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(03/03/15 5:49am)
Varsity Hall in Union South hosted the UW-Madison A Cappella Benefit Concert: Music for Mahanaim Saturday. All proceeds from the concert were given to the Wray Family at Camp Mahanaim in Les Cayes, Haiti and the Tomah Haiti, Mission Team in Tomah, Wisconsin. These groups have been providing care and education to many Haitians and continue to host medical, work and ministry teams. Gabby Enos, from Tangled Up In Blue, organized the event and gladly invited all of the a cappella groups at University of Wisconsin–Madison to perform. This included a set list of Redefined, Pitches and Notes, The MadHatters, Jewop, Tangled Up In Blue and Fundamentally Sound.
(02/25/15 3:04am)
Last Thursday and Friday, the Majestic hosted another one of their legendary two-night runs. This time around, the weekend featured The Floozies, following up on the groovy electro-instrumental vibes that performed so well last September when Cherub rocked similar back-to-back shows. In typical Majestic style, the proper social media channels were abuzz for months leading up to the shows, playing into the wave of hype that led both nights to sell out. For everyone who had the sense to grab tickets to both nights before they sold out, that anticipation skyrocketed when The Floozies announced that they'd be playing two unique sets: not a single song would be repeated.
(02/23/15 3:23am)
On February 27, the Orpheum will host Lotus on The Gilded Age Tour, with special guests Turbo Suit (formerly known as Cosby Sweater). Lotus’ live show, made possible by some of the most talented and dedicated musicians in the industry, will carry the momentum of the band’s most recent album, Gilded Age, released last fall. Since their formation in 1999, Lotus have refined their sound, toured relentlessly and built a loyal and enthusiastic fan base. Now, more than fifteen years later, I spoke with guitarist and keyboardist Luke Miller about Lotus, Gilded Age and what lies ahead for the band amid a very exciting time in their career.
(01/29/15 4:38am)
The transition from a relaxing winter break back into the seemingly indefinite schedule of constant work and exhaustion is never a simple task. As I am a naïve freshman this year, I originally predicted the four weeks spanning from Christmas through mid-January to be far too short of a break. After all, I had been in college for an entire semester, dragging myself out of bed to my 9:55 a.m. classes, always worried if my schedule would overlap with that of the custodians who cleaned my bathroom for me every day in my residence hall, having to pick out what vegetables would go in my omelet at Gordon’s, so on and so on. In my mind, one month would simply not be enough time to recover from all of these stressful freshmen woes.
(11/18/14 6:15am)
With a sound that combines Herbie Hancock, Frank Zappa and a host of other jazz-fusion influences with the sounds of dance music today, Kung Fu has rapidly become one of the best live acts around today. I got a chance to catch up with keyboard player Todd Stoops before the band embarked on a weeklong Midwestern jaunt.
(10/10/14 3:00am)
It’s hard to believe an album of two banjos, one voice and no other instruments could keep a listener captivated for its 45-minute endurance, but musical duo Béla Fleck & Abigail Washburn make it look effortless on their first self-titled album, Béla Fleck & Abigail Washburn. The married couple’s first collaboration together combines Washurn’s traditional folk stylings with Fleck’s Grammy-winning crossover genres—diffusing the banjo into jazz, blues, classical and funk. The track list contains both original pieces and unique covers and classics.
(09/24/14 4:43am)
On Satruday night I humored my 20-year-old housemates and went to a childish little apartment party at La Ville. It was worth it to see the smiles on their little faces as they spastically gyrated on the carpeted dance floor with their girlish, baby-faced companions. But I stuck out like a sore thumb, a man among boys. And men go to the bars.
(09/22/14 4:56am)
In 1997 The Dismemberment Plan wrote a song titled “Do the Standing Still” for their sophomore album The Dismemberment Plan is Terrified. Aside from being a showcase for Travis Morrison’s goofier proclivities, it also works as a sad monument for the gradual, sloping decline of indie rock.
