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(09/10/08 9:39pm)
____simple_html_dom__voku__html_wrapper____>If there is one thing I hope people get from WEEKEND’s look at the dance scene, it’s that dance music not a monolithic glob of four-on-the-floor kick drums with noodley synth lines, big personalities and musicians using electronics as a crutch. Dancing and music are universal.But here’s just a sampling of where some of the many different genres of contemporary electronic dance music and hip-hop have their roots or found their stride: James Brown – “Funky Drummer”This is James Brown’s most often-sampled track, with more than 180 verifiable samples in genres ranging from drum ’n’ bass to hip-hop. Brown and the breaks in his songs are incredibly important to the history of hip-hop, DJing, break-dancing and music in general.Donna Summer – “I Feel Love”Disco’s most popular diva, Donna Summer, helped introduce a more electronic sound into the disco scene with the help of producer Giogio Moroder in the late ’70s. This track in particular helped to develop techno’s repetitious, cold, synth-driven backdrop.Afrika Bambaataa & the Soulsonic Force – “Planet Rock”This is the track credited with giving birth to electro. Heavy on vocoders and breakbeats, “Planet Rock” influenced the development of hip-hop and electronic music.Cybotron – “Clear”This track from the legendary Juan Atkins and his collaborator Richard Davis was pivotal in the early evolution of techno. Some may recognize this repetitious beat as the sample used in Missy Elliot’s “Lose Control.”Mr. Fingers – “Can You Feel It”The spoken portion of the track is more or less how many followers of house music define the style. The vocal states, “ ... house is a feeling that no one can understand, really, unless you’re deep in the vibe of house.” The Prodigy – “Firestarter”Big Beat was the blanket term to describe acts such as The Prodigy, The Crystal Method and Fatboy Slim in the mid-’90s. The genre is known for its distorted, abrasive beats and vocals. Daft Punk – “Indo Silver Club”Before everyone got caught up in the elaborate set pieces and lighting of their live shows, this duo was innovating the sound and aesthetic of French house music.Tiesto – “Adagio for Strings”Tiesto is a trance maestro who performed at the 2004 Athens Olympics opening ceremonies. Trance utilizes punchy synth melody lines and persistent beats to work dancers into an altered state – i.e., trance. Tiesto is undeniably at the forefront of the genre.Burial – “Distant Lights”He wasn’t the first dubstep producer or performer, but Burial was arguably the first to make a truly great LP in the style. This track from his self-titled release demonstrates the heavy moods of dubstep.High Contrast – “Racing Green”Drum ’n’ bass can be thought of as the punk rock of dance music. It features fast, abrasive tempos and is misunderstood by those outside of the culture. High Contrast has been releasing a smoother form called “liquid funk.” The jungle/DnB renaissance owes a great deal to this Welsh prodigy
(12/06/07 5:00am)
It all began more than a year ago. After only six months of FM broadcasting, WIUX found out it was going to lose its newfound spot on the FM dial to a larger station based out of Columbus, Ind. The reason behind this was that WIUX is a low-power FM station, which means it has as much wattage as some light bulbs and no leverage when it comes to dealing with full-service FM stations. With a limited number of options, WIUX staffers enlisted the help of family, friends, faculty, staff, listeners, congressmen and organizations who were sympathetic to our plight.\nWe delayed the switch to a new frequency for nearly a year until the proper paperwork could be filed. WIUX found its new home on 99.1 FM, but we were still in jeopardy of losing our newest frequency within the next decade, or sooner. However, due in part to our situation and the pending displacement of dozens of other low-power FM stations across the country, the Federal Communications Commission has decided to do something about low-power FM's secondary status.\nOn Nov. 27, the FCC adopted the provisions of the Low Power FM Third Report and Order. The rules still do not prevent full-power stations from taking low-power FM stations' frequencies. If the lower-powered station will cause interference, it will still relinquish the frequency after receiving just compensation from the other station. However, if low-power FM station has no other frequencies available in its broadcast area, its position on the dial is secured.\nWIUX is currently in the aforementioned situation, and, as such, is ensured a spot on the FM dial, even if another Class A station were to decide that it wanted to expand its broadcast range into the Bloomington area. This provision protects not only WIUX, but hundreds of other low-power FM stations across the country. \nLow-power FM stations are usually licensed to schools, churches and other community organizations. These stations provide immediate, local and unique programming for the communities they are licensed to serve. \nWIUX will continue to provide educational opportunities for IU students and unique on- and off-air programming for the audience we serve for years to come. So, thanks for helping us make some noise when we were in trouble and for helping to give low-power FM stations their rightful place on your radio dial.
