Artist Interview - Macie Stewart of Ohmme

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Margaret Marinic recently had the pleasure of interviewing Macie Stewart of "Ohmme". Macie has been in the Chicago music scene her entire life, and was a member of the hit band Kids These Days. In The Loop did an artist spotlight of Ohmme earlier this year, so we were happy to interview this young, passionate, Chicago-born, musician.

What is the most up and coming genre in the Chicago music scene currently?

“Wow, I feel like that is kind of a hard question to answer because I feel as though Chicago is really a genre-less city. Umm, yeah, everyone likes to dabble in everything and do a lot of crossover things. I mean, I was in Kids These Days, but that’s completely different from what I do now, and even the kind of music I play outside of Ohmme, that’s more improvisation. But if you were to ask any chicago musician, that’s kind of the norm. No one really sticks to one thing, they are open to exploring different sounds and different genres of music. I would say, I don’t know, there are just many different scenes, like jazz, improvisation, indie rock.”

Why do you think Chicago should be on the music scene map?

“Chicago has this kind of I don't give a fuck vibe a little bit. Everyone that’s playing music here is really playing for the sake of the music. That’s not to say other cities don’t do that also, but we are just going to do what we do, and if you don’t like it that’s your problem. I think that’s a very midwestern thing, you just work at it, and just keep working and go for it. I just think that that attitude is really reflected in the city, just that attitude of working for it, going for it, and making it happen; however you see fit. There’s not a heavy label presence in the city, so I think that relieves the pressure of having to fit in a certain mold or box as well. There’s not that pressure of trying to fit into something that you’re not. You never feel like you’re being stifled in any way.”

What is your musical background?

“I started piano when I was three, umm, just doing classical piano stuff. My mom’s a musician as well, and she was like, ‘yeah, I want my daughter to do music.’ I started classical violin when I was five, like a school program, and that’s when I started those instruments, and then I went to Depaul, like the community Music program at Depaul for pretty much the majority of my life, for both violin and piano lessons and it was like and incredibly influential program. It was really amazing, had some really good teachers. And then I played Irish Music for years, I did a tour of ireland with that group when I was like 11-12 until I was like 15. It was really cool because it was one of my first experiences being a gigging musician and learning what that means, because it would be a Friday night and then I would have to go work. I had a lot of string quartet experience in high school, I worked in the High tea room at the Drake Hotel. So like every Saturday we would play for four hours at the Drake for the high team. I did choir and orchestra for two years, and I did a lot of theater, and I was in one musical at Whitney Young, and Sima heard me sing, and helped me to get with Kids These Days, and yeah then I was with Kids These Days for that period of time until 2013, that’s when that band ended , and then Marrow, and then today.”

Who are some musicians that influence or inspire you?

Jeff Tweedy is definitely one, I didn’t end up listening to him until late in high school, but his songwriting was revelatory to me, so definitely him. I really love Fiona Apple, she was probably the first person I heard who wrote songs after I started to become a songwriter, that was probably when I was like 12, and I was like, ‘I want to be a songwriter?’. And then….my mom!

Do you remember your first solo gig, what were your thoughts? Were you nervous?

“yeah, I did one solo gig during Kids These Days with songs that I had written, umm and yeah I was really nervous, it was really scary. And even still solo gigs are terrifying, yeah that first one I had to figure out how to do band arrangements to get people to play my songs, and that was really scary. So I did that maybe twice during Kids These Days. I did perform a lot of solo classical piano so that gave me some training to prepare for being on stage alone. And nowadays, with Ohmme I was nervous for the first few years of playing because I had just learned guitar for more songwriting reasons, but I would not say that I was a guitarist, at that point, so playing in Ohmme was definitely a challenge because the guitar was it.. We had two guitars and two voices and we had to hold it down with just those two things. Yeah so it was very nerve wracking, but that was the point, to push us into a zone where we felt uncomfortable to create something new. And I played a show two nights ago and I was terrified. So that feeling never really seems to go away, it’s just something you learn to do.

Any advice to younger up and coming artists?

“I mean, just go out. You have to go out, go places, you have to meet people, try to lay as much as you can. Something I hadn’t heard until 3 or 4 years ago is yeah, you have to hang out! You can’t just not talk to people because that’s how you make those connections sustainable. We met people 4 years ago and we still talk today, and you have to create a network. Just get out and participate in the community you want to be a part of.”

What’s the process for your songwriting? How do you find your sound?

It’s kinda hard to say, I have found my sound within Ohmme. When I write at home, I just go into it, and kind of don’t necessarily know how it will turn out. I think a lot of my songwriting and a lot of how I perceive my music comes alive in my arrangements of it. But yeah, when I’m writing songs sometimes it will be inspired by a passage from a book and it's making me think of all this imagery, or I'm listening to someone else and I’ll try and reinterpret it in my own way. And then, I’ll choose whatever songs sound more like Ohmme, and then I’ll bring it to Ohmme and we will arrange it together. I think finding your sound is not something that has to be intentional, it can happen accidentally.

What are you currently listening to?

There’s this record by Loma, which I’m really into. That record is amazing.  We listened to Cutworms, they are pretty cool. I listen to Mike Reed's, “Places and Things”, he’s a really great free-jazz drummer in the city.

If you could perform with any musician, dead or alive, who would it be and where would it be?

Ok, so I know I’ve always wanted to perform at Red Rocks, it’s in Colorado in a natural amphitheater, so I would definitely say there. So I want to say David Bowie, but I know that's kind of a cliche answer, but either David Bowie or Sun Ra.

Artist Review - Miwi La Lupa

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Miwi La Lupa’s last album was released in September 2016 but his sound is sure to remain timeless.

Miwi La Lupa is a New York musician, a multi-instrumentalist and an amazing vocalist. Him and his crew, who he calls his “wolf pack”, use their albums to tell compelling stories about love, politics, and the human experience. Miwi’s latest album “Beginners Guide” is an incredible culmination of his previous albums, with a fresh perspective and thoughtful, unexpected sampling.

Beginner’s Guide begins with the track “Beginner’s Guide” a very warm, Jack Johnson-esque track that introduces the listener to a beautiful narrative. He empowers people that are starting new paths in their lives, and sings a sweet series of tips on how to start their new life. Miwi talks about packing your things up early, and then straying into all the things that you can do. He composes a beautiful depiction of people in all occupations and walks of life, and includes a not-so-subtle nod to young people, saying that it is “time to complement the millenials”. The song is gentle and genuine, but folded over a somewhat quick jazz and piano beat that compels the listener to get up and take action. It was certainly the best way to start the album, and it makes you lean into whatever is up next.

