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lifebehindbarsthespindleatl.com

CUE LA MUSIQUECONTRIBUTORSLearn about our writers6

DIALOGUESpecial thanks to the project’s supporters and an overview of this publication’s intentions8

EDITOR’S NOTEOur editor in chief highlights the content for this debut issue10

HOW-TOA quick guide to sample songs as you read magazine content11

REVIEWS: NEW ALBUMSFoxygen, Caribou, and more12

DEPARTMENTS NOV/DEC2014

cuelamusique.com (COMING SOON)

SPOTLIGHT: LATASHA LEE & THE BLACK TIESThe talented neo-soul group aims to hypnotize new listeners with her sultry voice and their groovy sound26

SURGING: NORWAY’S AURORA AKSNES + MANY MORE32

DISCOVER: A VARIETY OF MUSIC FINDINGS ACROSS THE INTERNET38

FEATURE: BEING MARK KOZELEKSinger-songwriter takes aim atwhat he dubs as “the whitest band he has ever heard”40

CRITIQUE: FUNFUNFUN FEST’S STELLAR LINEUPWith the ninth edition taking place in November, we look at the festival’s list of attending artists & the actual results44

SINGLES: DB’s TOP TEN SONGS FOR NOVEMBER50

ATL: CAN’T MISS SHOWSEditor’s list of the 30 best live shows for the rest of the year in the Atlanta area52

ADVERTISERS INDEX54

MEDIA CREDITSAcknowledgements55

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CONTRIBUTORS NOV/DEC 2014ISSUE I

DANIEL SNIDEREDITOR-IN-CHIEF GRAPHIC DESIGNERATLANTA AREA

ATL-based graphic designer and music enthusiast has been longing to create an extensive project such as this and excited to distribute this project among friends, colleagues and future readers alike.

Working under the name of Red Flag Promotions, Snider collaborates with a variety of solo artists, bands, venues and businesses outside music on their branding and marketing needs.

He has long-term goals to realize this magazine project into a major success while also introducing opportunities to promote and set up bookings with talented acts in Atlanta and other metro areas.

DANIEL BERGERCONTRIBUTING EDITORDESIGNER / ARCHITECTCINCINNATI AREA

Berger was raised in Lincoln Nebraska, and grew up with an affinity for music while playing a variety of instruments that stretched from classical piano, clarinet, and bass guitar.

Earning architecture degrees at both University of Cincinnati and University of Tennessee, he now lives in Cincinnati working in the field. You can catch him at various music venues throughout the area that generally include MOTR, the Southgate House, and theMadison Theater among many others.

His most recently attended festivals include Shaky Knees, Forecastle, & Cincinnati’s own Midpoint Music Festival.

RICK MENNINGERSTAFF WRITERAUTO BODY TECHN. KENTUCKY AREA

Rick works as an auto body technician while working on higher education as on again/ off-again college student in northern Kentucky. He’s spent basically his entire life in the Bluegrass state and firmly feels that it’s one of the greatest places on earth.

While appreciating all thingsmade for a simple life, he is still an active individual with his coalition of close friends. Menninger spends his free time from work in devotion to listening to records, playing euchre, anything with graphic art, and going to live shows with his pals. His long term life goal is to graduate from college and pursue a career in art education.

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KEVIN CARPENTERSTAFF WRITERENGLISH TEACHER SEOUL S. KOREA AREA

Kevin Carpenter was born inHillsborough, New Jersey andwas raised on the sweet sounds of the East Coast where he attended shows from Brooklynto Philly to the Jersey Shore. His debut festival experience came at Bonnaroo in 2007. He learned to love the intimacy of venues around Cincinnati, Ohio while achieving a degree in Architecture and enjoyed time in New York and London before moving to Seoul.

His successful infiltration into Korean culture now positions him to spread the glory of the American language while remaining active in the foreign and local music scenes. Psy claims to have spotted him on multiple occasions.

AARON SMARTCONTRIBUTING WRITERGROOVESCOOP.COMCOLUMBUS AREA

While spending plenty of time doing AutoCAD work (with his earbuds in) for Abercrombie & Fitch, Smart can be found drinking all sorts of craft beer and watching soccer, supporting his Columbus Crew and the United States Men’s National Team. He is often armed with at least one GoPro camera to document his experiences so watch out!

Smart is currently working on the launch of Groovescoop with collaborator and friend Jon Thomas. They hope to build a well-connected vinyl community as they introduce people to new music and equipment while finding the best ways to get the most out of any listening experience.

NICHOLAS COFFEECONTRIBUTING WRITER DESIGNER / ARCHITECTNEW YORK CITY AREA

Respectfully addressed as Mr. Coffee, the native of Colorado and recent architecture grad now resides in the Big Apple and currently works for BIG, the international design office based out of Copenhagen. Coffee can be found attending design symposiums all over the country, and debating the finer points of typography with new comers to graphic design.

When his work isn’t occupying his time, he moonlights for this publication in between attending shows and wine tasting across the New York City metro area.

DIALOGUE NOV/DEC 2014ISSUE I

It is with great pleasure that we introduce you to Cue La Musique (English/French wordplay for Cue The Music) Magazine.

A majority of the artists and bands featured in each issue are independent with plenty of raw talent. Gifted local performers in Atlanta (the focus market) will have an opportunity to be featured in each issue with the hope that it brings them closer to potential new fans across the country. From album reviews, spotlight articles/interviews, to festival critiques, we hope the information and media provided will be worthy of your time and encourage you to support independent artists everywhere.

This project is a creative production by graphic designer and fledgling artist promoter Daniel Snider of Red Flag Promotions. Supporting this project is a collective of music savvy collaborators and enthusiasts with a shared desire of providing exceptional music choices with our friends, colleagues, and like-minded individuals. Those with different tastes may even find auditory solace with the discoveries that we are glad to disclose.

We come from all walks of life and share a common love for live performances. Some of us have a constant need to satisfy our attention deficit by finding new music or we simply refuse to overplay tracks to the point that we cannot stand it. We believe music is a huge component within the human experience and can serve as a window into understanding different cultures and its people. It’s a constant reminder of how beautiful it is to witness human innovation both through expressed word and through the wonderful tools at a musician’s disposal. Music is about as honest of a medium as there is.

Collectively we have attended over a thousand concerts and dozens of music festivals in multiple countries spanning a variety of genres. The content of this magazine is a reflection of our unique experiences and tastes that will hopefully benefit you in your search for better music. Get ready to retune your senses.

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EDITOR’S NOTE NOV/DEC 2014ISSUE I

So what’s happening in this first issue?

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Thank you to all our readers for subscribing to this magazine.

With our first issue, we have chosen to shine a spotlight on the talented neo-soul outfit, LaTasha Lee & The Black Ties. Their music has the potential to sweep up a ton of new fans in markets where they have yet to perform live. I have been dying to see them here in Atlanta and have found that introducing their music to friends and acquaintances has almost always produced a favorable response. Consider this your introduction if you are new to their music.

Album reviews will cover a variety of genres from psychedelic rock, a jazz inspired experimental record, to possibly the best trance release in a year. There is also a 20th anniversary re-release album review of legendary techno/progressive house group Underworld. Surging artists that are highlighted in this issue include some from across the Atlantic as far away as Norway, while some are close to home in Atlanta or based out of Brooklyn.

With Austin, Texas, hosting the 11th edition of

FunFunFun Fest this month, one of our staff writers critiques their uniquely curated lineup and gives a quick post-event review of his favorite performances. Another staff writer will share his new Top Ten Singles for the issue that will showcase some great music that could potentially find their way into your playlists.