(09/16/14 3:31am)
Last weekend, Nashville electropop duo CHERUB graced the Majestic Theatre with two back-to-back, sold-out shows. I was fortunate enough to be in attendance for both of these legendary nights.
(09/15/14 4:07am)
Whether you know him through the standards he wrote or the scenario he inspired in “Be Kind Rewind,” Fats Waller is an American music personality to be cherished. And now Jason Moran, modern musical tornado and MacArthur fellow, has come forward with a tribute album in honor of Waller.
(09/10/14 2:01am)
Whether you refer to it as electro-pop, synth-rock, or electro-funk, it is almost impossible to classify the groovy sounds of Nashville musical duo CHERUB into one pre-packaged genre. It is even more impossible to listen to their music without tapping a foot, bobbing your head and indulging in the uniquely crisp and groovy vibes that Jordan Kelley and Jason Huber have spent the last four years perfecting.
(03/06/14 4:36am)
Bandcamp.com might be my favorite website. In its version of a free market music economy—which is free to use, requires no subscription and lets anyone upload music—objectively superior music rises to the top of the pool, as popularity is controlled entirely by listeners, not big-time record labels. Every week I scour this site, looking for not-yet-famous artists making stellar sounds. Here are some of my favorite new releases.
(02/27/14 6:00am)
Friday, Feb. 21, a sold-out Majestic Theater was ready to escape the brutal reality of this midwestern winter with a triple bill featuring New Beat Fund, RDGLDGRN and Aer. Starting at 8:00 p.m., the standing room filled with fans in Hawaiian shirts and flowered dresses, eager to forget about the negative wind-chill outside.
(02/04/14 6:48am)
Broken Bells’ After the Disco is fun and enjoyable. However, people will lose interest once more daring, impressive works come out later in the year. The Shins’ frontman, James Mercer, employs his usual melodramatic lyrics and folk-twang while Danger Mouse produces more modern percussion and synths in order to give the album its own original, pop vibe. The album feels similar to the first Broken Bells album, but with a more polished and upbeat sound. A safe, enjoyable effort, After the Disco instills Mercer or Danger Mouse’s ability to make music that satisfies their existing fan base.
(12/09/13 2:03am)
Mike Donovan’s album, Wot, isn’t exciting, but it’s a decent listen. Before his solo debut, Donovan was a member of Sic Alps, a noise pop group from California. While Sic Alps were renowned for their energetic performances and ’90s lo-fi and psychedelic sound, Donovan has progressed to a more subdued acoustic vibe.
(11/22/13 4:14am)
Dev Hynes, a British transplant in New York, has said that his second release under the moniker Blood Orange is about “moving from a stable position to an unstable position.” After living in Brooklyn, Hynes moved to Manhattan and this inspired the understated symphonic movements of Cupid Deluxe.
(11/11/13 4:44am)
Nov. 11, 1620: The Mayflower Compact is signed.
(11/06/13 4:29am)
Cut Copy’s latest release, Free Your Mind, encourages you to do just that. A heady journey through funky electronic pseudo-psychedlia, the album nods to ’90s dance club grooves, yet remains relevant with soaring choruses and sailing vocals.
(10/25/13 4:45am)
Exhausted from studying the past week, I wearily plugged my headphones into my computer to listen to Rebel Era—GRiZ’s newest album. I like GRiZ so I was excited to listen to it, but nothing could have prepared me for what I was about to hear. My exhaustion dissipated. My feet felt suddenly disconnected from my body and started to move on their own accord. My mouth waivered into a grin that likely unsettled those sitting near me. Even better production than his last album, Mad Liberation, Rebel Era surges forward as the young producer attains a comfort zone with his signature sound—one that has come to revolutionize electronic music. Incorporating glitch bass, soul, funk and tight grooves, GRiZ’s style is a breath of fresh air from the music dominating the electronic scene, rampant with predictable drops and a near universal sound.
(10/18/13 2:52am)
Can you elaborate on the origins of Sacerdote?