“A Little Bit of Both” strongly follows the opener, you’re greeted with intense percussion and vocals that linger much longer. In a musical sense, it contrasts the first song gorgeously. Here, you’re hearing a repetitive line played under the rest of the song: a plea from Miwi for a likely lover to tell the truth. He wants addiction, sobriety, a playground, office space. It’s a stubborn track that is maybe too familiar to young, indecisive people. The next song, “Plagued by Rules” is an odd follow up to the flow of the album. It is a ballad of a young man that is overwhelmed with the world around him changing. He is immature and frustrated that things are moving on when he doesn’t feel like he is advancing.

The second half of the album feels like a return after an intermission. “Overcast Man” kicks down the door with its rock emphasis. The immature man is having a coming of age and is undoing his confusion with discovery. Miwi finds optimism in a sea of misfortune, as “the sun comes peeking through a cloudy day prediction”. A wailing guitar greets the next song, and the main character is losing his innocence and childhood beliefs. Even if he is good, the people around him who are bad will still find their place. “Refreshments” is definitely a song of confusion and defeat, he understands love but wishes he didn’t.

“The Bright Side” is a pessimistic narrative of someone who took responsibility for their actions and is paying for it. It is a possible social commentary of the laws on drugs, and how friends and family will gossip and witch hunt people they claimed to love. It is another song of mourning, and another song telling a story that is much too common with young people today. The final song in Beginners Guide is a duet, a realization of love between close friends. Their other friends acknowledge their bond, but for some reason, it is not in their best interest to be together in this moment. “If You Let Me” is asking permission to be together, but of course, it is complicated.

Beginners Guide is definitely a culmination of modern struggles in relation to personal and interpersonal development. The themes are disheartening but the way that Miwi La Lupa pulls it off is indescribable. Despite the struggle, each song has at least a few major chords that display optimism. The tone of this album is absolutely warm. This is a unique piece of music that people can honestly, genuinely relate to. Artists that become vulnerable to their listeners will always create better music, and that is what Miwi La Lupa achieved

Concert Review - Edward and Graham

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As someone new to the Chicago, I didn’t realize that I didn’t have to go out to the United Center or Soldier Field to see an amazing concert. I’m still warming up  to the idea of getting out and going to dive bars all across the city to see some live music. But it only took 30 seconds after hitting play on their spotify page to make me want to go see this next band. Blocks off the Belmont stop, we arrived at the glowing neon sign above Schubas Tavern. We walked into the bar area of the little old tavern and waited for a while, while the crowd was still small.

I was fortunate enough to get to talk to Edward & Graham before the show, whose middle names are the inspiration of the band. Their real names are Johnny and Evan, and they are in advertising and music education, respectively, by day. They were the most down to earth artists I’ve had the chance to interview, and we laughed as we reminisced about going to bars under the age of ten with our moms to watch our dads perform. He probably will be embarrassed that I wrote this, but Johnny’s number one fan, his mom, made an appearance in our interview for a  brief moment as we sat by the bar. They are inspiring and talented, and for the real tea on the rest of the great interview we had with Edward and Graham, stay tuned for an article coming in a few days.

Edward & Graham took the stage around 9:00 to the cheering and applause of a full house. This was the first time they had ever appeared live with a full band behind them. If you listen to the studio recordings on Spotify or Apple Music, you’ll notice they produced their album strictly acoustically. Today a band of five took the stage, and I can confirm that their album sounds even better with the rest of the band. Self described as a band who makes “songs for the person who doesn’t want to admit they like country and for the country fan that needs something fresh and exciting,” their musical style is a blend I’m not sure how to describe. With influences from country, indie, folk, pop, and rock, their music bridges the gap between almost all of my favorite genres. I think that is why the crowd of people gathered in Schubas for that concert had such a huge range of people. There were people who you could pick out as everything from country fans to very edgy twenty somethings, and a mix of young, middle, and older aged people.

By the time they were a song in, the crowd was hooked since there was something in there for everyone. They are talented musicians, and their vocals still sounded great live. (I was living for the three part harmonies.) By the time their set was over, the crowd was calling for an encore. We didn’t have time for one that night, but at least you can check out and listen to their new album anytime and anywhere, I know I will be.

Artist Review - JOME

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Synth-driven music gained prominence in the late 1970s, but always felt lacking in the organic and natural sound that came from instruments--until now. An LA-based duo called JOME is taking synth-pop by storm and revolutionizing the traditionally artificial sound that seemed to always go hand in hand with music that relied heavily on synthesizers. Made up of lyricist Jesse Marc and Christoph Andersson, the man responsible for expanding upon the lyrics with his dreamlike synth sounds, JOME has been creating music that is pop but with something more; the duo has weaved deeper feeling into the sound that really resonates with the audience by putting words to experience that can sometimes feel indescribable.

The woodland sounding pop duo Jesse Marc and Christoph Andersson first came together as JOME in the spring of 2016, ironically in the woods. Not even five minutes after lyricist Marc had published his first song “Brushstrokes”, that he recorded in the forests of Northern California, DJ and record producer Andersson reached out to him. At the time, Andersson had already established himself in the music industry even though you may have never heard his name; he has repeatedly worked with G-Eazy and even co-wrote and produced two of his albums. JOME’s first collaboration, “Brushstrokes”, has a sweeping sound via Andersson that accompanies the poetic lyrics of Marc and perfectly lays the foundation for their album Tunnels that was released in November of 2017.

Their debut album Tunnels, has the imagery of nature woven into every song, evident in song titles such as “Snow”, “Branches”, and “Mountains”. Many songs deal with the comparison of nature to love and relationships as a way to explain experience that can seem so normal, in a new and beautiful way. Each song on Tunnels has its own watercolor art to accompany it which perfectly encapsulates the peaceful feeling that JOME’s debut album exudes; each song is also incredibly personal to the lyricist Jesse Marc. The most popular off the album is the gorgeous and emotional “Cinnamon” that boasts stunning lyrics full of imagery and crackling synth that repeatedly fades in and out, creating an almost haunting ambiance around it. “Cinnamon” opens with a melodious lonely guitar and as the lyrics enter they weave in and out with the guitar, then synth line slowly builds and completely envelopes the listener. “Cinnamon” has a sound that is evocative of a melancholy summer and the warmth of love.

My personal favorite is “Snow”, a stinging reminder of lost love that still maintains JOME’s classic breathy and dreamlike sound. “Snow” is led by Marc’s passionate lyrics that seem to be full of grief and accompanied by a quiet synth line. In an interview, Marc said that, “‘Snow’ is about the inevitability of distance breaking two people apart regardless of how much love there is between them. There is always a sense of ‘what if’ and regret that comes after. This song is meant to give power over the past relationships that haunt us in the back of our minds.” Following suit with Marc’s description, the opening phrase of “Snow” is full of remorse and remembrance:

What if we lived in the same town?
What would have happened then?
I can see you in your winter gloves
Wishing that I never left
Throat closing, waving from across the street
Heartbroken, you still got a piece of me

For me, “Snow” is one of Tunnels standout songs because it has put words to something so painful. By taking a heartbreaking situation and explain it with delicate yet poignant lyrics, it has taken a mournful situation and sees it as  something beautiful. The couplet-like lyrics “I didn't mean to let you go/I still see you in the snow” finish off the song with the reminder that no matter how hard we can try to move on, we never can really forget someone we loved and wonder “what if”.

