Caroline Smith brings reinvented self to Madison
There’s no doubt that Caroline Smith has gone through a metamorphosis. There’s also no doubt that she’s never stopped being Caroline Smith.
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There’s no doubt that Caroline Smith has gone through a metamorphosis. There’s also no doubt that she’s never stopped being Caroline Smith.
Parquet Courts burst onto the scene with their raucous 2013 release Light Up Gold. Their The Feelies and Television-inspired songs distilled the essence of punk and alternative through clever lyrics conveyed by a monotone slacker drawl over chaotic, messy and fierce power chords. Since that release, people have been waiting for the band to finally make its mainstream breakthrough. With their most recent album Human Performance on the legendary U.K. indie label Rough Trade, they are making their case for broad recognition, even though it seems that the band has lost something along the way.
Indie rock singer and devout Christian Andrew Hozier-Byrne is reportedly sick of asking for rides to his local church, “Faith Church for the Hip of Heart.”
The music industry thrives off of hierarchies. From billboard charts to reviews to album of the year lists, musicians become successful in the eyes of the public only once they enter discussions in which they are pitted against their peers. This perpetual competition forced upon the world of music, which reflects countless economic, racial and historical backgrounds, values approval from a few powerful tastemakers over inspiring those who don’t have as influential of a voice.
Alternative rock is alive and well in Madison. This past Saturday, the Orpheum Theater on State Street hosted a show for the veteran group Metric with the up-and-coming band Joywave as their opener. The show was scheduled for 8:00 p.m. and, to my satisfaction, was right on schedule. A combination of these two alternative synth-pop groups resulted in a show that literally shook the theater.
There’s nothing quite like the smeary ink stamps and thick Sharpie Xs haphazardly tattooed onto the hands of myself and fellow under-21 concertgoers. With an occasional warning from a bouncer telling me not to wash my hands until the ink dries, I’m pretty used to the fine art tradition of hand stamping. Thankfully, I wasn’t the only one showing off some fresh ink Thursday night at High Noon Saloon, where the Minnesotan band Bad Bad Hats opened for Seattle natives Hey Marseilles.
Storytelling has always been at the core of all folk music. A talented lyricist in tandem with the right instrumentals has the ability to transport you to another time, place or world. Singer, songwriter, harpist and pianist Joanna Newsom did just that with her skilled band. While touring her successful 2015 album Divers, they gave two hours of next-level, avant-garde, indie-folk story time at The Orpheum.
When Seattle comes to mind, images of rainy days and fish markets may also come to mind. For the members of Hey Marseilles, their thoughts are of home.
1. To Pimp a Butterfly - Kendrick Lamar
“Are you sick of this sh*t yet?” reads the first sentence of Pitchfork’s “Top 10 Albums of 1999” article published in 2001. “...Let's not forget the New York Times' incredibly out- of- touch list of the 25 best albums of all time. (One word: No.)” The introduction reads like an angry college student madly pounding at their keyboard, more concerned with establishing a flippant attitude towards mainstream music journalism than introducing a list for the best albums of the year. A Pitchfork article beginning in such a manner in the year 2015 would raise eyebrows with its complete lack of professionalism, yet it was this exact attitude that propelled the website into the cornerstone for independent music journalism that so many regard it as today.
Upon postponing his debut album, Talib Kweli stepped onto the hip-hop scene with rapper Mos Def, creating the duo known as Black Star. The pair quickly became the game’s warranted political justice gurus, lighting up two successful solo careers with social commentary and political strife fueling the release. Now 17 years later, Kweli’s will to shake the public conscience becomes a shared effort. This time he teams up with veteran producer 9th Wonder and a handful of guest spots on Indie 500.
It’s been hard to describe the meaning behind rock music these days. It used to be the voice for the powerless, the rebel of the 1950s, the loudspeaker of the 1960s and the counterculture of the 1990s. Since then, it’s resigned as the omnipresent voice of musical power; some stagnant voice that doesn’t really need to change or bend like the world around it. Telling someone you like rock music outside of the city gets pats on the back if it’s a classic and an eye roll if it’s indie; telling someone you like rock music inside the city only gets the latter beyond the high fives of the punks.
Since her breakout hit, “Lights,” in 2010, Ellie Goulding’s indie-dance tracks have consistently topped international music charts. The British singer’s third album, Delirium, demonstrates yet another shift toward EDM. With the help of a wide array of producers and collaborators, Goulding’s simple ballads are transformed into dance-floor anthems.
This weekend has so much to offer Madison in the form of arts and entertainment.
Matt Berninger’s main work with The National earned him the role of indie music’s most despondent heartthrob. His new project with Menomena’s Brent Knopf places that famous baritone muttering in a fresh, yet sometimes unsuitable, atmosphere. Berninger and Knopf team up as EL VY on their experimental debut, Return To The Moon.
I’ve had the opportunity to see a wide and strange collection of items thrown onto stages during concerts throughout the years: bras, underwear and phone numbers scribbled on Post-it notes. But Thursday night’s Hippo Campus show at the Majestic Theatre added a new one to my record book: Halloween candy.
Freakfest is one of the most anticipated and well-known weekends in Madison. With my freshman experience behind me, I was ready for round two. MisterWives and Timeflies were performing at this year’s Capitol stage, two artists who are experts when it comes to partying and hosting an insane concert in Madtown. Last October, Timeflies rocked out at the Orpheum Theater. This Halloween weekend was MisterWives’ third time in Madison this year, after playing at the High Noon Saloon in March and then at the Majestic in September. They just can’t get enough of this city—and I can’t complain.
Bronze Radio Return faced that uphill battle at the Frequency this Sunday that all bands have to someday face: the Sunday night crowd. With the exception of a few loud members, the audience responded initially with awkward enjoyment. They were clearly receptive of the music, but something held them back.
A mere two months after their first appearance in Madison, Family and Friends is returning to town. On tour with The Oh Hellos and Cereus Bright, they will be at the Majestic on Saturday, Oct. 24. Their style is an interesting one to define, a blend of Georgia-style indie rock and percussive folk.
I recently downloaded Apple Music, and let me tell you, I feel like Ryan Seacrest. For nine bucks a month, I can bump Drizzy while I’m runnin’ through the six and croak along to The Weeknd until I can’t feel my face (I’m proud of that joke, let me have it).