Another fine piece of content is an article on artist feuds. Recently this phenomenon has reared its ugly head through Mark Kozelek (of Sun Kil Moon) in the form of his damning insults and hate song of Album of the Year candidates, The War On Drugs.

Are you looking for suggestions to see great shows in Atlanta? We have 30 awesome show recommendations before the new year comes around that will save you precious time spent on researching your potential options. We list our picks, their dates, and hosting venues. At the top of this list you will have the chance to see acts like Caribou, We Were Promised Jetpacks, Super8 & Tab, FKA Twigs, and The Black Keys. Share this with your friends because they will thank you when they are through it!

...AND STAR POWER

ALBUM REVIEW

FOXYGEN JAGJAGUWAR10.14.2014 RELEASE

TITLE: FOXYGEN - Everyone Needs Love

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soul on their latest effort. This sound is featured prominently on side 1 of the disc on tracks like How Can You Really and Coulda Been My Love.

Although constantly shifting moods and directions, disc 1 is the more cohesive selection of tracks between the two. Cosmic Vibrations is a perfect example of this, as well as a major highlight of the album. France juxtaposes a defeated baritone with his sleepy falsetto over introspective feelings of remorse and loss. Flanked bya haunting organ line, the tempo shifts midway through into a joyous outburst of choral harmonies and the organ shiftsfrom spooky to joyous.

Side 1 comes to a close with the Star Power Suite: an 8 minute bastard child conceived by several decades of rock and roll history. Equal parts Jefferson Airplane, Harry Nilsson, Syd Barrett, and Magical Mystery Tour, it’s a jovial joyride that leaves few stones unturned and is another major album highlight. It also signifies a strong peak before the wheels start to (temporarily) fall off.

double disc concept album is a 24 track nose dive into lo-fi, experimental 70’s power pop. And the result is outstanding.

Expanding from their Rolling Stones / Velvet Underground inspired sound, the California duo of Sam France and Jonathon Rado also borrowed heavily from 70’s Philadelphia

by RICK MENNINGER

Sixties psych-rock revivalists Foxygen returned in October with ‘...And Star Power’: the highly acclaimed follow-up to their critically heralded 2013 release, ‘We are the 21st Century Ambassadors of Peace and Magic’. Clocking in at a hefty 82 minutes, this

right now because it’s totally awesome.

Fans of 21st Century will find solace in Brooklyn Police Station and Freedom II, which both echo White Light/White Heat era Velvet Underground as well as basically any Rolling Stones record. It’s worth noting that these two tracks more than any other feel like the Foxygen we grew to love back in early 2013. Talk is a proto punk banger that serves as the finest example of Foxygen’s new found aggressive side. It also leads into Everyone Needs Love, which is by far and wide the best song on the album and potentially the finest song that Rado and France have ever written.

Beautiful, soulful balladry gives way to a Pink Floyd-esque instrumental section that feels remarkably similar to Any Colour You Like. But in the best way possible. Then we shift back to motown before vaulting into a very progressive instrumental section that isbeautifully crowned with a wailing Zeppelin-esque guitar solo. It’s the ideal summation

Not to say that side 2 isn’t good. But it tends to evoke thoughts that some of the tracks presented here weren’t fully fleshed out. Filler is an operative term if one felt like being dismissive. The one-two punch of Cannibal Holocaust/Hot Summer is quite the gem, however. And it presents us with yet another beautiful high that leads into the crashing low point of the entire album.

Sam France’s trademark manic songwriting style is entirely evident with side 3 opener Cold Winter/Freedom. We are essentially presented witheight minutes of abrasive, avant-garde noise rock that’s interwoven with some bluesy southern guitar with hints of DIY hardcore punk. As I heard this section of the album, all I could picture in my head was Rust and Marty pursuing Errol Childress through the wooded halls of Carcosa, and the gun/hatchet fight that ensued. And if that reference falls on deaf ears, it means you’re a huge tool who hasn’t watched True Detective yet and you should immediately quit reading this and go watch all 8 episodes

“...Foxygen have arranged the album so you never have to wait too long For a liFt out oF the valley or a parachute to leave the peaks”

ALBUM: ...AND STAR POWER

of the album as a whole.

Lyrically this album is also a major departure from past efforts. Whereas France had historically written vague tales that were heavily doused in sarcasm, cynicism, and aloofness, he now seems to genuinely feel more raw and organic things as he sings. The ebb and flow of the album works wonders in showing the listener about the current state of his psyche.

All in all, this really is a fantastic record. But it’s definitely not for everyone. The length alone make it extraordinarily difficult to listen and re-listen from start to finish in a single setting. And at times it tends to drag, but Foxygen have arranged the album so you never have to wait too long for a lift out of the valley or a parachute to leave the peaks. There’s a lot of gold to mine here if you’ve got the patience to dig for it.

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UNRAVELLINGWE WERE PROMISED JETPACKS

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that one could easily argue was absent in their generally dark sound of past releases. They have traditionally built on loose guitar riffs that gradually amplify in advance of vocalist Adam Thompson’s self-purging and impassioned lyrics. This can still be foundacross Unravelling, but it’sdone in a more controlled manner. With the exception of two tracks, McGaghan’s execution on keys encourage further experimentation and balance to the band’s music. Uplifting notes fit intricately between the high intensity material generated by the pounding percussive rhythms and heavy, looping guitar chords.

Paul Savage of Glasgow’s Chem19 Studios steps in as producer for this release. He guides the new quintet to a roomier sound that accommodates all of their extremes. Tempting as it was to make another dense album, a third outing declares theirnew sense of maturity that allows their music to be fully galvanized. While listening to Adam Thompson’s vocals, it

a new fan was recruited for future releases. Today, a richer sound is presented with their third LP release, ‘Unravelling’. This past spring saw the inclusion of Stuart McGaghan, coming in on keys, guitar, and backing vocals. McGaghan’s addition to this stellar live group has helped the band discover a sense of positivity

ALBUM REVIEW

by DANIEL SNIDER

Three years ago at Austin’s South by Southwest Festival I experienced firsthand the technical prowess of Scottish indie outfit We Were Promised Jetpacks. Coming from the same label as The Twilight Sad and Frightened Rabbit, they surpassed my anticipation and

“[paul savage] guides the new quintet to a roomier sound that accommodates all oF their extremes. tempting as it was to make another dense album, a third outing declares their new sense oF maturity that allows their music to be Fully galvanized.”

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KTITLE: FOXYGEN - Peace Sign

But I’m always acutely awareof the danger/ Right onthe cusp and the next step is crucial/ The night gone to hear the sound of youbreathing”. The entire track lumbers through heavy guitar and drums much like one expects from their second album, ‘In The Pit of My Stomach‘.

Both Peace Sign and Bright Minds highlight more issues with every stabbing verse before taking a step back with their grieving choruses and intense outros that lays on the flaring aggression. This formula creates a sense of foreboding, a dynamic thatis a cornerstone to their songwriting formula, as NightTerror and future single MoralCompass keep you focused long enough while awaiting a blistering closure.

Disconnecting sees falsetto vocals and keys used to create the eerie sensation to match the slow burning tempo of the song. A Part of It throws a curveball with a light hearted reimagination of their sound that reminds me of Bloc Party.

was interesting to realize that his dense Scottish accent hides the fact that most of their song themes are quite emo. This is no different with Unravelling. Ifan American vocalist uttered these lyrics it’s easy to imagine not taking him seriously.