With recent releases like “Ghost” on April 20 and “Are We Okay Now” JOME  shows no evidence of slowing down or having hit a creative block. While JOME’s sound may be produced almost entirely from synths, it never once becomes artificial. JOME has created an ageless and rare type of music that you can really feel and that, according to Marc, “you can wrap your hands around and hold”. For me, JOME will always remain a personal favorite of mine because of how well they put to words experiences that can shape and reshape you and, even when those experience may be ugly, somehow makes them into living and breathing art.

Song Review - In My Blood

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As pop music continues to grow and change, there are always a few artists who manage to stand out for all the right reasons. The ultimate “boy next door” Shawn Mendes has achieved this.

His new single, “In My Blood” is currently the go to song about loneliness and lost love. With the release of his new music video for the song (see link below), he taps into the raw talent he obviously possess. Oftentimes pop stars are heavily altered to the point that their voice is barely recognizable, or the bass is so loud and overwhelming that one cannot even hear themselves think. However, Mendes eliminates these themes and instead puts his voice out in the open. With a great buildup, the intro and verse lead into a powerful chorus delivering the line “it isn’t in my blood”.

In the music video, the visuals are stunning. It is centered around Mendes lying on the ground, with seasons and nature changing around him. The simplistic video allows for the song to be heard, instead of drowned out or ignored. Mendes seems to be tapping into a more artistic side of his character. With the cover art of the album looking more like an indie album than a traditional pop album with the artist’s face plastered on the front.

Some of the lyrics in the song are surprisingly dark for the previously upbeat teen. One of the first verses, Mendes sings, “Just have a drink and you’ll feel better” implying that alcohol will solve your problems. Obviously he doesn’t actually believe this and it is used to make a point, but the fact that he is using adult themes such as this one for an audience is an interesting move, and it may be an effort to gain a larger variety of listeners. This is not the first time he has grappled with adult topics however. In his song “Treat You Better” he highlights the domestic abuse epidemic in the world and highlights it in the music video. These slight transitions into adult topics is an indicator of an attempt to move forward artistically and mature as an artist. After all, he is barely an adult and has a long way to go in the industry. It will be amazing to see how he grows and changes as an artist as the years go by.

Personally, I am a huge fan of the single. It resonated with me on many different levels and I found myself listening to it on repeat for hours. The raw emotion from Mendes’ vocals is very evident, and it draws listeners and fans alike in every time. I cannot wait to see what else this young artist has in store for us.

Artist Review - Sakima

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Diversity in the music industry is an important topic in today’s conversations. Making sure all types of groups and people are represented in music is something that has been historically underwhelming, but it is improving every day. One area where music needs much more diverse and authentic representatives is within the LGBTQ community. One artist who is a trailblazer in creating unashamed and authentic queer music is Sakima.

This 26-year-old hailing from Northern London has been shaking up the airwaves with his pop-inspired music depicting unabashed and real accounts of gay sex and life. With songs like “Daddy” and lyrics like “Make it pour on me all night/ Imma pour it on his back” there can be no denying the queer nature of his songs. His music is a breath of fresh air in the sea of other gay artists. His music isn’t afraid to express his sexuality. He isn’t coy or suggestive about his queerness, he is loud and proud about it. Sakima doesn’t play it safe and use gender neutral pronouns in his music, which would make it more appealing to a mass audience. He is doing the exact same thing straight artists do all the same, but with a gay twist. His authentic and true voice within his music gives an accurate glimpse into gay life, and he doesn’t care if it makes straight people uncomfortable.

Even without the gay subject matter of his songs, which makes him a noteworthy artist by itself, the actual music he makes is very new and unique. His music has the essence of pop in it, but it goes much deeper than that. Fluid and soft EDM beats can be heard throughout his music, and elements of R&B give the songs a sensual tone, even without the lyrics. Sakima creates complex and mesmerizing music that makes him unique in the music industry. He isn’t afraid to experiment with new sounds and aesthetics within his music. The willowing melodies and harsh lyrics, are perfectly complementary contrasts that make for good music.

Already popular in the U.K., particularly London, Sakima has been breaking into the American music market little by little. As his popularity grows, so does his dedication to making queer stories heard by the populous. He is leading the charge of not trying to please mainstream music by being shy and safe with his sexuality. He is unapologetically himself, and that is what makes him such a noteworthy artist.    

Artist Review - Benjamin Clementine

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If you’re looking for a new artist that you should listen to and probably haven’t heard of, Benjamin Clementine might be your man. It doesn’t matter much what your musical style is, because listening to one of his albums is like taking a trip through a museum of music. You get influences from classical composers over a bossa nova beat followed by an outburst of jazz. Then suddenly you’re listening to something that you could hear when you turn on the current pop station on the radio, ended by a rock power ballad with piano accompaniment. Each song is so unique, it really is a trip down the rabbit hole into his creative mind whenever you start his playlist, where Pavarotti sits next to Adele as they compose some pseudo-jazz. And like anytime you go down a rabbit hole, there’s a whole lot of crazy mixed in.

Benjamin Sainte-Clémentine is a London born artist, musician, composer, producer, and poet. He has gained notoriety, mostly across Europe with over 280,000 monthly listeners on Spotify. He rose up from the tragedies of his family life as a child, to get to where he is today. He had to be raised by his grandmother on the outskirts of London, until he was forced to move in with his parents when she passed away. As if this wasn’t enough, like many young artists, he was bullied constantly through his school years. By his late teens, he found himself homeless and alone on the streets of Paris. He had no classical training in music, no lessons, no theory; just a dream and a spirit that moved the music inside of him. He could not give up, he could not give in, for he had stories to tell. After four years of living with no place he could call his own, a businessman heard his music and took a chance.

In 2012, the record label Behind was formed so that Clementine could record and publish his music. By 2013, he had released his first album, and was on his way to where he is today. And where he is today is pretty incredible considering where he came from. His newest album has hit the top 10 charts all over Europe, was Number 1 in France, and has been certified gold. It even went on to win a Victoires de la Musique, which is the French equivalent of the Grammys. This all from the kid who learned what he knows about music from watching television programming, who overcame family problems, bullying, and teen homelessness. He overcame all odds, and he’s nowhere near done. He has yet to celebrate his thirtieth birthday, and all of Europe is eagerly awaiting what is yet to come. And so am I.

It is only a matter of time before his music and incredible story spreads mainstream here to the USA, more than it already has, that is. If you paid attention to the Winter Olympics this year, then you have undoubtedly heard the name Nathan Chen; you have also already heard Clementine’s music. The 18 year old figure skating superstar performed his short program to Clementine’s “Nemesis” and performed the first quadruple flip in Olympic competition history. With American icons like Nathan Chen bringing a taste of Clementine to the United States, I know Chicago and the rest of the US will be ready to welcome him with open arms.

