging. At best the album is a winning compromise between the strange and spooky with some light-hearted pop influences while other songs are sleepy and underwhelming. Best Tracks: IRM (# 2) Master’s Hand (#1) Dandelion (#11) Voyage (#12)
Retribution Gospel Choir really likes crescendos. In virtually every track off their sophomore album 2, they start off composed and constrained before exploding into a loud, experimental, guitar-driven climax around halfway through. The band executes this tactic both successfully and cleverly, as it boosts songs that are otherwise lackluster, repetitive, and lyrically uninteresting into powerful and anthemic pieces of (loud) rock. Unfortunately, when used on eight of the album’s ten tracks (the other two being under-a-minute instrumental interludes), the crescendo loses some of its intended potency. After you get through the eight minutes of “Guitar Riff”, the album’s ninth track and supposed pinnacle, you’re ready for something that remains static just to break the monotony. -- Leigh Finnegan Host, "Facts and Tracks," Wednesdays at 10 a.m. and Fridays at 2 p.m. on WGTB
I have always been an avid fan of Jimmy LaValle’s work with The Album Leaf. A Chorus of Storytellers is his most recent effort, and I would say that The Album Leaf has done it again. Their dreamy/futuristic sound is relaxing and mellow while keeping it interesting. You can relax without getting bored. Both their instrumental tracks and the ones with vocal performances are incredible. “We Are”, “There Is A Wind”, “Summer Fog”, “Blank Pages”, “Until The Last” and “Within Dreams” are standout tracks. This album has no “Always For You” or “Wherever I’ll Go” from their album Into The Blue Again, but nonetheless The Album Leaf’s new effort has the same dreamy effect on the listener as his previous efforts. It is an exciting but relaxing album that I am highly recommending to anyone looking for anything in this genre. The Album Leaf is yet to underperform. This is another album that meets my high expectations for them. -- Enrique Lemus Host, "Moose Tracks," Mondays 10-12 pm on WGTB
Postcards From The Friendly City contains a glimmer of bluesy folk charm, but this sliver of hope for a return to the folk music roots is all too quickly swallowed up by a an all too familiar 90’s style of songwriting leaving most of the tracks on this album sounding decidedly generic and unremarkable. The tracks “Wolf In Shepherd’s Clothes” and “Land of the Living” offer some hope, however, that this group has some talent and perhaps the potential to say something new on another album. At the end of the day Postcards From The Friendly City is probably not worth the cost of the album, but is worth at least one listen and makes Have Gun, Will Travel a group worth looking out for in future.
-- Jonas Briedis
Host, "Good Music," Midnight-2am Tuesday morning on WGTB
So, I'm confused. Dylan here says that this was requested. This implies that somebody wanted to hear that. That implies that someone gets some sort of joy out of those noises. That implies that some things which should be, aren't. And, if those things are which ought not to be, such as this said thing, then I am not the man I thought I was, and this is not the world I imagined it to be. I would say I grieve for Metro Station, or whoever wrote the song...but to be fair this isn't that much of a deviation from the original. So, I guess in that sense its an OK cover.
I don't know if I am more offended by his singing or by what seems to be his impersonation of a person with a mental disability. In any case, I salute you, Dylan Bral, for this week's most unbearable Youtube cover. Feel free to check out all of his covers...I have.
Fucked up’s Couple Tracks: Singles 2002-2009 is a solid compilation of singles that can serve as the perfect description of a band’s growth. As an album, it doesn’t really flow, due to its nature as a compilation. However, any fan of this sort of aggressive and raw music must listen to this compilation. There are no dull moments in this collection. “Anorak City”, “Toronto FC” and “Black Hats” are standout tracks primarily due to the raw and aggressive sound in Pink Eyes’ vocals. If you are a fan of anything fast and loud, it is a collection of singles worth having. They maintain what has made Fucked Up as appealing as they are for the hipster crowds. Growling vocals, fast distorted guitars, but somehow maintain a poppy edge to their songs, where you can find some melodic catchy hooks while staying true to a more “hardcore” sound while avoiding the repetitive drumming patterns in typical punk bands. They have kept the energy, but avoided the potential boringness that can come along with this music. A must have for people anyone interested in the genre or looking into it. One of the most exciting right now.