(11/15/07 5:00am)
We have all been through the frustration of not getting into classes or of being on the wait-list for a month. The registration period may be winding down, and you may be disappointed with your classes for next semester, but for most of us, there is still next fall. I've scoured the depths of IU's bulletins to find some fun and informative music-related classes in various departments that might help you when you log on to OneStart to register for next semester. Sorry, seniors.
(11/08/07 5:00am)
The past year or so has been fairly active in terms of local bands producing and releasing their music and hosting CD release shows to celebrate their achievements. Here's a rundown of the best CD release shows in Bloomington in the past year.
(10/25/07 4:00am)
Needless to say, I was flattered to be invited to represent WIUX by speaking on a panel at the CMJ Music Marathon. For the unacquainted, the College Music Journal (College radio's Billboard, essentially) hosts an annual weeklong conference in New York City for bands, music-industry personnel and representatives from college-radio stations all over the country. The marathon allows the underground and underrepresented to make the pilgrimage to New York for some great panels, shows and networking opportunities, and this year, I was in the thick of it.\nI arrived late in the game but was still able to take part in two days of the festival. The days usually started with events planned on New York University's campus and other select locations in Manhattan. However, after a few hours of sharing advice and strengthening bonds in the already tight-knit college-radio community, the army of 20-somethings, fueled by energy drinks and a passion for music, descended upon the city to enjoy the many shows that were free to all CMJ attendees. As my duty to you, dear reader, the following is a summary of some of the best performances and up-and-coming artists I was able to see:
(10/11/07 4:00am)
Nothing is better than a live musical performance. However, even if the musicians are well-rehearsed and the performance top-notch, aspects of the show can be tainted by an audience that does not know how to react properly to the situation. Here is a quick guide about how to act at the next musical performance you attend.
(10/04/07 4:00am)
"1 2 3 3 tell me that you love me more ..." I am sure you have a vague idea of the song I'm referencing, thanks to Apple's new iPod commercial. You might even be one of the people hopping on the Feist bandwagon and adding those very lyrics to an oh-so-hip away message or Facebook profile. It's not a bad thing; it's just a part of the recent proliferation of unorthodox marketing by musicians and companies attempting to capitalize on what's "hip."\nI don't meander around the neon-and-tile oasis known as College Mall often, but word has it that somewhat obscure bands such as The Little Ones and Tokyo Police Club have been pumping through the P.A. in stores such as the Gap and Old Navy. To go along with an Old Navy campaign from the past: It's indie rock for the whole family!\nRetail outlets and ad agencies aren't the only ones taking advantage of musicians looking for new media to distribute their work. Video-game companies have been licensing music for some time now. "Tony Hawk's Pro Skater" was at the forefront of the trend with a mix of punk and hip-hop tunes. Now it's becoming common for video-game soundtracks to be comprised of both popular and unknown music. The best example in recent memory is "MLB2K7," which featured 311, Bishop Allen, Editors, Nirvana, Tapes 'n Tapes and the Pixies.\nDoes this make the artists sell outs? Not as far as I'm concerned. It's a matter of adaptation. People who produce music want it to be heard. Licensing music to companies doesn't diminish the quality of a song. It's the same song, just used in a different context. However, if artists do choose to allow their songs to be used in other media, it is probably best to make smart decisions and be associated with companies and products they actually support. As with anything, it's also best to remember that moderation is key.