The album’s song titles point towards a narrative of struggle to overcome uncertainty and impending disaster. Amid all the tension and doubt, the conflicted protagonist battles on to keep things together. Proceedings start off withSafety In Numbers where McGaghan’s influence is felt immediately through lovelytrance-like keys that magnify into Thompson’s sharp and inviting words. Peaks and Troughs covers the struggle of sobriety and self-restraint where the band utilizes a layering of intensity to hit the crescendo, sounding awfully similar to Interpol. Thompson voices fear of loneliness in their single I Keep It Composed, sharing “Now I have no more fear of darkness/ Until someone’s finger is over the light switch/ I pretend I am slowly easing the pressure/

The grand instrumental Peace of Mind projects hope as crashing cymbals, and jubilant strings match up with buoyant keys to establish gratification. The overwhelming washes ofrhythm communicated in thechorus of LP closer Ricochet exhibit a percussive creativity reminiscent to Local Natives.

I would like to commend thedesigner for capturing the themes of their tracks through the creatively designed album artwork. The use of divergent linework and contrasting colorcreates an illusion effectively forcing one’s eyes to find the imbedded face within. It seems to resemble the horror composed by expressionist Edvard Munch in his series “The Scream” but uses tricks pioneered by optical artist Victor Vasarely. Beyond the questionable order of tracks that does an injustice for first time listeners, there is a lot of great material that will gradually improve with more plays of the record.

we were promised Jetpacks and the twilight sad play on november 16 at terminal west in atlanta.

OUR LOVE

ALBUM REVIEW

CARIBOU MERGE / CITY SLANG10.07.2014 RELEASE

TITLE: CARIBOU - Silver

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Daphni to his typical moniker of Caribou.

Snaith’s evolution began withhis now-altered past eponym, Manitoba, which unfortunately was renamed after a dispute with Richard Manitoba, punk front man of The Dictators, as Snaith referred to the situation being “like The Smiths suing John Smith or something.” Minimalist keyboards and off-kilter drum beats are oftenfound in his first album Stop Breaking My Heart, while his sophomore effort, Up In Flames, dives into a psychedelic trance of jazzy drums and playful synth lines, with a heavier emphasis on merging electronic devices and folk-driven guitar.

The shift to his new moniker, Caribou, appears sensible asit is another reference to hisCanadian origin. He moves through more identity shiftsas an artist in later albums ‘The Milk of Human Kindness’ (2005), ‘Andorra’ (2007), andhis latest release Swim in 2010, which resembles Our Love the most out of all his releases. This album presents

work as Caribou. The collectionof dance tracks embraces the side of him that doubles as a DJ in Britain, and is filled with dark scenes that reference the UK bass aspects of his work.

Jiaolong makes for a stepping-stone to ‘Our Love’, another transition from previous work,which fuses his side project of

by DANIEL BERGER

Dan Snaith’s most recent endeavor after the acclaimed album, ‘Swim’, is a new side project, Daphni, which bi-passes his previous influences and trades them in for a heavy dose of dance music. His 2012release, ‘Jiaolong’, is a far moredigital departure than his past

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“ultimately, the exchange oF upliFting sweeping beats, and deJected lyricism and melody, makes For a engaging conFlict oF moods, yet the union breeds a bitterness and sweetness that works in harmony.”

are built on highs and lows, and that the link between love and loss are quite intimate. His song structures twist amid sadness and longing as well as euphoria and ecstasy.

On the album’s brooding second track, Silver, Snaith reaches out, seemingly forlorn, to a girl he’s lost: “where yougonna go without me tonight, don’t you know what that means to me,” prior to the swirling outro finishing with euphoria. This differing grief and positivity is a fixture in a lot of Snaith’s work. The title track begins with a marching drumbeat and minor-chord synths, with a creeping string arrangement before diving head first into a rave-like dance party. Mars, another gem onthe album, begins with a syncopated beat and flute then chugs along as Snaith adds more and more bass and kicks, building up to another drum-heavy ending.

The anthematic Back Home starts as an ominous loop and Snaith singing sadly, which builds to an emotional peak, as he croons of another love

him at his most comfortable, spanning between ascending, trance-like build ups, along with outros that wind down to an amicable terminus.

Caribou has collaborated with a multitude of other Canadian musicians along the way, and Our Love is full of influences from his musical relationships throughout the years. Owen Pallett, of Final Fantasy fame contributes on both the title track, as well as Silver, who is renowned for his strings in both his solo work as well as soundtracks. Four Tet, anotherlongtime colleague and friend of Snaith’s, was a consistent sounding board for the album, whose electronic work shares many experimental similarities with Caribou.

The outcome of this fusion is a mix between hip-hop, dance, and electronic, and a sense of emotion that toes the line between melancholy and elation. The mix of these two contradictory thoughts is what makes the album such a unique and feeling experience. Snaith tells the listener throughout the album that life and love

story gone awry : “Where did it all go wrong / why is this what we’ve chosen / I can only do so much / to fix all thethings that went unspoken.”

These tracks begin to signify what makes Our Love different from Snaith’s previous efforts. Amongst many of the tracks of this album, he plays with trip hop, drum and bass, trance, and many other different beat-inspired music that he picks and chooses from to create this album. The samples Snaithuses along with his own vocals switch the song structures back and forth between Caribou’s oft-used juxtaposition betweenanalog and digital.

Ultimately, the exchange of uplifting sweeping beats, anddejected lyricism and melody, makes for a engaging conflict of moods, yet the union breeds a bitterness and sweetness that works in harmony.

caribou & special guest Jessy lanza will be performing on november 17 at terminal west in atlanta.

TAIGA

ALBUM REVIEW

ZOLA JESUS

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BMG / MUTE RECORDS 10.07.2014 RELEASE

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work, but she’s undoubtedly put herself further into her work, creating songs with more personality and identity that establish her own voice and emotion as a touchstone throughout the album.

Nika Danilova grew up in the North American Taiga on a hundred acres of forest in Wisconsin. She had little contact with people her own age or those outside her family. “When you live around a lot of people in a city and that synthesized stimulation, you can get lost in that — the hustle and bustle. When you grow up in the country you have nothing to stimulate you but what you seek.” she shared to LA Record.

This, and the bitter cold of the winters, are a constant presence in her music as Danilova is always seeking. Drawing from deep within and pulling out some impressive vocals that put her front and center on this album. With a decade of opera training, this album sees her vocal style shift to something that sounds more like a wintery Rihanna

and seen the massive areacovering the top half of Asia with basically no little dots for towns and wondered, “What the hell goes on out there!?” Zola Jesus, that’s what. This album echoes across ten million square miles of snowy wilderness with wide, airy, ambient production typical of Nika Danilova’s previous

by KEVIN CARPENTER

This is an immense album. Named for the Russian word for forest, ‘Taiga’ - previously the star of a great Werner Herzog documentary - is a vastexpanse across the northern part of the world.

Have you ever looked at a map

TITLE: ZOLA JESUS - Dangerous Days

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“...this latest eFFort From zola Jesus is an intriguing turn in style that has me eager to see what she’s going to come out with next.”

than the gothic wailing of any of her work on the Sacred Bones label (now with Mute).

The hallmark of this album, though, is a turn toward a more pop influenced sound. The production is a lot tighter and she’s got looping rhythms and identifiable hooks. The album’s opening title track commenses with an isolated, echoed voice calling out from a distance, adding some low brass and Danilova’s voice, stronger and more confident than ever, to achieve the familiar gothic opera. Then, to great effect, it drops in a drum and bass line we would have never expected in her earlier work. The result sets the tone for a melange of genres over the rest of the album.

The second track is the big single to come out of this release, Dangerous Days. It has more of a Robyn punch-dance feel to it, with thick chugging rhythms and poppy synth work, and a huge, sing along chorus “It’s a dark dark day/ and it’s dangerous to go/ this is what they say”. Her album commentary discloses

that this track was originally written for her previous release Conatus, however, it required additional development and provided an exciting exercise in merging abstract paranoia with an upbeat dance pop song. She claims it helped her realize the skills required to craft a track for pop music.