Concert Review - NoMBE, Mansionair, and Mikky Ekko

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A  consistent trend that I’ve noticed with concerts is that usually there’s the main artist and then one or two subpar openers. I’m usually one of those concert-goers that goes for the main event and the main event only but, this concert was completely different from every concert before--each act was just as good as the one before. At The Chop Shop on a cold and surprisingly snowy night in April, three incredible acts shared the stage: NoMBe, Mansionair, and Mikky Ekko.

At promptly 6:45 at The Chop Shop, NoMBe took the stage and instantly the entire atmosphere in the venue changed and everything became instantly electric--Noah McBeth danced throughout the whole stage and, as if contagious, the entire audience followed. Each song that NoMBe performed was energetic yet still had a laid-back ease soaring through his poetic and personal lyrics. NoMBe has found this perfect balance between laid back chill music and energetic dance music where his lyrics take center stage. Songs like “Sex”, “Jump Right In”, and “Drama” are perfect examples of how the balance between an energetic beat and lyricism. “Sex” in particular, has lyrics so meaningful and full of passion that they could stand alone as poetry. NoMBe’s talent is everything and anything artistic--he has a stellar performance that hooks the audience as soon as he walks on stage paired with songs that are not just lyrically driven but also rhythmically. It was clear through his soulful lyrics and performance, that NoMBe was genuinely happy to be performing and completely and totally passionate about everything he was doing.

The act that following NoMBe was the alternative trio Mansionair from Australia. Mansionair immediately manipulated the atmosphere with their incredible blend of smooth falsetto vocals from lead singer Jack Froggart, guitar and synths from Lachlan Bostock, and drums from Alex Nicholls. Mansionair was able to capture a variety of emotions ranging from pure bliss to loneliness in songs such as the smooth yet upbeat “Astronaut” and emotional “Easier” respectively; each song is driven by both poignant lyrics and a beat that you can’t help but to move to. Mansionair was incredibly entrancing to watch, especially Bostock working with the ambient sounding synth board. The sounds of the synth provided an entrancing juxtaposition to the delicate lyricism of Froggart’s vocals--making each of their songs unique in today's music scene.

Mikky Ekko, arguably the most well known out of the trio line-up, was last to take the stage. Before walking on with his band, you could hear them all amping eachother up before going on which--without them even knowing--set a genuine and electric vibe for the remainder of the concerted. Clad in all black from head to toe, Mikky Ekko gave off a cool vibe of being laid back while still maintaining a connection with the audience by telling stories of childhood memories in Chicago and referring to the concert as “all about you [the audience] and me”. He had a perfect mix of songs from his new EP entitled Advanced Copy EP and songs that he referred to as “old, old, old”. “What’s It Like Now” from the new EP set off a thrilled reaction upon the opening chords being played and everyone in the crowd immediately launched into a collective dance. When the older song “Pull Me Down” was played, long-time fans such as myself were taken back to Mikky Ekko’s old sound and poetic lyricism. As if he expected the well received reaction to his older and more well known material, Ekko finished off with “Stay”--the critically acclaimed song that he sang with Rihanna in 2014. As if he couldn’t get any closer to the audience, Ekko stepped off the stage and submerged himself into the audience as he sang “Stay” where, in my opinion, his vocal talent and range was truly highlighted. After climbing the stairs to the upper level of The Chop Shop, Mikky Ekko finished the emotionally driven “Stay” and before leaving left the audience with this: “Love me or hate me, I just don’t want you to forget me”.

The entire show, I was in awe of the talent and artistic ability of each artist. Each of the three artists was completely spectacular in their own right. If you asked, I wouldn’t be able to tell you which performance was my favorite because each one had an incredible performance of already incredible songs. Each artist left me with the desire to stay longer, to hear more, and I can honestly say that already I’m looking for each artist’s next show date.

Concert Review - Matt and Kim, Tokyo Police Club, and Future Feats

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We can all pretty much expect what a concert will be. We show up, listen to music, dance a little bit, and have some fun. It is not often we are completely blown away and floored by a concert. However, the Matt and Kim concert on April 17th at the Riviera Theater did just that. This spectacle was a visually stunning and exciting upbeat masterpiece of a concert, that to its very core was pure entertainment. This duo put on a show that made for an amazing time.

The two opening acts made for a great precursor to the main Matt and Kim show. The first band to perform was Future Feats. This pop rock group did a great job of riling up the crowd and getting us concert ready. Led by lead-singer Josh, the band introduced me and other members of the audience to their music and left a lasting impression. Josh did a great job of engaging with the audience, and even though his voice got off pitch quite often, the energy and passion he exuded disqualified any chance of negative attitudes towards them.

After Future Feats, the next band to perform was Tokyo Police Club. This indie-band hailing from Ontario, Canada gave a high quality and fascinating performance. The soft and meandering melodies captivated the audience as well as myself. Lead singer David Monks’ haunting voice took center stage as the main appeal of the band. However, where the band excelled at musical talent, their stage presence could be much improved. The connection with the audience wasn’t as strong and the previous band, and the dancing was pretty low energy. Despite this, they still were able to entertain with their incredible musical ability, and they definitely did not feel out of place in the concert.

The first two acts in this concert were incredibly entertaining; yet, the definite highlight was the main act, Matt and Kim. Starting at the moment they jumped onto the stage, this high energy and massively fun duo gave an extremely entertaining performance. With intense audience engagement, and their consistent push to get us to party with them, it was impossible not to have a fun time. They were funny, carefree, and amazing musicians and that mix makes for a nearly perfect concert. From a giant inflatable penis to a THC inspired cover of ‘Bohemian Rhapsody,” there was no limit to the Matt and Kim’s eccentric stage presence. They laughed and swore with us, and they didn’t feel like the untouchable gods some artists present themselves as on stage. They were authentic and true to themselves. The upbeat electronic music was exhilarating to hear in the venue. Kim’s amazing drumming ability provided a great dance beat, and it went perfectly with Matt’s singing. The music was happy and fun, just like the people singing it.

The show had great production value, great music, and great people. Matt and Kim make amazing music, but they are absolutely spectacular on stage. They are able to entertain and thrill the audience and myself. They provide a nearly flawless show that is great fun, and I am now a bigger fan having went.  

Artist Review - Unknown Mortal Orchestra

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Earlier this month, the band Unknown Mortal Orchestra released “Sex and Food”. This lo-fi, psychedelic album is, thus far, a huge culmination of the group’s previous work.