(09/27/07 4:00am)
I didn't own my first turntables until after I hit the age of 20. I don't even remember having turntables in my house as a child. The only record I really remember putting on was a Mickey Mouse 45. Most people in my peer group have had similar experiences. We were raised in the digital age with CDs and, more recently, MP3s. So how is it that vinyl has not only survived all of these years, but gained increased interest?\nJason Nickey from Landlocked Music said, "We wouldn't be in business if we didn't sell vinyl." \nLandlocked Music, 314 S. Washington St., is less than two years old and has been a local favorite for music fans who are interested in vinyl. The shop survives because of a diverse clientele that enjoys music of varying styles on multiple formats. Is this interest in vinyl due to aesthetics, audio or other factors?\nOne factor is that the experience is entirely different from other ways of listening to music. With an iPod or CD, changing tracks requires nothing more than the push of a button. Turntables don't have a skip button. If you want to hear a different track, you must physically put the needle on the track you desire. Vinyl allows for a more personal and calculated musical experience. \nSome people also stress that vinyl has inherent qualities that make it superior to other formats. CDs can't duplicate the "warmth" of vinyl, and some argue that the hiss or pop of an old record is more bearable than a skipping CD. However, vinyl is still a niche medium, and recent interest in crate-digging is probably not enough to bring vinyl back into the forefront. \nTo sum it up, Nickey said, "I don't have delusions that it will become the dominant medium. It's growing, but I don't think it will ever be what it was like in the '70s." \nAll methods of delivery have advantages and disadvantages, and after this brief look into vinyl, I hope you may be encouraged to get some dust on your knuckles, take out your earbuds and give it a chance.
(09/13/07 4:00am)
Maybe I've been watching too many children's television programs, but my inner child has been singing out. Usually he can be soothed by singing along while Mr. Rogers asks him to be his neighbor or by humming melodies from comforting tunes like "Twinkle Twinkle Little Star." However, the inquisitive part of me is wondering what else exists in the realm of kids music. I know you may be older and wiser now, but surely part of you misses the innocence and fun contained in the children's music of your day.\nNot having contact with many youngsters myself, and in an effort to increase my journalistic integrity, I wanted to research some recent developments with music made specifically for kids. Most people already know of Raffi or the Kidz Bop compilations from the commercials with kidz jumping around amongst seizure-inducing backdrops whilst singing watered down pop songs, but there is more out there for kids. My personal favorite kid songs are performed by legendary bluesman Leadbelly. Though he was convicted of attempted murder, he could still make songs like "Skip to my Lou" sound so carefree and enjoyable.\nMore recently artists such as They Might Be Giants have cut records aimed specifically at the young ones. Artists like Metallica, Radiohead and Nirvana have become kid-friendly in recent years as well. Companies like Rockabye Baby are taking songs by well-known artists and turning them into glockenspiel-soaked lullabies for toddlers with more defined musical taste. \nI need to work on my finger painting, so I'll cut this short, but I hope you'll look at kid's music a little differently. "Schoolhouse Rock" and "Sesame Street" may have taught generations of children, but there now is kid-friendly music that caters to non-educational needs of children. Give it a chance. It's catchy, fun and good for the kid in you!
(09/06/07 4:00am)
ou would think that working at a radio station would keep me in touch with current music trends. In recent discussions with friends and increased MTV viewing, I have realized how out of touch I am. Names like Audion, Elvis Perkins and the Budos Band seem familiar while Daughtry, Rascal Flatts and Omarion are somehow beneath my radar.\nHow does this happen? The answer is bubbles. Based on various circumstances, we all seem to build a sort of bubble around ourselves that allows us to only let in what we are comfortable with. We all know people who "like everything ... except country" or who assert, "Rap is crap." Though not lenient viewpoints, these statements merely indicate a preference. \nIt isn't right or wrong; it's just what you like. So, what's the point? Well, dear reader, I want to encourage you to experience new things to expand or break your bubble. See a jazz performance at the IU Musical Arts Center, become familiar with the work of Hank Williams to hear country music's roots, find out the difference between techno and house music, or take advantage of the world-music performances in Bloomington each year. \nThere is nothing more enriching than destroying preconceived notions that you hold about certain genres or getting a glimpse into cultures and music that you didn't know anything about. Even if you end up not finding anything you like, at least you'll have a better understanding of your own thoughts on music and the bubble you've created for yourself. In order to practice what I preach, I'm going to find out a bit more about what's "in" right now because I'm curious. The last time I did this, I ended up with a copy of Justin Timberlake's newest album. Wish me luck!