Following that, we see heavy R&B sounds on Dust. Looking toward the extremely minimal arrangement of Sam Cooke’s ‘Lost and Lookin’ and Diplo’s production for Usher’s song ‘Climax’, she was able to reinvent what was originally an acapella track and develop a sound that she never envisioned could be within her. From there the album gradually loses a little bit of its direction in a series of loud orchestral anthems.

A few high points can be found with the tracks Hunger and Hollow, but many of the remainging songs sound like the filler in between what I imagine should be a bigger pop album. She maintains the ambient power but doesn’t quite create those refined and

memorable pop songs thatshe seems to be groping for. If nothing else, though, this latest effort from Zola Jesus is an intriguing turn in style that has me eager to see what she’s going to come out with next.

For fans of remixed tracks, I would highly recommend that you check out Diplo’s remix of Go (Blank Sea), which definitely adds a much needed dimension to a track that had the potential for more. Even though this remix doesn’t follow the deliberate operatic expanse established by Danilova in her music, its definitely worth a listen.

Those new to Zola Jesus with a newfound love for her vocals may also enjoy seeing her 2012 performance on Youtube of the Conatus single, ‘Vessel’, in the Guggenheim. Despite there being concerns about the acoustics in such a building, the setting and performance stood as an appropriate stage for her cosmic vocal prowess.

YOU’RE DEAD!FLYING LOTUS WARP RECORDS

10.06.2014 RELEASE

ALBUM REVIEW

TITLE: FLYING LOTUS - Never Catch Me ft. Kendrick Lamar

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FlyLo’s head. His experiential sounds will transport you.

Guest spots include Herbie Hancock, Kendrick Lamar, Captain Murphy (Ellison’s own rap villain alter-ego), Snoop Dogg, Angel Deradoorian, Thundercat, and Niki Randa. I didn’t think I would see Herbie and Snoop together so soon after the D-O-G-G paid tribute at the Kennedy Center Honors last year.

Another interesting occurence was the collaboration with Japanese manga artist guro Shintaro Kago. Working in the drawn world is nothing new for Flying Lotus, as we can all easily recognize his bumper music for Adult Swim. Teaming with Kago made me even more aware of the great care Ellison puts into the presentation of his work. Check out the video of original Shintaro Kago artwork animated by Strangeloop to the sounds of the album and see if it doesn’t put you in a trance. Ellison found a perfect match to help present his ideas visually and create more layers for us to enjoy. FlyLo is finding ways to say more than ever.

they see that the total runtime is thirty-eight minutes, but believe me, this is no mix tape. This concept album’s genre-bridging soundscapes and carefully crafted verses freely explore the inevitability of death and the possibility of life after. Put on your best set of cans or switch on your best speakers and lose yourself in

by AARON SMART

Seemingly on schedule, twoyears after ‘Until the Quiet Comes’, Steven “FlyLo” Ellison released his fifth studio album as Flying Lotus; ‘You’re Dead!’

At first glance, the nineteen song track list may overwhelm new listeners. This is only until

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Getting back into the music we find that the first four instrumental tracks exist as a sort of abrasive modern jazz fusion driving the chaos and preparing your headspace for the contemplative verses of Kendrick Lamar. On ,Never Catch Me, Kendrick articulates the inescapable thoughts of a wandering mind contemplating what death is. I felt like I was being pulled apart as the steady keyboard notes play under Kendrick’s percussion matching vocals accelerate faster and faster.

The next track, Dead Man’s Tetris, features Snoop Dogg and Captain Murphy and gets super woozy. I keep playing this track over and over. It samples the Tetris theme and even references burnin’ one down with J Dilla and others that have gone before.

At this point in the record it feels like the process of leaving your body is complete. A natural progression builds and flows throughout the rest of the record, but for me I like to think of it as a “choose your own adventure” story, because

I can get lost in each of the remaining unique tracks and imagine a world for each. Maybe it is supposed to be like this because no one can really know what life after death is, if it even continues.Ready err Not is another one of my favorites. It sounds otherworldly and leads one’s imagination to visualize slow bouncing bubbles. Moment of Hesitation is the most straightforward jazz track. It features Herbie Hancock and recurring collaborator Thundercat. As we come to expect there is some pretty tight drum work and plenty of horns to go around.

‘You’re Dead!’ is definitely wortha listen, even if you only wantto experience the journey it takes you on a single time. Aside from some of the collaboration tracks, few songswill get radio play or stand out for somebody who likes to purchase singles, but if youlike the sounds and can spare forty minutes for a completely unique out-of-body experience, it is really worth it! I was most impressed that the album could follow

a theme so well using such minimal vocals and that it could go to so many different places but still flow smoothly with so many short tracks. For me it has been a personal record that I have only listened to by myself. With each listen I have been discovering more things to love about it, and I think I have only scratched the surface. I can’t wait to see how this record is received when I play it for friends in different settings and the various audio platforms offered by Ellison.

With that in mind, here is more proof that Flying Lotus really cares about the quality of your experience in all the available formats…

• Vinyl 2xLP + MP3 • CD + MP3 • Box Set + MP3 - 2 x 180g LP pressing of the album - 2 x 180g LP ‘You’re Dead! Instrumentals’ - Printed inner sleeves and outer sleeves - Rigid box and lid - MP3s of all four discs • 24-bit WAV 24-bit Lossless • WAV / FLAC 16-bit Lossless • MP3 320kbps – LAME Encoded

“this concept album’s genre-bridging soundscapes and careFully craFted verses Freely explore the inevitability oF death and the possibility oF liFe aFter. put on your best set oF cans or switch on your best speakers and lose yourselF in Flylo’s head.”

UNIFIEDSUPER8 & TAB ANJUNABEATS

10.27.2014 RELEASE

TITLE: SUPER8 & TAB - Code Red

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90s (and arguably its roots date back to the late 70s via Jean Michel Jarre’s works), it has always existed as a niche style of electronic music. Artists like Paul Oakenfold, Armin van Buuren, and Tiesto have all given a helping handin progressing trance during the 1990s and early 2000s before a demand for their talents emerged to please mainstream audiences. It has been a while since I’ve felt excitement for a new trance artist album but that day has come with this latest release.

As a part of highly respected Anjunabeats, the Finnish pair have made a commitment to producing trance music and taking it into newer directions much like their stable mates at the label. With Unified, a truly outstanding album has been delivered that has plenty of innovation and uplifting vocal support to carry these tracks into dance clubs everywhere. It’s full of iconic collaborations from Jaytech, 7 Skies, SunnyLax, and BT, while featuring guest vocalists Jan Burton, Julie Thompson, and Alyna,each with credits on past

Beyond. It’s been over four years since their debut release, ‘Empire’, and since then they have evolved in the genre as former trance luminaries have abandoned it and aiming for popular acclaim in house and dubstep music.

Despite trance existing as a named genre since the early

by DANIEL SNIDER

Miika Eloranta and Janne Mansnerus, the trance duohailing out of Finland, are amulti-talented pair. They form Super8 & Tab and on October 27 they released their second artist album, ‘Unified’, under label Anjunabeats founded by trance masters Above &

ALBUM REVIEW

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singles. The first number to come out before the album’srelease was summer hit Let Go with singer Julie Thompson. The stimulating vocals of the track are effectively captured with a bright chord progression that builds up with effervescent zeal. Vintage emotive hooks seamlessly interlace the lush soundscape during lulls prior to being recycled for the punchiest parts of this dance anthem. It’s the type of track that can’t fail at lifting spirits and would easily slot into the apex of a great trance set on route to hitting that euphoric state of total immersion.