-- Enrique Lemus
Host, "Moose Tracks," Mondays 10-12 PM on WGTB
Spoon is a band that has always stuck pretty close to its roots. Although their sound had evolved from the garage-rock tones of A Series of Sneaks, by 2007’s Ga Ga Ga Ga Ga, everyone knew what a “Spoon” record would sound like. To some degree, Transference doesn’t interfere or change many of our expectations of what this band does. Their characteristic alt-rock sound that has been present for years is still here, in the form of tracks like “Got Nuffin” and “Written in Reverse.” What Transference is significant for is the change in approach to production that must have occurred. It seems that they chose to pursue “addition by subtraction.” Transference’s sound is minimal. The record testifies to the importance of silence, when making music. The most memorable tracks, like “Mystery Zone,” “Out Go the Lights,” and “Is Love Forever” are those that seem to split up the band’s sound. No vocals, guitar parts, or drum lines seem to exist to fill a void. This results in a very purposeful, deliberate sound, where nothing unnecessary is crammed into the ears of the listener. On Ga Ga Ga Ga Ga’s “Don’t You Evah,” Britt Daniel says: “record that, Jim,” in the midst of studio banter. Transference leaves out such noisiness, choosing instead to revel in silence.
Key Tracks: Written in Reverse, Out Go the Lights, Mystery Zone, Got Nuffin’
-- Josh Smith Host, "Artists in Exile," Sundays 2-4 PM on WGTB
From the early influence of my parents’ record collection, featuring 60s folk-rock acts like Peter, Paul and Mary, Simon & Garfunkel and Dylan, to my later discovery of British folk revivalists and numerous modern folk artists, folk music has always been a musical staple of mine. Judging by The Magnetic Fields’ most recent album, Realism, it is a musical staple of frontman Stephin Merritt as well. Following the Jesus and Mary Chain-inspired Distortion, Realism trades feedback and fuzz boxes for more traditional folk orchestration, making use of instruments as varied as mandolins, dulcimers, banjos, accordions, sitars, flugelhorns and tubas. Musically, the album is full of retro charm and a survey of folk music across styles and eras, but in typical Merritt style, Realism is a concept album of sorts, thematically exploring—or perhaps skewering—the conventional view of folk’s lyrical sincerity.
Although I’m not normally one for techno or house music, when given the opportunity, I couldn’t help but take a peek at the newest work of Deadmau5, aka Joel Zimmerman, a critically acclaimed Canadian electro house producer who has taken the scene by storm in only a few short years. Entitled At Play Vol. 2: 10 full length DJ friendly tracks, this latest album is a full hour of rich, thumping bass and hypnotic synthesizer. Of the ten songs, two are done in collaboration with Billy Newton-Davis and not only feature well-chosen vocals but are some of the most captivating songs on the CD. Two others feature Melleefresh, and although they too stray pleasantly away the homogeneity in many of Deadmau5’s songs, the female vocals laid on top are both inharmonious and, in the case of “Sex Slave,” too vulgar to be taken seriously. Overall, I enjoyed At Play Vol. 2 very much, despite my untrained ears. Even if some of his songs to me seem too much alike, they still have the desired effect. The beats contained within this album are irresistibly catchy and entrancing. Whether raging beneath a strobe light or hanging out playing the latest Call of Duty, At Play Vol. 2 is just plain sexy music; a must-have for any diehard house fan’s repertoire.
Flaunting romantically whimsical lyrics set to a backdrop of instrumental genius, Brooke Waggoner’s long-awaited album, Go Easy Little Doves, promises to delight indie pop fans everywhere. The meditatively symphonic album reflects Waggoner’s classical music background, flowing into a cohesive piece of art that takes you through the 10-year journey that is Go Easy Little Doves. The melodious, vocal-centric tracks intertwined with beautiful, instrumental interludes meld together to tell this invitingly complex story. Although Waggoner’s eccentric lyricisms and elaborately ornamented ballads keep her just outside the realm of mainstream preference, many songs on the album including “Go Easy Little Doves, I’ll Be Fine” and “Chromates Soft Love” prove to be inoffensive enough to appeal to mass audiences. Waggoner’s musical talent apparent in Go Easy Little Doves is sure to resonate throughout a wide spectrum of listeners.