There was a shift from the energetic lust from UMO’s previous album “Multi Love”, an account of lead artist Nielson and his wife’s shared affair with a third party. “Sex and Food” is a nihilistic and dreamy shift of tone, and this album is more driven in sinking itself into the cosmos. The track “Ministry of Alienation” is truly alien, nearly unlistenable, but the line “no one will fuck the ugly robot” is curiosity-inducing and an incentive to stay.  “Hunnybee” is a welcomely upbeat transition, until the song carefully convinces that love stings, and no good thing can be truly good. At this point, the listener catches onto to the pessimistic mindset of the narrator, and it is a cue to stay on-edge. For a good reason.

The next song is “Chronos Feasts on His Children”, and you are already piqued, but then surprised at the gentle, tentative voice used to tell this story. Nielson is teaching how time eats up people without resentment, but he sounds heartbroken at the fact that he is breaking the news to the listener. “American Guilt” follows this dreary ballad, and was released as a single before the album came out. It actually seems a bit out of place and holds nothing but generic frustration at America, but the ravenous rock sound was something that “Sex and Food” definitely needed.

The next two tracks are more heavy and resemble the undercut Prince-style funkiness. They are first songs of existential depression, but then acceptance and insight on the finite qualities of human lives. He acknowledges that people take drugs and try to deny these traits of life, but it results in vicious cycles of tweaking and mental dissociation. It is an insightful song, and one of the first reasonable societal critiques that “Sex and Food” makes.

The last few tracks go back and forth from the end of the world, and the value of assets like cash in the grand scheme of things. UMO really does a great job at adhering to their message of nihilism. The album is wrapped up in a choppy ballad about love being fake and chemically based, and it is a little edgy but nonetheless relatable. It is a audible transition into a bit of a psychosis. Finally, the last track “If You’re Going to Break Yourself” is ironic. The entire album criticized existence and relationships and drugs, but then Nielson criticizes his lover for hurting themselves, and in turn, hurting him.

“Sex and Food” needs the help of lyrics to understand, and it is worth sitting down if you do so. UMO offers relevant social commentary, but all through the backbone of doomed existence. The songs are played like they were already defeated,  but it makes the message that much more genuine. “Sex and Food” was a well orchestrated, unknowingly needed take on the impending death of all things.

Artist Review - Walmart Yodel Boy

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Vocalists who transcend the superficiality of fragile fame in the media are a rarity. When one’s talent and musical ability travels into the realm of genius and legend, we know we have something special. Whether it be the Beatles, Whitney Houston, or Beyoncé; iconic and amazing performers should be treasured. We in 2018 have again found the next music legend. Hailing from Golconda, Illinois, this young artist has become the hottest name in music, and is performing at the same level as the top in the industry. Whether it be at Coachella, or your local Walmart, this artist has been touching the souls of millions of Americans. This artist of course being, Yodeling Walmart Kid.

This national sensation is the hottest commodity in the music since his video of him performing Hank William’s “Lovesick Blues” in a Walmart went viral. People immediately fell in love with his unreal vocal talent and unwavering confidence. Walmart Yodeling Kid, or Mason Ramsey, is captivating the nation at levels never seen before. The legend was featured on the Ellen DeGeneres show where he was offered a $15,000 scholarship for college and an opportunity to perform at the Grand Ole Opry. He then soared to the top with a surprise performance at Coachella, the biggest musical festival in the country. No one can deny the raw talent this 11-year-old possesses, and that is what makes him the Picasso of music.

His talent has inspired the work of many other artists. The saturation of Yodel Kid “Trap Remixes” has entertained us all. However, one remix stands out as the most entertaining and thumping of all. “Yodeling Walmart Kid-Remix” by INAP is the perfect combination of the inspiring voice of Ramsey and absolutely sick beats. The haunting voice of Yodeling Walmart Kid and the trap beats of INAP make for a party song that brings out the animalistic and hyped dance moves that live within all of us. Even the Queen of England couldn’t help from twerking on the dance floor to this song. This song deserves a spot in every club in America’s playlist. The image of celebrities and models poppin’ molly in a high-end club in Ibiza with this song blaring in the background is not a far-fetched one. Lesser minds would think this song to be a joke, but it is a legitimate party song that sends an irresistible urge to dance through all who listen. Even if this song is played on repeat for hours, it never gets old or annoying to those listening. Words cannot describe how fun and hype this song is, which is why I am giving it so much acclaim.

The future of Yodeling Walmart Kid is not a precarious or unsure one. He will forever be known for his performance in Walmart and elsewhere. His iconic voice has already cemented him in the status of a legend. We are all better people for having listened to him, and are blessed to live in a time where we can hear him sing. His signature white buttoned up shirt is reflective of his pure and glittering talent. Mozart was only six years younger than Yodeling Walmart Kid when he wrote his first symphony. True musical genius manifests itself at a young age, and he shows that. I am not saying Yodeling Walmart Kid is this millennia’s Mozart, but the facts are there to support that claim. However, if that turns out to be true, we should count our blessings as the generation who was able to witness the rise of this force of musical ability. For now, we can just enjoy Mason Ramsey’s singing in our living room, the club, or Coachella, and that is enough to be happy about.          

Show Review - Cabaret: Loyola University Chicago

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If you were lucky enough to get tickets to one of the sold out performances of Loyola University of Chicago’s production of Cabaret, you were in for a whirlwind of a night. As I walked down the hall of Loyola’s past productions and into the theatre, I was excited to see the audience on three sides of the stage, it makes these kinds of performances much more intimate. I had never seen the show, but I had heard from a friend it was a little on the mature side of its PG-13 rating. I guess you could say that proved to be the case within about 30 seconds as about ten guys and girls in lingerie came marching down the aisles.

The simple but eye catching set will draw you in right away, and the actors will keep you there the whole time. You are so close to the actors that you become part of the show, as they will be making eye contact with you personally at least once. The chemistry on stage could be felt in the house, and each actor sold their role. The music from the live ensemble in the rafters above you really made the Kit Kat Klub come to life for me. The casting of the show made it so believable, and the vocals were beautiful. The accents hit most of the marks, but there was one fight scene that didn’t quite get there for me. However, if you thought the only thing going on for Loyola was their basketball, you would be wrong.

The Kit Kat Klub carried the full weight of its reputation of helping the citizens of a post-WWI Berlin forget about their lives for a night. What was astounding about this masterpiece was how we started out in what was essentially a strip club and wound up deeply emotionally involved with these characters. We follow up and coming American novelist, Cliff Bradshaw. He has just come to Berlin, and before he knows it has found himself engrained in the culture, in love with an unlikely woman from the Kit Kat Klub, and at odds with the rising Nazi regime. This is not a comedy about a cast of crazy showgirls and a jazzy cabaret band, instead it is a crazy mix of every genre put together on one stage; it's a cabaret. It is comedic but it digs deep. It questions morality and political involvement and love. By the end all you can say is wow, because there aren't really other words. It is a work of art that will make you laugh, cry, and feel uncomfortable, maybe all at the same time. And that is the beauty of it. Just when you think you have figured out Cabaret, there’s another twist, until the very last blackout.