Anjunabeats has a history of forming classic collaborations among their A-list artists that have included the likes of Above & Beyond vs Andy Moor’s Air For Life, and a myriad of Mat Zo & Arty crossovers. Code Red is the newest demonstration of this trend that inserts Jaytech’s intricate dance floor melodies along with the Finnish duo’s craft of prime time harmony progression. An intense pace and crowd pleasing drop (notthe type of drop one is usually

hears in the big room house or dubstep scenes) provide thefooting to elevate the track’s infectious hook.

No Frontiers sees Thompson’s chants reverberate into the twilight of the main riff, backed by a smooth application of modern big room elements and electric vibes. A volatile back and forth struggle occurs between hard industrial beats and the finite calm that arrives during the song’s build up. The lyrics confess a collapsing love affair that ends in sorrow before a moving piano lead eases into the climax of beating harmonies and fading vocals. Later track, Patience, also uses a similar song structure initially set up by No Frontiers. Eerie hooks within Who Needs Pain advance into an aggressive bass line that features Jan Burton’s melancholic refrain in search for answers to explain misfortunes. Their signature harmony amplification sets upBurton’s bewildering calls in the chorus.

This album has a number of instrumentals that offer each collaborator an opportunity to

stamp their style, such as BT’s proportioned finesse of song structure in Aika, Sunny Lax’s pulsing keys in the chorus of Sonata, to 7 Skies’s delicate melodies in the build up to his intricate chorus bass lines in Antipodes and Rubicon. The final vocal track of the album, Souls of Lovers, stands as my favorite on this release due to its heavy employment of rousing piano keys to contrast Burton’s quivering vocals spanning thebreakdown and outro sections. The release allows the duo to do what comes naturally to them by unmasking the accumulating tension with a lot of drive and the broadcasting of the song’s emotional lyrics. The right components for anepic set exist while every styleof trance, is touched upon inan evenly dispersed manner. Trance may not be for all but if any recent album can vanquish one’s doubts, Unified would bethe one.

super8 & tab will be dropping by atlanta during their world tour on november 21 at opera nightclub.

“the right components For an epic set exist while every style oF trance is touched upon in an evenly dispersed manner. trance may not be For all but iF any recent album can vanquish one’s doubts, uniFied would be the one.”

DUBNOBASSWITHMYHEADMANUNDERWORLD JUNIOR BOY’S OWN

10.08.2014 RELEASE

TITLE: UNDERWORLD - Cowgirl

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‘Dubnobasswithmyheadman’. Now newly remastered for its 20th anniversary, the re-release showcases the process that went into revolutionizing electronic music with the added benefit of fresh newtextures via newly applied contemporary production.

Karl Hyde and Rick Smith formed the band in 1980 after previously working in the synth-influenced new waveband Freur. Following theproject’s end and a hiatus as Underworld in 1989, the duo reappeared with the addition of Darren Emerson and a new direction for its music. Their roots were firmly entrenched in rock, which gave them an awareness that looked past dance music’s limited culture and focused on developing rich content across an entire album that sharply contrasted dance acts of the era. Their ambition was immense andfortunately timed with rising popularity of underground genres such as trip-hop and drum’n’bass. The Orb, Fatboy Slim, and The Prodigy wouldalso rise during this timely moment in electronic music.

into an underground sensation before peaking at number twoon the UK Singles Chart in July 1996. Mixmag readers wouldlater vote it as the 4th best dance track of all time due to its vast popularity. Two years prior to its critical reception, the techno and progressive house group issued arguably their most influential release,

by DANIEL SNIDER

For those of us that have seen Trainspotting with EwanMcGregor, general familiarity with Underworld ends at thefinal scene with a remarkable song thats sums up the lead role’s escape from a crime and drug fueled existence. It elevated “Born Slippy NUXX”

REISSUE

20th anniversary

ALBUM REVIEW

So why was this album so important? The five-disc re-release unveils a treasure trove full of experimentation through unreleased material accompanying the original work that drove Underworld to fully stimulate their own potential. It also presents a fuller picture of where the band stood just prior to this release. The first disc has vitalpre-album tracks such as theversion of Dirty that was doneunder the pseudonym LemonInterrupt, while panoptic hit Rez is accompanied by its liveversion rewrapped as Cowgirl.Both tracks reveal the depthof material that either made the cut or was sacrificed for the final version. The remaining deluxe discs are individually devoted to a particular groupof recordings with one disccovering remixes, one for unreleased renditions, & oneintriguingly for live rehearsalsthat would finally becomeDubnobasswithmyheadman’sofficial tracks.

All this content undeniably allows listeners to visualizehow proficient the band was at moving the final product into

ALBUM: DUBNOBASSWITHMYHEADMAN

a live setting. Smith took the original pressing to Abbey Road and delicately extracted muted layers so they could be perceived in its remastered form. Hyde’s arduous lyrics were also given attention with techniques used to subdue any patchiness heard through his cut-up delivery style that weren’t managed in other Underworld releases. Hyde isat his best during moments where his distracted, short chants were tweaked to seem almost robotic to match the music’s trance-like groove. The project is infused with a new grain that creates a deeper and perceivable feeling of destitution beyond the club serving purpose of the original edition. As prominently heard in club chillout rooms of the era, Tongue focused on thespectacle felt within ambient drifts as Hyde’s multi-tiered vocals parallel similar effects used by future collaborator Brian Eno. The accurate bursts of electric guitar on top of an easily discernable piano melody in the song Dirty Epic gives way to subtle builds andpeculiar instrumental fusions.Cowgirl undoubtly is their

club masterstroke due to its teeming drum arrangements that reminiscence the building percussive patterns of James Murphy & LCD Soundsystem.

Highlights on the additional discs include the Dark & Long Dark Train remix) (used in Trainspotting during the lead character’s involuntary substance rehabilitation), theMmm…Skyscraper I Love You,(telegraph 16.11.92 remix), the Cowgirl (Irish Pub in Kyoto mix), and a curious addition of lite-pop/reggae influenced Can You Feel Me? that harkens back to the Freur period. The set displays an organizing logic for each disc, sharing insights within their process of assembling the original offering. It’s amazing that the shared experiences and years of production work of each band member prior to reappearing as Underworld would begin with such an inspiring album. Immersing yourself within it is to your benefit as this moment aided electronic music’s release from the club to wider acceptance while never abandoning its inherent vivacity.

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“so why was this album so important? the Five-disc re-release unveils a treasure trove Full oF experimentation through unreleased material accompanying the original work that drove underworld to Fully stimulate their own potential. ”

SPOTLIGHT

LATASHA LEE & THE BLACK TIES

Written byDANIEL SNIDER

Throughout the 50s and 60s and even creeping into the early 70s, soul music was one of the most popular genres of music for dancing and radio play. It combined elements of African-American gospel music, rhythm and blues, and elements of jazz. Labels such as Motown, Atlantic, and Stax led the charge of releasing talented groups of musicians from usually humble backgrounds and polishing their sound and image for mainstream audiences. In the wake of this creativity the world was given Sam Cooke, Etta James, Aretha Franklin, Otis Redding, groups such as The Supremes and The Temptations, and countless others.

It was a great time in music that also helped to foster social change regarding America’s multi-ethnic and racial diversity. As the 70s arrived, a distillation of soul music created new genres such as funk and newer incarnations of pop. It

has been argued by many that the final bursts of creativity in the genre happened at this time, however, a newer generation of indie artists have been able to revive that sound and re-popularize a genre that never should have faded.

Latasha Lee and the Black Ties are a prime example of this revival. The Austin based band that was founded in 2012 and began their tour de force in last year’s Austin City Limits Music Festival. Since that performance they have booked live events with iHeartRadio, Red Bull Sound Select in cities across Texas and in New York City, and have had the chance to perform in places as far away as Honolulu.