(08/30/07 4:00am)
f you're reading this, you're obviously interested in student media at IU. I'm sure you'll be thrilled to know that in addition to a stellar student newspaper, IU has a student radio station, WIUX, which broadcasts on 99.1FM and on the Web at wiux.org. The Indiana Daily Student and WIUX have been working together for the better part of a year; but if you're new or haven't been paying attention, I'm going to give you the skinny on what we actually do at WIUX.\nWIUX is entirely operated by IU students. As such, it has always been our priority to not only provide opportunities for our staff, but to provide entertainment, information, events and content you won't find elsewhere in Bloomington. We have programming that highlights a large variety of music styles and artists that you won't usually find on the radio dial. We also have news programming that focuses on issues concerning our community. In addition, our sports department broadcasts IU sports you can't hear anywhere else. WIUX also hosts all-ages and free events on campus and around Bloomington.\nWe exist for you. Our aim is to be in tune with you so you'll stay tuned to us. The IDS and WIUX are looking forward to another great school year and more chances to entertain, enlighten, and interact with our fellow students and the community. Don't touch that dial -- You won't want to miss what we have in store for you this year!
(07/05/07 4:00am)
For three years, I have been enamored with Minus Story. I was hooked by their stunning album, The Captain is Dead, Let the Drum Corpse Dance. It pulled me in with its lo-fi charm, gentleness, and a dose of the kind of happiness that you can only muster once you've been into the deepest depths of melancholy. The band followed this release with No Rest for Ghosts, an album that expanded on the themes of love, hope, and ghostly apparitions, while also allowing the band to develop a more focused and cohesive sound. Now, My Ion Truss shows the band as they take another leap into strange, yet comforting territory.\nThe album begins with the dreamy, "In Line" as the lead singer, Jordan Geiger, mournfully emits a nasally passage containing cryptic prose. Then Minus Story sonically sucker punches your fragile ears and unleashes one of their most passionate and powerful songs to date, "Aaron". Rumbling drum fills, saxophone wails, guitar feedback, and haunting echoes create a chaotic and beautiful mess that is reminiscent of the forcefulness of this unassuming band's live performances. The band then gives listeners breathing room by offering up the energetic, yet airy, "Stitch me Up". The album shows Minus Story shedding their lo-fi psychedelic skin in favor of a more polished, but no less endearing, sound which demonstrates the evolution and maturity of the band. \nOne element that remains for the band, is their ability to pour the most gut-wrenching and heartbreaking feelings into their work. The drumming is urgent and punctual, the guitars are thick and distorted, the keyboards are delicate and composed, and Geiger's voice is assured, yet sometimes mournful and haunting. The result is an album that is entirely unique from the band's previous work, but still undeniably Minus Story.
(06/07/07 4:00am)
Mary Timony is primarily known for her work with the bands Helium, Autoclave and Hot Trix, and she is now fronting The Mary Timony Band, which will be playing at Uncle Fester's on June 9. But before you step out and check out Timony's alt-pop chops this weekend, you might want to have an idea of what to expect.\nPortions of The Shapes we Make sound like what would happen if Sonic Youth and Pavement met on the playground and decided to go home and braid each other's hair. In terms of instrumentals, the album pays homage to the distant accompaniments of Sonic Youth, but it is reminiscent of Pavement because Timony's sometimes distracted tones sit atop mounds of fuzz and patchy accompaniment. Many songs seem as though they're not quite frenzied, but certainly distressed. In some cases, the songs kick off with raucous beginnings and conclude with timid endings.\nYou'll mostly find the standard vocals, guitar, bass and drums persistent, while the background sounds more restrained, but the occasional keyboard accompaniments provide enough spice to make the whole stew really sizzle. The album, much like many of the songs on it, seems to have more of a bang at the beginning and slows down as it progresses. This is perfectly acceptable, though, since songs like "Each Day" and "Window" allow some time for the album to cool off while churning out more infectious melodies.\nMy only qualm is that a few songs like "Pause/Off" can feel flat because of the preoccupied vocal tone. It has a nice repetitive riff, splashy cymbals, a pumping organ and an undeniable raggedness that crunches along, but the vocals just seem to be floating along as if they were feathers in a firestorm, ready to be engulfed by the surrounding fury. Regardless, the album is still a great listen and hopefully indicative of the quality of The Mary Timony Band's live performances.
