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(04/23/19 5:50am)
To invoke a little Forrest Gump, listening to music should be like a box of chocolates—you should never know what you're going to get. A twist of a radio dial or a scroll down a curated Spotify playlist should bring discovery, unearthing new favorite artists, forgotten throwbacks, and genres so obscure you question their existence. My point: the social media age has made the music industry, in theory, an all–inclusive party. It takes mere minutes to become a Soundcloud rapper, and even less time for fans to find the song, share it with their friends, and make fun of you for being a Soundcloud rapper. Nowadays, virtually anyone can make music, and anyone can listen.
(03/19/19 12:11am)
On Monday, March 18, at 8 p.m., the Social Planning and Events Committee (SPEC) released the lineup for the 2019 Spring Fling Concert: Miguel and J.I.D.
(03/29/19 1:16am)
Schoolboy Q had dropped no new music since the release of his Blank Face LP in 2016, despite promising on Instagram that a new album was nearly done in September of 2017. On March 15, he dropped "Numb Numb Juice," a hard-hitting two–minute track and the first single off his upcoming album. The menacing track marks Q’s first solo cut in three years, and it undoubtedly shows that the rapper from South Central Los Angeles hasn’t lost a single step.
(04/16/19 2:00pm)
Gesaffelstein, one of the leaders of the futuristic, dark, and glitchy electronic music movement, perhaps set the bar too high with his debut album, Aleph, released in 2013. His sophomore album, Hyperion, sounds similar to Aleph, but without the edge or bite. Indeed, one could go so far as to call Hyperion a step back from Aleph, as the 10–track, 40–minute album is mostly filled with forgettable filler and a couple memorable tracks. The French DJ, otherwise known as Mike Levy, has shown in the past that he has the capability to produce intriguing and unique sounds, but as far as fascinating beats go, almost all tracks on Hyperion miss the mark.
(03/21/19 8:39pm)
The Australian music scene is booming right now, with several bands exceeding the borders of the Land Down Under. As the groups become bigger, many are making their way to the states for tours, frequenting festivals and Philadelphia venues. Regardless of where all this musical genius is coming from, better to brush up on the hottest bands from the Outback now rather than later:
(03/21/19 4:39am)
RFA, a band of hometown friends recently named one of the 10 Artists You Should Know from Philadelphia by NPR, is a lot of things. When I ask a simple question—"who is the band?"—a veritable smorgasbord of answers, varying in seriousness and pretension, were thrown at me.
(03/23/19 6:40pm)
This past year has seen the return of the cowboy. Musicians from both country and indie genres have been referring to cowboys in their songs and often embodying the cowboy ethos in their performance. Some wear a cowboy hat and flannel, while other are adopting this persona in more subtle ways. Although there are many iterations of the cowboy in contemporary music, a few common themes run through their music: A cowboy is an adventurous outsider, relishing the freedom of being on the move and not tied down.
(03/19/19 5:38am)
Kansas City native folk rocker and fearless nomad Kevin Morby has announced his fifth solo record, Oh My God. The former Woods bassist and The Babies singer made a name for himself with his acclaimed releases, the latest being 2017’s City Music. On this upcoming double LP, Morby conceptually explores the human experience through religion, as is noted by a recent press release:
(03/19/19 1:17am)
Three years after releasing her previous album, A Seat at the Table, Solange came out with When I Get Home on March 1st. While A Seat at the Table acted as Solange’s explicit commentary on issues of race, gender, and existentialism, When I Get Home completely diverges from this concept in its abstractness and fluidity of sound; at times it appears to be more of an artistic statement than an album.
(03/20/19 12:38am)
I wasn’t the oldest non–parent seeing Set it Off at Union Transfer on March 3—that honor belonged to my twenty–one–year–old friend—but I was the tallest, often several inches above the brace–faced and pimply high school students surrounding us in the pit. I came from the punk and hardcore scenes, and my friend from metal—both genres prone to raucous shows with headbanging, moshing, and even a few walls of death. We had survived acts like The Descendents and Marilyn Manson. Surely we could go just as hard as an audience not yet old enough for a driver’s license. Instead, we left that show with no voice, agonizing pain from neck to lower back, and the uncomfortable realization that we might be getting too old for this.
(03/14/19 6:21pm)
In 2013, Irish musician Andrew Hozier–Byrne, known as Hozier, released his single “Take Me to Church” as part of his debut EP of the same name. At the time, Hozier was a struggling musician, writing and recording his music in the attic of his parent's home. Originally available as a free online download, this single went on to be a massive international success. Contributing to the single’s popularity was its music video featuring a relationship between two men and the bigotry that they face. Paired with religious terminology, this soulful ballad reflects Hozier's frustration with the Catholic Church and broader societal institutions that shame sexuality. Despite its contentious nature, the song tied with the Imagine Dragons’ "Radioactive" for the longest–running number–one song on Billboard’s Hot Rock Songs chart and was certified five times platinum in the US. “Take Me to Church” is as musically significant as it is culturally significant.