Latasha herself has gone through a renaissance from the hip hop singer in her debut solo album to a reincarnation of the leading black

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SPOTLIGHT

TITLE: Star of the Show

ALBUM: Single

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TITLE: Left Hand Side

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TITLE: Stuck In My Mind

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YEAR: 2014

TITLE: Watch Me Now

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S P O T L I G H TEXPRESS MEDIA

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performers of yesteryear. With her vocal prowess, stage presence, the support of platinum producer Salih Williams (2005’s “Still Tippin”, “Back Then” by Mike Jones, “Sittin Sideways” by Paul Wall, & “Drapped Up” by Bun B), and her talented backing cast, The Black Ties, she is packing venues and getting new fans out of their proverbial seats.

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LaTasha Lee was born in Corpus Christi, Texas, and from an early age her mother, Michelle Crayton, recognized that shewould have future as a performer. In her youth, she and her sister would perform Supremes songs like ‘Stop In The Name of Love’ for her family. “I was blessed to have awesome people around me who pretty much believed in what I did,” she shared with Red Bull Sound Select. “They would introduce me to different shows and different events to get my feet wet.”

At age twelve, her family relocated to Austin where she has resided ever since. Eight years later, her talents caught the attention of Salih (at the time working for Universal) where she eventually signed to work with his production company. They immediately started songwriting to refine her sound and harness the essence of her favorite artists like Aretha Franklin, Whitney Houston, Sam Cooke, Gladys Knight, Etta James, and Otis Redding.

Skee Taste became LaTasha’s first album release in 2009 that initially presented her as an R&B artist, however, they recognized that the genre did not truly fit her style while also acknowledging that R&B was currently oversaturated with new artists trying to make a breakthrough. Three years later after further refinement, she

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successfully advanced to a top 50 spot on the television show X-Factor, but nerves in front of a national audience led to a deflated performance that didn’t meet her own high expectations.

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It didn’t take long for things to turn around again as LaTasha, along with producer Salih, released her self-titled album in 2013. After many years of fine-tuning her sound, this latest release ushered plenty of future success. Carnival Beats did extensive marketing on her behalf via 17 compelling music videos distributed through YouTube. This rapidly grew her fanbase and demand for live shows soon arrived. Her nine-piece band, The Black Ties, was quickly assembled to meet these requests and their joint achievements led to a live set at Austin City Limits Music Festival on October 4th, 2013.

During an introduction to her interview with redbullsoundselect.com, they describe her music as “pure modern soul inspired by ‘90sR&B and Amy Winehouse, along with the classic

soul singers, which she was turned onto early on from home cookouts and parties.” Today she continues to tour with her band and aims to achieve new milestones.

If you are looking for an artist and style of music that grooves directly into the heart and soul of listeners through a sultry voice delivered with honest power, LaTasha Lee & The Black Ties can fill that void.

To follow her on facebook and/or see where she is performing next, scan/click the following qr code for a direct link:

SCAN OR CLICK TO VISIT LATASHA’S

FACEBOOK PAGE

SPOTLIGHT

SURGING

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Armed with a dazzling voice and natural ability of creating catchy medolies, the 18 year old Norwegian singer/songwriter just completed her first live performance in the United States at the CMJ Music Showcase in New York City.

The native of Bergen only began performing live less than a year ago. It only took a few performances before her delicate electro pop sound found its way across her native country and throughout Europe. She was even invited to do a nationally televised performance with the queen of Norway in attendance. After signing with Petroleum Records, she is now being marketed as Aurora. Expectations are high for her to showcase her inate abilities on the global stage. It only took one single, Awakening, for her music to be syndicated all over the internet.

She began playing piano at six years old and is completely self taught. Taking inspiration from her heroes, Bob Dylan and Leonard Cohen, her music also channels elements of Norwegian star Susanne Sundfør. Aurora has an innocence to her act and awkward, yet natural body language on stage that shows how grateful she is for every opportunity to share her craft with an audience.

I was extremely fortunate to stumble on her live performance at the open air Festspillene i Bergen event back in May of this year. She was easily the best of the night that included headliner Sondre Lerche. She is the next big thing in pop music so expect her to land in a lot of playlists for the foreseeable future. Sample her single Awakening below.

AURORA AKSNES Written byNICK COFFEE

TITLE: AURORA AKSNES - Awakening (Single)

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OBJEKTSURGING

Techno is one of those genres that seems so polarizing. Either you love it or can’t stand it. The industrial sounds generated by this genre have been around for a while and has seen elder statesmen such as Brian Eno and Aphex Twin buck trends that they started to find a new lease in life as artists.

Electronic genres have evolved from having a niche following to advancing into the forefront of mainstream music. In the wake of all these great possibilities comes a new torchbearer of techno; TJ Hertz as OBJEKT.

His newly released debut LP, Flatland, is an experimental marvel that sees him toying with his hardware to produce album worthy tracks that must have been a fun change to the long mixtapes that he began debuting back in 2011.He was originally influenced by British dubstep and the droning, looped techno popularized in the Berlin club scene but soon found that his efforts to replicate these sounds paled in comparison to the new material that he wanted to produce. Hertz’s decision to stay focused on subverting the methods of techno contemporaries demonstrates why his music is admired by many.

Notable reviewers have hailed Hertz for his cutting edge take on techno. His glitchy, fragmenting sound siphons the best of Aphex Twin and Autechre in an album that is surely going to convince sceptics of the genre to take a second look.

Check out his single, Ratchet, to finally grasp what you have been missing all along.

Written byDANIEL SNIDER

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VIETCONG

SINGLE MOTHERS

SURGING

Despite layers of electronics amid their soundscapes, Viet Cong produce an intimate brand of garage art pop. They embody an eclectic, worldly sound akin to the Talking Heads, however Viet Cong is distinct product of the grunge generation.

Born out of the ashes of the celebrated Calgary band Women,Viet Cong retains three of the four original members and introduces Danny Christiansen as the lead guitarist. Their self-titled debut album will out early next year but in the meantime check out their EP, ‘Cassette’, and featured track Unconscious Melody to get a sense of all facets of their musical style.

Riding the wave of punk resurgence like a screaming fireball; Single Mothers come out of Ontario with a smartly fierce sound. The raw energy within frontman Drew Thompson’s lyrics, matched by the distorted instrumentation creates a brilliant cacophony that’s too loud in all the right ways.

After a few musical setbacks, including Thompson’s own escapade into gold prospecting, Single Mothers have finally been able to share their freshman album, ‘Negative Qualities’, matched with a North American tour in support of the release. The track Half-Lit is a perfect way to get started wtih them.

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Written byALEX ALY

Written byALEX ALY

SURGING

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ARUM RAE

TWIN PEAKS

Written byDANIEL SNIDER

Written byDANIEL SNIDER

Following her performance at Austin City Limits Music Festival, the Brooklyn-based singer/songwriter by way of Austin stopped by Atlanta last month for a performance at The Drunken Unicorn with headliner Generationals. It was an exceptional performance that was arguably the best of the night. With a driving rhythm generally serving as a background to her captivating vocal range and crafty songwriting, expect musical fireworks with each track.

Rae’s new EP, ‘Waving Wild’, was released November 4th via Soundcloud. The single, Warranted Queen, from her March released self-titled EP can be sampled below.

Don’t expect them to rationalize why they think their name sounds cool because they’re simply here to make great music. The youthful Chicago garage band recently finished a series of shows in New York City and have been on a tear since their appearance at Pitchfork Music Festival over the summer. They offers everything from party rock jams, psychedelic pop tinged hits to mid tempo tracks that recall Tom Petty and elements of The Kinks. These kids are brimming with talent and ageless maturity where the only fathomable direction for them is up.