Artist Review - blackbear

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When you think of the song “Boyfriend” by Justin Bieber, the first face that comes to mind is of a young popstar trying to break free of a traditional mold. However the true mastermind of the song is a person you would never expect, a 21 year old R&B/Soul artist named Mat Musto, also known as Blackbear.

Blackbear was born on November 27th, 1990, to a teenage mother and drug-addicted father, who would later leave his family. From a young age he was involved in music, getting his hands on any instrument he possibly could. In high school, he would form the band Polaroid with some friends and release an album, EP, and demo. After leaving Polaroid in 2008, he began a solo career under his real name Mat Musto, releasing three EPs over the course of three years: Brightness in 2008, Contrast in 2009, and Exposure in 2010. In 2011, Musto released an EP entitled Year of the Blackbear, and decided that moving forward he would use “blackbear” as his musician name.

As blackbear, he has recorded four studio length albums to date including: Deadroses (2015), Help (2015), Digital Druglord (2017), Cybersex (2017), and has worked on the collaborative albums: Hotel Motel (with Mod Sun) (2016), Mansionz (with Mike Posner) (2017), 24bears (with 24hrs) (2018). He has written, co-written, and worked with many influential artists including:  Hoodie Allen, Justin Bieber, G-Eazy, Mike Posner, Machine Gun Kelly, Childish Gambino, Pharrell Williams, and Linkin Park.

Currently his most well known song is “Do Re Mi” featuring Gucci Mane, and it is truly one of his best songs. It is the type of song that you could both relax while listening to it, or play it at a party and have everyone up and dancing. The music video to this song is inspired by the Sound of Music, with children dancing around- some of them dancing much better than I ever will- in matching outfits in a large house. The off brand nature and comedic timing of the video is hilarious, including the ending scene with blackbear acting like a father who is just questioning every life decision he has ever made as his children scream in the car around him.

Personally, my favorite version of this artist is when he does acoustic versions of some of his singles. All of them are located on an EP entitled Dead (Acoustic). In this EP, you can really see the extent of blackbear’s musical abilities. Often times with highly produced hip/hop and R&B, one can lose sight of the artist’s message and voice, but with this EP, blackbear puts everything on the line and lets his songs speak for themselves. It is pretty much my go to EP currently, with “idfc” and “Dirty Laundry” being my favorite songs.  

Blackbear is the type of artist that anyone can listen to. Whether you like an insane amount of production and “sick beats”, as the kids say these days, or you like a soulful artist that can unplug, blackbear will have something for you. He is truly a songwriter and storyteller, and through his music we can see a snapshot into his life and reflect on our own experiences in life as well.

Album Review: "Invasion of Privacy"

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The emergence of a new dominant force in the music industry is something we only get to see a handful of times within a decade. An artist coming in and completely commanding the airwaves is a rare event. We are now witnessing this with the release of the debut album “Invasion of Privacy” from rapper and national bad bitch Cardi B.

The “Bodak Yellow” artist has been hyping up parties for the past year with her hit single, and she is here again with an album that doesn’t just meet, but exceeds expectations. The album has a beautiful blend of beats and lyrics that makes for an exciting and fully realized product. Cardi B didn’t play it safe by releasing 13 knock-off “Bodak Yellows.” She has a unique and new sound that proves she isn’t trying to recreate her past success. Whether it be her fiesta inspired song “I like it” or her R&B track “Ring,” Cardi B has a rich and innovative album on her hands.  

Cardi B was in a precarious situation prior to the release of “Invasion of Privacy.” The nation patiently waited to see if everyone’s favorite rapper of 2017 would be able to live up to fame and accolades she had previously received. Everyone wanted to know, could Cardi B be more than a one-hit-wonder?

With her discounted Louboutin heels, she has completely stomped out these doubts. She has fully cemented herself as a major player in the Hip-hop industry. Cardi B isn’t oblivious to her sudden and jaw dropping climb to the top. A major theme of the album is her humble origins as a stripper from the Bronx to the biggest name in Rap at the moment. As she sang in “Get Up 10”, “Went from nothin’ to glory/ I ain’t tellin’ y’all to do it, Im Just tellin’ my story.”  

Personally, this album is something I have been looking forward to since I first danced to “Bodak Yellow” at a party. The bumping beats and unapologetic personality of the music she created made me an instant fan, and I knew she would become a greater player in the industry. It was not only nice to have my predications validated by the release of “Invasion of Privacy,” but I can also look forward to jamming out to the countless bops that are within this album. This album delves deep into the darker side of fame that Cardi B has faced, but listening to it is also a fun and empowering experience that makes me feel like the bad bitch that we all hold inside; Cardi B just helps to bring it out a bit more.

We live in uncertain times, but the brash personality of Cardi B and her incredible artistic talent is a calming and entertaining constant in our lives, and I look forward to what this young rapper has to offer in the future.      

Album Review: 30 Seconds to Mars - AMERICA

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AMERICA - A Land of Love and Dreams

With the charged title AMERICA, one expects this album to have powerful social commentary, and it does not fail to deliver. We find that more and more artists are using their art as a lens through which to view the world. In their fifth studio album, the trio Thirty Seconds to Mars incorporates new electric and pop elements, while tackling controversial issues like political polarization and war, giving a very emotive and personal account.

Songs like Walk on Water and Hail to the Victor are their most electronic-heavy and aggressive songs. In Walk on Water, the bass beat coupled with the multitude of background vocals builds up an increasing amount of energy with every chorus. It’s loud and chaotic and the accusatory line “Do you believe you can walk on water?” cuts right through the rest of the orchestrated madness. This is definitely an angry song. It sounds as though he has been wronged, and this is his outburst. The album truly connects with the listeners in the way of how raw and uncensored it is. They are really making listeners feel as if they are present at a protest just by sitting in their room.

The trio shows artistic versatility with their more tender songs, one of these including Great Wide Open. Jared Leto’s emotional vocals over warm synths creates a beautiful mental image. The song’s patriotic nature reminds me of the sentiment of those who founded this country. This is contrasted with the almost desperate-sounding Rescue Me, where Leto sings “Rescue me from the demons in my mind,” which delves into the mentality of many Americans who are unsure of the future and are calling out for assurance. Jared Leto sings like he’s someone who is trapped and doesn’t know how to escape, so all that is left is to yell. Even the way that he sings the words “Rescue Me,” sounds like he’s crying out for help. It’s about losing hope when you can’t seem to run from your problems any longer.

Apart from their social commentary, love is an important topic in their new album. Most noticeable in Love is Madness, they exhibit a trend that often defines love as dangerous and erratic. The verses are slow and sensual, with explosive choruses where Jared Leto and Halsey trade off with lines such as, “I never said that I would be your lover, I never said that I would be your friend.” The choruses feel cathartic, and I find myself singing along unreservedly, remembering my own frustrations with past loves. The music helps to tell a story about a very unromanticized concept of love. Where it is irrational, confusing, and sometimes even controlling. In this song, love is equated to insanity, and everything else supports this idea.