(05/24/07 4:00am)
orangeyellowred is the brainchild of Frank Sweikhardt, an unassuming resident of Marion, Ind. and a member of the Crossroads of America collective. Sweikhardt is a relative newcomer to the Indiana music scene who has been able to utilize a local favorite husband-and-wife backup band in his music. Make an Ugly Friend is less about the individual songs, though, and more about the experience of listening to the set as a whole.\nThe album is gentle, self-aware and, at times, poignant. The placid picking and serene strums of an acoustic guitar create an amiable backdrop for Schweikhardt's uncomplicated vocal timbre. Occasionally, drums and other percussion are added into the mix, along with guest vocals from Mike Adams and Laura Balke\nThough the album is enjoyable, I sometimes forgot I was even listening to it. Maybe its unassuming quality is due to lack of that one hook or melody that infects your consciousness and brings you back to your senses. Overall, I found myself wanting just a little bit more from the effort.\nThis album is a nice first step, but its sound just seems as though it is missing a unifying element. Make an Ugly Friend is not an ugly album, but orangeyellowred needs more time to grow into itself.
(05/24/07 4:00am)
OK, we've all seen past VMA performances, and we're getting tired of watching people embarass themselves (kinda). So try out these clips instead of watching the "Star Wars" kid again. We bet you haven't seen 'em before.
(05/17/07 4:00am)
The seventh release from the local label, Crossroads of America, brings about a refreshing, catchy and introspective EP from Rodeo Ruby Love. Following the release of their lo-fi debut, Your Love has Made Everything Beautiful, RRL has overhauled the production values, but retained the cutesy Midwestern flair that made their first effort so enjoyable. Though What Lonliness Can Do to You clocks in at less than 20 minutes, it is a solid 20 minutes that shows an increase in focus and maturity from the band.\nWhat Lonliness Can Do to You is a great representation of a relatively new, but exceedingly enjoyable Indiana-based band.
(05/17/07 4:00am)
WIUX Station manager Craig Shank picks free songs for you to download
(05/10/07 4:00am)
I was standing outside a house party on Little 500 weekend following a hastily scheduled living room performance by YACHT. Jona Bechtolt, the man behind the moniker, was mingling with the locals and occasionally dabbing the sweat from his brow following his set. I enjoy his work with the Blow and also his solo project, so I approached him and struck up a conversation. A smile remained on his face throughout his performance and beyond. This is a person who is enjoying every minute of what he does and who loves that people admire his work. Near the conclusion of our conversation, he said, "We'll be sending out the new album soon. I hope you like it!"\nWell Jona, if you're reading this, I do like it. I Believe in You. Your Magic is Real is an accessible electronic endeavor that lets Bechtolt flex his already defined creative muscles. The songs are meticulously crafted and performed on Bechtolt's laptop. He creates upbeat dance songs that contain deliciously repetitive rhythms, electronic trimmings and digital handclaps that are certain to attract even the most deeply rooted wallflower to the dance floor. Lyrical content is also extremely varied. For instance, "We're Always Waiting" bobs along while Bechtolt chants what seems like an admonishment of materialism, while "Your Magic is Real" asks a series of rhetorical questions that make you wonder why you've been ignoring the little things that make life so enjoyable.\nIf the Blow is like bubble gum in the world of indie-electronic music, YACHT is like the Pixie Stick. YACHT makes songs that have an entirely different texture and are more likely to solicit sporadic movements based on the energy that you get as a result of ingestion of the material. Fans of the Blow should be aware that they won't be getting the sugary sweet and long-lasting hooks that they'll find in the work Bechtolt undertakes with Khaela Maricich. Additionally, while the album is a great look at Bechtolt's work, it still doesn't do his performances justice. Seeing the songs performed while YACHT flails about surrounded by sweaty people losing themselves in the moment is when you can see that Bechtolt's magic is real.