Check out their August released second album, ‘Wild Onion’.

ALBUM: WILD ONION

ALBUM: ARUM RAE

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SURGING

MOOD RINGS

LITTLE TYBEEThe Atlanta-based group blends together a smooth, ethereal folk quaintness with subtle jazz and blues rock influences to create a sound that is warm and inviting. Lead singer Brock Scott’s pristine voice sits like a fine cream on top of a smoky soundscape of deep acoustic guitars, glittering piano, violin, vocal harmonies and, most notably, the innovative eight-string lead guitar played by Josh Martin. Their music sends the mind at times to a cabin in the woods or a dimly lit jazz lounge as they transition seamlessly between a variety of styles.

Their newest release is their third LP, ‘For Distant Viewing’.

The dream-pop music of Atlanta’s Mood Rings feels like floating slowly through downtown, hanging out of a moonroof in the cool night air. The band slaps heavy reverb on its idyllic guitar lines, ghostly synth pads, 80’s-esque drums, and delicate vocals to flesh out an otherwise minimalistic sound. Their low-key energy fades in and out of each track like a lingering phantom, leaving their listeners to cling to the echoes.

Mood Rings teamed up with the label Mexican Summer in 2012, and released their LP ‘VPI Harmony’ last year. Check out their single The Line to be swept up on a scenic journey.

Written byBRENAN WAYLAND

Written byBRENAN WAYLAND

ALBUM: FOR DISTANT VIEWING

ALBUM: VPI HARMONY

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DISCOVER

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A look at Cue La Musique’s recent music searches and findings throughout the web that may peak your interest

The San Francisco-based French DJwas discovered on soundcloud afteruploading a sublime trance mix thatfeatures an intro sound bit from the recently released sci-fi, Interstellar.

If Until the Ribbon Breaks doesn’t end up a huge success, it is everyone else’s fault. They are about to release an album in January. One of their songs was also recently featured in the CBS hit drama Stalker on 10/29.

A really good source for great music. The Youtube channel hasplenty of original &remixed songs that are frequently added for your pleasure.

Twenty years after debuting this track and a year since their performance at the Coachella Music & Arts Festival, the Mexican group have remastered it for the Book of Life movie soundtrack.

Will & Jada Pinkett Smith’s little ones demonstrate their musical dexterity with this soundcloud upload. It goes between a lot of genres that shows their interests and potential range.

Rob Swire and Gareth McGrillen of Knife Party continue to experiment awafrom their drum’n’bass roots with this trap inspired single. This genre may not be for all but it’s worth a look.

FANTOMBASS -

UNTIL THE RIBBON BREAKS

THE SOUND YOU NEED

CAFE TACVBA -

JADEN & WILLOW -

KNIFE PARTY - BOSS MODE

BLISS FROMTHE PLAYA

REVOLUTION INDIFFERENCE (FEAT. RUN THE

JEWELS)

EL APARATO

BLUE OCEANV19

FEATURE

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BEING MARKKOZELEK

Written byDANIEL SNIDER

There is a phenomenon in the music industry that leads some of the brightest, most talented, or simply the most popular artists and bands to find a need to generate headlines through childish feuds. Music isn’t the only place to witness this as sports, the arts, and many other domains see competitors attempt to best one another. Some of the best examples include The Beatles in feuds with their contemporaries such as the Rolling Stones, Oasis competing with Blur as the dominating force in 90s Brit Pop, Tupac and his long standing West Coast / East Coast beef with Notorious B.I.G., to more recent rivalries between Taylor Swift and “her long list of ex-lovers.”

It’s human nature for such rivalries to fester when competing personalities come in contact, however, behind some of these feuds comes the intention to actually generate revenue from their notorious headlines. During Sun Kil Moon’s recent set at the Ottawa Folk Festival, their music was reportedly drowned out from a nearby stage in the same infamous building known for audio bleed. While not particularly familiar with the band on the nearby stage and surely realizing that this wasn’t their fault, the infraction on their performance was all that was needed to notice an opportunity.

This led to an incensed singer/songwriter Mark Kozelek to name Sun Kil Moon’s next song “The War On Drugs can suck my fucking dick”. This is not his first rodeo. He has a history of creating negative press through his comments and naturally expressive songwriting. His fans are acutely aware that he could volley insults to anyone at any time, which he claims to be stage banter. The mild mannered leader of The War On Drugs, Adam Granduciel, surely had to be

caught off guard and disappointed with the diss that was publicized on a number of reputable music websites.

It is worth noting that both Sun Kil Moon and The War On Drugs released album of the year candidates at the beginning of 2014. Sun Kil Moon’s Benji has received rave reviews from Rolling Stone, Pitchfork Media, Consequence of Sound, and some even place it as one of the most important albums of this decade. Lost In A Dream by the The War On Drugs interestingly has received virtually the same acclaim but has garnered more mainstream attention that isn’t surprising when you acknowledge that Sun Kil Moon’s indie folk sound generally doesn’t get a whiff of the limelight. Both albums are arguably each band’s best work to date.

Kozelek is a prideful man and must have known that much about The War On Drugs before launching his jabs. There is some jealousy here that isn’t too shocking when you consider that the last track of Benji, Ben’s My Friend, deals with his friendship with Benjamin Gibbard of Death Cab for Cutie and Postal Service and the complications of male friendships when one is more successful than the other. He’s been in the industry for over twenty years (starting with the Red House Painters) and now he has to hear about his work being mentioned in conversations that constantly divert attention towards The War On Drugs and the amazing year they have had.

In response, Kozelek successfully spotlights attention towards himself and Sun Kil Moon by saying that The War On Drugs are the “whitest band he has ever heard” with their repetitive “beer commercial lead-guitar shit”. He directly

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challenged them to perform on stage with him via email sent through a mutual friend and then made an announcement to media outlets days later that he was in the process of writing and producing a new song called “The War On Drugs, Suck My Cock”. Two weeks passed before he delivered it through Pitchfork Media further prolonging the music world’s gaze on his polarizing ego.

Initially The War On Drugs refused to comment on it but eventually Adam Granduciel gave his thoughts on the curious venom aimed in their direction. Through an interview conducted with Songs for Whoever, Granduciel initially claims to have never heard of Kozelek before saying:

I mean, to be fair to that idiot, what he said in that song… I didn’t really have a problem with any of it until I heard the song. First of all, he

never met us, and yet said all these things. He’s such a douche. I asked somebody if I could get his e-mail, because I wasn’t trying to start this stupid Twitter thing, I was just bummed. I went to a mutual friend who explained that he wouldn’t give out his e-mail address. So I just got an e-mail through this friend that said “Mark wants to come to the Fillmore, he will write a song called ‘War On Drugs Suck My Cock’, you back him up on it and he gets to play ‘Beer Commercial Guitar’, then you back him up on one of his songs, ‘Dogs’, from his new album. And then he plays ‘Beer Commercial Guitar’ on one of your songs.

We were on tour and I thought “this is actually a pretty cool idea, I don’t have anything against this guy, this is cool.” So I was really excited and was gonna write him back in a couple of days, ‘cause I was busy at the time. Then two days

at Hopscotch Festival with “All you fucking hillbillies, shut the fuck up!” later took his infamous rant and monetized it through emblaoned t-shirts that he sold on his personal website. Expect Kozelek to exploit his time in the public eye through similar chess moves as this one sided feud continues to unfold.