The song Dangerous Night sounds similar to Up in the Air from their fourth studio album, Love Lust Faith and Dreams, but is less introspective and definitely shows influence from Zedd, who helped to produce it. With the question “Do you wanna cross that line,” it’s as if a lover is asking me if I trust them enough to do something that scares me.

Overall, Thirty Seconds to Mar's new album AMERICA is both raw and honest and combines their electronic influences with their past experience to create something very moving and intimate.

Concert Review: Nap Eyes - Idyllic Indie

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Immediately as the Canadian indie-rock band Nap Eyes stepped on stage late on a Friday night, the entire atmosphere in Schubas Tavern changed. Never having listened to Nap Eyes’ music before, I went in knowing absolutely nothing and even debated about not going-- but thank God I did because this band made my night. Nap Eyes effortlessly evokes a feeling of warmth and youth that can make anyone nostalgic for those long summer nights.

Nap Eyes is lead by vocalist Nigel Chapman, guitarist Brad Loughead, bassist Josh Salter, and drummer Seamus Dalton. Clad in ankle-cut jeans, pinstripes, and even crushed velvet, the entire ensemble proved to be eclectic, yet exceptionally laid back. As frontman, Nigel Chapman, wore a soft grin as soon as he came on stage--a perfect preface for the warm sound to come. The laid back vibe was further enhanced when I noticed that drummer Seamus Dalton was dampening his drum set with what appeared to be dish towels. Josh Salter was definitely the comedian of the four, frequently engaging in quick genuine conversations and banter with the audience and even clinked beers with an audience member after they said that their favorite band was Nap Eyes. The chemistry between the Nap Eyes and the audience was evident as everyone was completely engaged as they spoke between songs and performed. As the sixth stop on Nap Eyes’ North American tour, the band felt comfortable and completely settled into their new and steady LP I’m Bad Now. I’m Bad Now is Nap Eyes’ third record and has mastered the mix of a subtle delivery of lyrics and a deeper meaning below the surface. Nigel Chapman, vocalist, lazily let the lyrics of each track roll off his tongue, creating a vibe for the crowd that seemed to induce a collective sway in everyone.

Though most of their setlist was focused on their new LP, they pulled a few older songs out like “Stargazer” from their second record Thought Rock Fish Scale which sent those in the audience familiar with Nap Eyes into a chorus of cheers. The guitar opened the song with delicate rhythm and a consistent beating of the drum from the back of the stage. Songs like “Stargazer” evoked a genuine feeling of warmth and youth and I couldn’t help but smile everytime the guitar made it’s response to Nigel Chapman’s voice. “Every Time the Feeling”, off I’m Bad Now, catalyzed a similar reaction in the audience but it also showed how their music has changed, even from just their previous record. The guitar, a little more prevalent and a little more harsh on delivery, as opposed to the soft rhythm throughout their Thought Rock Fish Scale record--but this slight change of sound and pace was welcome. The change of sound is further seen in “Hearing the Bass” where sweet arpeggios on Loughead’s guitar accompany the lyrical alliterations from Chapman, who offered an endearing chuckle mid chorus after stumbling briefly on the lyrics.

The set felt brief even though it was almost an hour, and when Nap Eyes began to leave the stage, the audience launched into chanting for an encore. Nigel Chapman returned to the stage and somewhat reluctantly being to sing and play again with Brad Loughead who made his way back to the stage. The song was clearly not prepared and any other band who stumbled through the lyrics as much as Chapman did during that song would have left the audience disappointed. Yet, something about Chapman and Nap Eyes is so endearing and genuine that this made the band even more lovable, especially when Chapman- laughing- asked the audience if any of them knew the lyrics and could help him. When they left the stage, permanently this time, I found myself sticking around with the rest of the audience as nobody seemed even remotely eager to leave.

Overnight, Nap Eyes worked their way into being one of my favorite bands. The laid back vibe from this engaging indie-rock band is infectious, leaving me feeling nothing but completely content and warm from their music.

Artist Review: The Dawn Bombs “Hella Slouchy”

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The Dawn Bombs. The best band you’ve never heard.

For quite a while, the EP “Greetings From…” was the only iota of this band on Spotify. March 27th of this year however, “Hella Slouchy” was released as the band’s first full album.

If you have the chance to sit down and listen to The Dawn Bombs, you will quickly understand the idea of impossible uniqueness. They are no underground indie rock group. The Dawn Bombs use funky and well-layered bass lines, underneath energetic percussion rhythm. There are also jazzy influences in their use of violas, violins, and the occasional trumpet. On top of these elements are well-placed guitar pieces, topped by the most incredibly smooth melodies you’ve probably ever heard. The vocals on this EP resemble melted butter- in the best way possible.

It is hard to delve immediately into this band’s lyrics because their songs have such a great flow that the actual words are an afterthought. If you do happen make the effort and read along to the lyrics, they are nothing short of genius. The songs in their previous EP (“Greetings From…”) contain gorgeous imagery and syntax that caught me totally off-guard. The Dawn Bombs use metaphors that aren’t pretentious, and weave them into cryptic narratives that fit their music well.

It continues to baffle me that this group only has 2,500 monthly listeners. The Dawn Bombs produce immaculate tracks with clear planning and effort, and best of all, they sound great. Do your ears a favor and play any of their tracks. Don’t be surprised when you walk down the street to the beat of their addicting style.

Concert Review: The Strypes - Live is Always Better

With a crowd ranging from young gen z’s trying to get the best shot on snapchat, to grayed-hair old timers nodding their heads in the back, Lincoln Hall was filled with a myriad of individuals from different pasts, all coming together for one reason, good old fashion rock and roll, and they sure as hell were not disappointed. 

The Strypes, originating from Ireland, made a memorable appearance on what was a mundane Monday night in Chicago. The band consists of four member, Ross Farrelly on lead vocals and harmonica, Josh McClorey on lead guitar, Pete O’Hanlon on bass, and Evan Walsh on drums. From the moment they all walked on stage in their plaid suits and American retro t-shirts, each member brought their own edge, their own attitude, that captivated each member of the audience, myself included. When I would look around, there was not one person who was standing still. The air was foggy, smelled of beer, and every person had a smile plastered on their face. The band did a great job at engaging with the audience, not hesitating to high five an excited fan, or reply to a random scream between songs. They truly seem to care about what their fans think and want their fans to have a great time, and people were not disappointed, with screams of excitement pouring out between every song as they would announce their next tune. For a smaller crowd, they truly brought the place to life and created a positive and infectious atmosphere that kept us dancing all night long.