(04/26/07 4:00am)
Nothing creates more excitement for music lovers like me than a relatively new band that shows so much promise in such a short amount of time. Page France has only been in existence since 2004 and have two delightful full-length efforts under their belt. Elation swept over me when I discovered this whimsical quintet was releasing a new album, Page France and the Family Telephone. \nBefore we jump into the finer points of Page France and the Family Telephone, we should lie the sonic groundwork for the album. You'll find intermittent glockenspiel melodies, straightforward guitar work, relaxed keyboards and drums that serve as a restrained element to build on, not to work around. Let's not forget the bass, either. This instrument provides leisurely lines that wrap up songs like the bow on a birthday gift for a dear friend. Occasionally a trumpet finds its way into the mix and provides the icing on the cake.\nThough the instrumental aspects of the songs are solid and a step above the band's previous efforts, the vocals are undoubtedly my favorite part of the album. I can't help but envision vocalist Michael Nau as a kindly old man. His voice is slightly creaky, high-pitched, and the lyrics radiate a subdued wisdom and charm. Band mate Whitney McGraw also contributes backup vocals and brings the already adorable songs to the point of critical cuteness. \nIn addition to the quality of the musicians in Page France, the quality of the sound is wonderful for this effort. The production hits the sweet spot that allows the album to hover in a gray area between slick and lo-fi. It sounds almost as if it were a well-recorded live album direct from your buddy's living room as a crowd sits cross-legged on the floor around the band.\nThis album could be the soundtrack to a gentle stroll, a lazy afternoon, a trip to the zoo or a quiet night alone. Essentially, the album is anything you want it to be. It can be blissful, sullen, playful or something in between, but you'll never be able to find a lack of hope and marvel tucked gently between every lovely melody, gentle beat or quirky story that unfolds in each song. Overall, the entire effort exudes an incredible sweetness that is complemented by the feelings of wonder that are evoked while listening to this album with a careful ear and a loving heart.
(04/19/07 4:00am)
When dealing with music, one can often find himself confronted with a central, and sometimes unanswerable, question. This question is: Why do I like this band? The Ants are a band that is likely to have many individuals scratching their heads and tapping their feet. The Ants are a relatively obscure band from Kansas that I was exposed to when they rolled through Bloomington with Drakkar Sauna. My curiosity concerning this four-piece hasn't diminished since that warm summer evening.\nThe third LP from the Ants, Ideabreaker, contains elements from their live show and introduces some novel new ideas. The most striking part of the live set is that the band has the most cohesive disorganization of any band you're likely to encounter. It seems as though they're teetering being balanced and stumbling. The songs contain the same rambling lyrics and a lack of choruses that the band is known for, but on Ideabreaker the more curious elements of the band's sound seem instantly more accessible.\nOn their 2004 album, Victory Side, the songs were appealing but felt as though they were lacking in many elements. Ideabreaker seems to address all of the problems of the band's previous effort. The drums are more pronounced and proficient, the guitars are steadily strummed, and the bass and electric organ help in the harmony department. The vocals of front man Chad Bryan also have a much more pleasant timbre and make him sound less like a lonely drunk and more like a happy drunk. The band also manages to fill in the voids nicely. None of the songs feel as they are lacking anything and they don't feel too busy either.\nStill absent are choruses that would draw more people to the band, but their style of freakish folk-rock tunes aren't really conducive to hooks anyway. At times the band almost sounds like a lounge, garage rock and folk hybrid. Songs like "The Donkey Talking about Long Ears" manage to sound nothing like the other tunes, but feature the same qualities that make the Ants' songs unmistakable. \nTo answer the original question: What draws me to the Ants seems to be, above all else, authenticity. The songs aren't showy, complex or overwrought. Ideabreaker is original, simplistic and doesn't make any apologies. It is a work that shows four individuals who make the music they want to and don't let success, or lack of it, influence the direction their music travels.