This still doesn’t change how great he is as a songwriter. He might even be one of my favorites, however, it goes to show that with certain greatness also comes moments of madness. Some artists use their business and creative acumen like this to keep themselves relevant in the eyes of the media while others simply feel to focus on what they do best and that is to create captivating songs. Expect Sun Kil Moon’s leader to keep being Mark Kozelek while the The War on Drugs look forward to making even more enthralling musical work.

I get an e-mail back from him, saying “the offer has expired, maybe when I get home from tour I’ll go to Starbucks and buy your record.” I was like “you’re such a fucking prick, dude.” He was such an asshole, I didn’t even say anything. Then he goes to the internet and he “challenges” us to this thing, but I was like “you fucking prick, you already said ‘No’!” He’s such a fucking child. And then the song is just idiotic, he’s just a fucking idiot. I don’t have time for idiots. I’m just pissed that he tried to make it come out like he was challenging us. I had already essentially agreed to it, and then the Starbucks comment…what the fuck, dude. Get over your fucking self.

Soon after this interview, Kozelek released another track called “Adam Granofsky Blues”, ignoring Granduciel’s stage name for his legal one. The man known for berating a loud crowd

Lineup & event critique

by Rick Menninger

CRITIQUE

The Lineup AnALysis

Known as one of the most dynamic music festivals in the country, Fun Fun Fun Fest begins its 9th annual installment this November. The three day event will once again take place at Auditorium Shores in Austin, Texas; a city that has rightfully been crowned the “Live Music Capital of the World.”

Aside from a dedication to showcasing emerging talent, FFF organizers are also steadfast in their pursuit of unique headliners that haven’t graced the main stage of the numerous other major US festivals. Another cool aspect of this festival is its genre based stage set-up- 3 separate color-coded stages for hip-hop & electronica, punk & metal, and general rock & roll (plus a 4th stage for comedy acts and various other performances). These factors all unite under the big and bright stars of Texas for an absolute doozy of a festival.

Friday’s opening proceedingsease into the festivities withsome noteworthy sets bySOHN and SZA. Later in the afternoon, the festival kicks into high gear and there’s no looking back. Run The Jewels, who just dropped arguably the best hip-hop album of 2014, are certainly the

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“can’t miss” show of the Blue Stage for the night. El-P and Killer Mike are known to deliver furious rhymes over El-P’s hard-hitting, dystopian beats for a set that’s sure to enthrall.

Over on the Black Stage, the one-two punch of The Blood Brothers and Death from Above 1979 should absolutely bring the house down. Both groups share a lo-fi sound influenced by hardcore punk that should really get the crowd going. Or if you’re looking for a more soothing set, be sure to check out City and Colour and Buzz Kill Moon at the Orange stage. Just try not to get too wild over there because you won’t want to miss Dinosaur Jr. and Alt-J closing out the night. The Black Stage comes out swinging full force on Saturday with a phenomenal lineup all day. Twin Peaks, Fat White Family, METZ, Black Lips, and Iceage will surely keep hordes of fans

looking for good hard rock there throughout the entire day. Legendary emcee Nas takes the Blue Stage at night, proving that FFF’s hip-hop lineup this year is top-notch. It’s peculiar that he lost the headlining spot to Girl-Talk though; seeing as how he’s one of the greatest rappers of all time, and Girl-Talk is more of a “house party in 2007” kind of artist in my book. But I digress. Meanwhile, over on the Orange Stage, San Fermin and King Tuff should joyously guide you through your afternoon as you anxiously await Modest Mouse’s headlining set that night. Another fantastic day of live music.

In my experience, it always seems like the final day of a music festival is always slightly more subdued than the days that precede it. It’s a dynamite strategy- not everyone has the stamina to go balls to the wall for three consecutive days

FFF Fest crowd surfer getting tossed around on Day 1

The posT evenT Review

Things didn’t begin smoothly for the highly anticipated festival, with cancelations coming in from Death Grips (duo’s breakup), Death Cab for Cutie, and Guided By Voices. Festival organizers scrambled and were able to secure Modest Mouse to replace Death Cab for Cutie, however further logistical problems appeared as construction forced this year’s edition to operate in a severely condensed area of Auditorium Shores. For a festival that is growing rapidly each successive year, this would cause some problems with audio bleed between stages due to their close proximity. The last major problem came in the form of computer glitches that delayed wristband check-ins that created up to a 3 hour line to enter the festival grounds. Despite these initial setbacks, once

of live music. But Fun Fun Fun Fest has kicked that notion in the teeth with a Sunday lineup that is unrelenting in its sheer awesomeness. It’s the one day of this festival that defies the genre stage setup by completely loading itself full of schedule conflicts.

An interesting medley of acts fill the Blue Stage schedule, with sets by bass virtuoso Thundercat, Veteran gangsta rapper Freddie Gibbs, spacey rapper/producer Flying Lotus, and the always lovely Sky Ferreira. Deafheaven’s savagely aggressive black metal stylings are a must see on the Black Stage. As for the Orange Stage, Foxygen’s mid afternoon set will surely set the tone for indie gods Yo La Tengo and Neutral Milk Hotel. It’s a very fitting ending for what will certainly be an extremely bizarre and decadent weekend of music.

Run the Jewels and their massive mid afternoon crowd

the music kicked into high gear, there really was no looking back.

Jello Biafra (formerly of the Dead Kennedy’s) and the Guantanamo School of Medicine made arguably the most direct political statement of the festival through Biafra’s “F*ck the Tea Party” emblazened t-shirt and his left-wing rants. The crowd reaction was limited but that eventually changed with some rousing DK covers. Run The Jewels were one of the top sets of the day as El-P and Killer Mike effortlessly ricochet back and forth between their contrasting delivery styles. Their fans were completely fixated on the performance while following each hand waving command given by the veteran MCs. They surely affirmed that they are the hottest hip-hop act today. Death From Above 1979 showcased an aggressive performance to signal they haven’t lost any inner fire or chemistry as a pair. Another major Friday highlight came via Magikal Cloudz’ leap into the crowd three songs into their set then performing the remaining tracks among their zealous fans off stage.

Saturday’s best performances include Metz and their unrelenting mosh pit provoking drum assaults, rapper Nas celebrating his 20th anniversary as an artist by expertly working the crowd without any additional stage pizazz that most performers synchronize to their music, and the dymanic New Pornographers showcasing their latest album release with a full cast that delivered the Canadian supergroup’s hits. Hyped Danish punk outfit Iceage wereunfortunately a dissapointment live as some of their instrumentation and vocals seemed

muted or difficult for listeners to distinguish between tracks. The audio bleed between stages honestly didn’t help their cause.

The last day of the festival did not disappoint unless you were there to see Sky Ferreira. She is so likeable but yet again she canceled her performance (she did the same thing at SXSW a few years ago) because she was late. She apparenty played one of the Nites events later that evening but her show was apparently flat and full of technical problems. Looking past that disappointment, Sunday was offered great

sets as Flying Lotus served notice that his influence is far reaching and continues to expand. Spectacular visuals complimented his boundary testing new material before stepping out of the light and ending the set as Captain Murphy, his rapper alter ego.Foxygen brought out their manic psychedelic act that pleased the entire crowd, while Neutral Milk Hotel united onlookers with a top live set consisting of hits from their seminal albums.

Despite multiple setbacks and hopefully off-year but

resolvable logistical problems, perfect weather and great performances continue to identify Fun Fun Fun Fest as one of the best and most unique festivals in the country. Its original lineups, invites to throwback bands, and other unique showcases offer plenty to satisfy all of our ecletic tastes in music.

CRITIQUE

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A.C. newman of The new pornographers

Lias saoudi of Fat white FamilyDeath From Above 1979’s Jesse F Keeler

LA’s Dum Dum Girls performed on Day 3 of the festival

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