-- Chloe Tanaka
Host, "Facts & Tracks" Wed. 10-11am and Fri. 2-3pm on WGTB
Rogue Wave’s new single, “Good Morning (The Future),” off their new album, “Permalight” (to be released in early March from Brushfire Records) is a distant cousin of their melodic strummings of the past. In fact, it bears no resemblance at all. It sheds Rogue Wave’s typical calm melodies in favor of a hectic Postal Service-esque electronic beat. It isn’t what Rogue Wave fans of the past would expect or want to see from the group. However, don’t dismiss the full album yet, as their past accomplishments in “Asleep At Heaven’s Gate” and “Descended Like Vultures” prove their musical merit worth exploring in “Permalight.” I, for one, will hold out hope that this single is a mere blemish on an otherwise well put together new album.
Artist of the Week highlights a new band or musician on the scene that has captured the attention of your loyal WGTB Music Directors. This week brings us the catchy, upbeat tunes of South Carolina-based band The Films, fresh on the heels of their latest release, Oh Scorpio. We like their earnest, Conor Oberst-like lyrics, danceable rhythms, and the a capella opener on "God Bless Your Heart."
This new EP from Birmingham, Alabama native band Vulture Whale delivers the same guitar dominated harder rock, but could hardly be called Southern rock in flavor. Instead this set of tracks gives me the impression that Vulture Whale is directing itself towards a much more 70s/80s British twisted punk/pop rock sound (think The Clash meets The Smiths or a stripped down Joy Division). I chose Amerikerr and The Pipe as the best tracks on this album for their grittier rock sound and good composition. However, I probably should say they’re the only songs I can actually listen to in their entirety without cringing at the atrociously fake and whiny British accent that lead singer, Wes McDonald, puts on for the other tracks on this album.
-- Britt Shaw
Host, "Under the Influence," Fridays 10-12 AM on WGTB
Rewolf, the acoustic adaptations of previously released songs from the band led by Japanese vocalist Yuki Chikudate and guitarist James Hanna, is an enjoyable addition to the group’s earlier, more substantial material. While the structure of the reworked songs remains essentially identical to those on which they are modeled, the instruments and tone have changed completely to create a softer, more ethereal lineup. Accompanied by an ensemble reduced to xylophone and acoustic guitar, the delicate melodies feature airy tinkling and angelic English and Japanese vocals. The fluidity that helps create a cohesive album also renders the distinction between songs a little vague. Rewolf’s consistently beautiful—but lightweight and bordering on repetitive—quality lends itself well to easy listening or napping and amounts to a good album of acoustic renditions.
-- Emma Forster Host, "Regional Rotations," 2-4 pm Wednesdays on WGTB
When I was first introduced to Owen Pallett, he was called Final Fantasy. The only way my boyfriend could seem to describe Owen (Final?) to me was as “some guy who loves the Final Fantasy video games and has a violin – he’s a one man band.” So when I first listened to He Poos Clouds I was expecting something akin to all of the teenage girls on YouTube who do tone-deaf Paramore covers. What I got was so much more. It was strange and sad and oddly campy. In short, it was perfect. Owen Pallett’s new album Heartland is the foil pair to his previous album; instead of the melancholy undertones that typify He Poos Clouds, Heartland is an album that puts a skip in your step.
With tracks like “Lewis Takes Action” and “E Is For Estranged” you get the sense that Owen has taken epic movie music and narrated his lyrics over it. In effect, he makes a soundtrack for your life. Suddenly walking to coffee is an adventure; walking up the Lau steps seems more like triumphantly climbing a mountain. The music seems familiar – but not trite.
Owen has certainly grown up from his phase as a videogame-obsessed man with a violin and has moved from “pooing” clouds to making you feel like you’re running on them. Certainly an A+ in my book.
Eels describes their eighth studio album, End Times as the sound of an artist growing older in uncertain times. The album was intended to capture a man teetering on self-destruction in a dying world; End Times refers not to the predictions of impending apocalyptic doom in 2012, but the end of common decency in our desperate times. Recorded in a basement on an old four track tape machine, End Times gives a voice to the bleak outlook and worries of a defeated man. End Times is a respectable showcase of the indisputable depth and talent of Eels, however in these uncertain times eels are lamenting, I’m not sure how many people are going to be willing to subject themselves to frontman Mark Everett’s bemoaning everything from suicide bombers to the LA neighborhoods that really piss him off (“Mansions of Los Feliz”). Songs like “High and Lonesome”, which is one minute of pouring rain and the dialing of a telephone definitely leave something to be desired, that something is music. Of course the album is redeemed by the Everett’s unquestionable musical abilities and poignant lyrics, but the extreme bleakness of the album makes it difficult to enjoy in full.