Having only listened to their music on Spotify, I went into this concert with lower expectations. They seemed to just be a typical rock band with young, attractive, foreign guys. While their songs are enjoyable to listen to, nothing really seemed to make them stand apart from the masses of rock music out right now. However, when I saw them live, my entire perception of them was shifted. They brought life to their songs that was lost in the recordings, between Farrelly’s riffs on harmonica, or McClorey strumming away on multiple epic guitar solos, the energy they put behind each of their songs truly set them apart and made them very enjoyable to watch. It is interesting to see the dynamic between each of the members, with Farrelly and O’Hanlon coming together on multiple parts in the songs to do synchronized, comedic moments that kept the audience guessing and smiling. While the bass player, O’Hanlon, took on the typical persona of a rocker, jumping around on stage and moving closer to the audience, McClorey seemed to be more reserved, focusing on each riff and progression on main guitar, but when his moment came to solo, he moved forward slowly and fully immersed himself in the music and the audience took notice, reaching out and cheering him along. Farrelly and Walsh retained an essence of mystery as they kept their sunglasses on the entire performance. Usually when I see a performer wearing sunglasses during a performance, I am a little dismayed, as I believe it creates a barrier between the performer and the audience. However, for this performance, I do not believe it was that much of an issue, but simply a style choice to match their “mad in plaid” aesthetic. 

One moment that was unique was when someone yelled out the word “repeal” between songs while McClorey was speaking. This was because on his guitar written in white tape was that very word. He then quickly went into a short speech about the anti-abortion laws in Ireland and how a woman should have the right to chose, followed by him saying along the lines of, “I can’t believe I’m saying this on stage, it seems like it should be something that is just presumed, a woman should be able to chose what she wants to do with her body.” While I do not have his exact quote, that quick political statement was not polished or pristine, but it was sincere and even though it was short, left an impact on the audience. 

After seeing them live, I have to admit, I am now much more of a fan than I was before. Their energy was truly infectious and engaging. It was what rock should be, loud, proud, and most importantly fun. In the Uber drive on the way back, the driver asked me, “what was the music like?” My friend and I had to stop for a moment, and we both said back to him, “It was good old fashion pub rock, and it was fantastic.” This just goes to show, that live music continues to be, and will always be, the best way to listen to rock bands. 

*Photos from the concert will be available in our photo gallery soon!*

Artist Review: Billy Raffoul's Old Soul and New Sound

By: Alex Webster

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Recent Interscope Records signee, Billy Raffoul, is all but twenty-two years old and is already being compared to the likes of Neil Young thanks to his impressive low-timbered rock and roll sound and voice that is full of smoke, personality, and depth. Raffoul grew up in an exceptionally artistic household in Ontario, Canada where his father was a musician and his mother an artist; Raffoul said in an interview with VentsMagazine that “The Beatles were like Jesus in our house”, and I have to agree. Though he’s still a relatively small artist, it is undeniable that he has a future ahead of him and he’s quickly gaining traction in the music industry with a collaboration with Avicii and currently boasts an upwards of 750,000 monthly Spotify listeners—me being one of them.

Raffoul’s most popular song and debut single is ‘Driver’ and with it he proves that he is much more than just a singer/songwriter—he’s a storyteller. ‘Driver’ is about a person who is lost in life by using the metaphor of a hitchhiker wandering on the side of the road; Raffoul actually wrote this song from an experience he had picking up a hitchhiker after a gig and turned it into something more. The song starts slow, with lyrics that are full of emotion and imagery and continues steadily until finally breaking into the electrifying chorus which is loud, retro, and sexy.

The music video for ‘Driver’ shows Raffoul being true to his lyrics with a deep and emotional performance all while portraying an addict; the music video is truly representative of the theme of feeling lost as Raffoul is seen walking on walls, hanging from ceilings, and falling off a bridge in eerie slow motion creating an overall woozy atmosphere around the song.

Billy Raffoul has the kind of music that anyone could listen to and enjoy. His voice is comparable to that of James Bay but is deeper and richer, and to me, has the capacity to convey more emotion and soul. Raffoul’s lyrics have a genuine feeling that radiates from them making the audience completely feel the weight that each word he sings holds such as in ‘Dark Four Door’ where he casually shattered my soul. ‘Dark Four Door’ is a quiet, lost-love song with a simple guitar accompaniment, allowing his incredible range and variety of his strong, raspy vocals to take center stage. His lyricism is evident in lines such as:

“I went south to define me and someday, you’ll find me, no different than I was before”.

‘Dark Four Door’ is so heart-achingly good and real that you feel the heartbreak along with Raffoul and it leaves you needing more. Honestly, all of Billy Raffoul’s tracks are incredible with each one containing depth, a unique story, and incredible lyricism. He has the kind of voice where he could be reading the dictionary and it would still captivate an audience. He has proved that he has the ability to be gentle, reflective, and romantic while not being cheesy or superficial. His roots in rock, soul, and indie create a sound that is so timeless, it’s easy to forget what decade you are in. Raffoul is an old-soul artist who is perfectly rough around the edges and with that, he has the potential to succeed and make a name for himself.

Billy Raffoul is currently on tour with NEEDTOBREATHE.

Billy Raffoul

Drawn by Alex Webster

Album Review: Jack White's Identity Crisis

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They say that variety is the spice of life, but if anything can be said about Jack White’s new album, it’s that this is not always the case. His new album Boarding House Reach has a hand in nearly every genre to create his own unique sound. You can see parts of hip-hop, jazz, psychedelic rock, and funk throughout this album. The problem is that this variety becomes too confusing with the addition of more and more conflicting musical elements. His songs Over and Over and Over and Corporation both start off with an extremely tight and polished blues-rock feel that we all remember but become chaotic later in the song with the additions of funk keyboards, bongos, and vocal harmonies. In Corporation, he adds intermittent vocals that are out of time and don’t really add up coupled with vocal screeches meant to sound like guitar bends. All of this put together results in something very eclectic and nearly inaccessible. I have no idea what I’m supposed to be feeling or why.

It avoids the pitfall of being too simple and boring but walks headlong into the issue of being too unpredictable. There’s something to be said for surprising the listener and I found myself genuinely excited about not knowing where many of these songs on the album would go when they began. However, this quickly wore off towards the end. Many of his songs added elements that either undercut what he had already established earlier in the song or made no sense whatsoever and sounded like they didn’t belong. In Ice Station Zebra, he begins with something that sounds vaguely like 90’s hip-hop, but then he cuts in with strange interludes of jazz piano chords and funk keyboard riffs. As a result, these songs got harder and harder to listen too as the devolved into random parts from different genres that were put together for no apparent reason.

I never found a moment that felt like the climax to a song. Usually songs build up to the final chorus and you realized you’ve arrived, but all he did was add random harmonies and instruments until it petered out. Then there’s strange songs like Abulia and Akrasia that sound just plain weird. It’s like I’m listening to a convoluted stream of consciousness set to wispy classical music. He then punctuates this with the all too disappointing “can I please have a cup of tea.” Overall, this strange combination of genres and lack of apparent direction or goal makes it seem like Jack White is having an identity crisis and has only left me confused.