(03/15/19 9:28pm)
In a recent interview with Teen Vogue, Norwegian wunderkind Sigrid said she “wants songs with three emotions in one,” layering pop's classic bubblegum softness with feelings of anxiety, hopefulness, and liberation. At only 22 years old, Sigrid has an ironclad grip on her emotions. Named BBC's Sound of 2018, she bounces between emotive peaks and valleys all in the span of a verse on songs like “Strangers” and “Don't Kill My Vibe,” echoing the upbeat catharsis of ABBA—the most iconic Scandinavian crossover group. Sigrid's debut album, Sucker Punch, which she co–wrote and arranged, delivers more of her signature style, exploding with the sentiments and wide–eyed optimism of a girl poised to become pop's next darling.
(03/14/19 6:27pm)
Saint Paddy's Day is right around the corner, and there's no better time to make a pre–darty playlist featuring the best artists from the "Emerald Isle". Whether you're from Dublin or you're only Irish on this one day a year, Ireland certainly has some excellent music that's worth a listen. Here's a breakdown of the best artists from Ireland.
(03/18/19 5:07am)
On September 4th, 2002, nearly 23 million people tuned in to watch a twenty–year–old girl from Fort Worth, Texas be crowned the first American Idol. Now, seventeen years after Kelly Clarkson first sang "A Moment Like This," her career has come full–circle as a host on The Voice, and she boasts eight studio albums, three Grammys, and 25 million album sales. Clarkson's development from Idol to pop culture icon shows that, while singing competitions can launch a career, it takes true talent to keep one.
(04/01/19 6:17am)
Covers are universal—since the dawn of music records, artists have recorded and rerecorded over others’ work, adding their own twists to create something new. From “I Can’t Stop Lovin’ You” by Ray Charles, to “Killing Me Softly” by The Fugees, to “I Will Always Love You” by Whitney Houston, these reinventions have occasionally popped up on the charts over the years. But why do artists feel a need to make covers? What is the value of making one when the song already exists?
(03/14/19 2:57am)
As described perfectly on Spotify, the music streaming platform's playlist "Pollen" is "a playlist beyond genre. Quality first always." Updated a few times a week, "Pollen" presents a mix of genre–bending songs and artists that would be hard to discover otherwise. Here are ten artists who deserve more recognition that Street found by listening to "Pollen" over the last few months.
(03/08/19 2:00pm)
Anybody who’s had a dog can tell you, they’re a lot of work. They take up your time and energy and demand all your attention. In Stella Donnelly’s Beware of the Dogs, she takes care of all the dogs that follow her with grace and style, without even breaking a sweat. The Australian singer–songwriter is known for her abrasive lyrics and airy, effervescent voice. Her 2017 EP, Thrush Metal, was centered around her words and her guitar. However, on Beware of the Dogs, she brings in a full band to expand her sound, but never loses sight of her message.
(03/12/19 11:01pm)
Madlib, a producer from Oxnard, California, wields a discography that is highly diverse, prolific, and accomplished. Between working with Kanye West on The Life of Pablo to producing one of the greatest hip–hop albums of the 2010s with Piñata, Madlib has worked within some of the most exclusive and talented circles of the music industry. He rarely produces sub–par work and manages to create sounds that perfectly complement the artists he works with. Well–versed hip–hop critics have consistently ranked Madlib’s albums extremely highly and have showered the producer with praise. Why, then, has he been consistently overshadowed in popular discourse by his peers in hip–hop production?
(03/11/19 1:26am)
There are two types of people in the world: those who publicly worshipped the Jonas Brothers during their 2008 peak and those who buried their appreciation deep. The point is, if you had a pulse and access to Disney Channel, it was hard to avoid this trio of brothers, and even harder to dislike them. With a sound echoing the softer edges of late–90s and early–2000s radio rock, the Jonas Brothers infused the airwaves of Radio Disney with a pop–punk sensibility. “Year 3000,” a cover of a song by iconoclast pop punk group Busted, has all the beginnings of a pseudo–emo classic: jabs at boy bands, a pleasantly heavy guitar melody, and just enough social commentary to anger parents. Even their bigger hits, like “Burnin’ Up” and “SOS,” were reminiscent of a prior era, where boys in bands actually played instruments. In short, the Jonas Brothers used to rock—but their comeback single, “Sucker,” doesn’t.
(02/28/19 10:31pm)
My first mistake was interviewing all of the band at once.