Best Tracks: Little Bird (# 13) Mansions of Los Feliz (# 4)
You have to respect an artist unafraid to make a principled stand. It's hard not to side with Michael Stipe and Trent Reznor, who last year spoke out against the use of their songs during bouts of torture at Guantánamo Bay. Sirs Paul McCartney and Elton John have similarly lambasted British government proposals to disconnect music thieves from the Internet, and more power to them. So, let me be the first to officially rally behind Canadian duo Jon and Roy, whose neo-reggae-folk tracks, from "First Thing in the Mornin'" to "Drinkin' and Thinkin'," seem to lobby for the elimination of the letter G from the English language.
D.C. is supposed to get somewhere around two feet of snow in the next 48 hours-- yikes. Luckily, nothing suits these calm gray skies and downy flakes better than some soft, wintery tunes, perfect for cozying up inside (or, if you're brave and bundled up, venturing out into the snow itself). Below, ten songs to help you ring in the Blizzardocaplyse of 2010, from the soothing acoustic harmonies of Bon Iver and Phosphorescent, to brand-new winter-ready songs from Vampire Weekend and Animal Collective. The last track is especially gorgeous-- a new Fleet Foxes cover by up-and-coming Swedish sister duo First Aid Kit.
Welcome to World's Worst YouTube Cover of the Week. In this column, I scour the Internet and peek into all the darkest, most neglected corners of YouTube to bring you those videos which I deem the world's worst. The criteria are flexible. Sometimes it's the singing, sometimes it's a horribly out of tune guitar, and sometimes it's just too much eye contact. Whatever it is, it will make you cringe. It will make you think, "Boy, I sure am glad that I don't post videos of myself covering 'Hey Jude' on a melodica." Unless you do. Then you should send me the link. Consider it to be like those contestants on American Idol, the difference being that these people don't have the imaginary audience they so desire. Perhaps I bring it to them. Perhaps I am the hero after all. Remember just one thing- Whatever pain it brings you to watch this, I went through more to find it.
This inaugural week we have a cover of an old college favorite, "Let Her Cry," by Hootie and the Blowfish. It's an interesting dynamic here: a meta-cover. That is, it's in some senses a cover of a cover because the performer is covering the song in the style of a man. I can only infer upon watching that the man whom she is trying to imitate was either mute or Robert Goulet. What I like least about this cover is that its seems to be teetering on that line between the pathetic Youtube cover and a joke. This is not to suggest that the fact that our performer had comedic intent in any way absolves her of any blame. In fact, I would say that her lack of solemnity only amplifies her blame. If you are going to cover Darius Rucker's ballad, do it in a dark room, de-tune your guitar, and look straight into the camera. We all know you connect with this song, don't try to pretend like you think its funny.
Next up for this girl: Pretending she thinks its funny when a horse dies during a battle scene.
The Lafayette, Louisiana band Givers were in snowy DC last night, playing on the intimate Backstage at the Black Cat. The stage was barely big enough for all five members of the band and all of their equipment, yet they still managed to jump around with joyful energy throughout the show. They played all four songs from their debut EP, including a jammed-out version of Ceiling of Plankton as an encore. They also unveiled several new songs, which will be on their debut album due out sometime this summer. Highlights included a beautiful acoustic song featuring only female lead singer Teddy Lamson and her ukelele, and a Dirty Projectors sounding song called “Noche Nada.”
With influences ranging from the Dirty Projectors and Animal Collective, to jazz, to afro-beat, the Givers sound is a unique and dynamic amalgam of these styles that is catchy upon first listen and layered enough to remain interesting after many. Although the music itself is enough reason to love the Givers, they are also great people with a whole lot of love and joy to, well, give.
Before the show, the band stopped by WGTB studios to chat with DJ Jared Iversen of "Jive Talkin" about music, the Superbowl, and their tour with the Dirty Projectors. Check out the full interview and pics from the concert after the jump!
The Magnetic Fields come to the District on the heels of their latest album release, Realism, out Jan. 26 on Nonesuch Records. Folksy, cheerful rhythms and strummy guitars accompany Stephen Merritt's earnest vocals alongside a chorus of harmonizing bandmates. Recommended if you like Edward Sharpe and the Magnetic Zeroes, The Swell Season, Yo La Tengo, or The Low Anthem.
