There was quite the change in Bon Iver’s sound with their 2016 release, “22, A Million.” Listeners were familiar with their folk-driven, heartfelt tunes, and while they received something similar to that with this new album — featuring the dense use of electronic samples and auto-tune — Bon Iver took a chance with evolving sound, and it worked. 

Pitchfork Media on “22, A Million”:

“Bon Iver’s first album in five years takes an unexpected turn toward the strange and experimental. But behind the arranged glitches and processed voices are deeply felt songs about uncertainty.”

Justin Vernon, the frontman of the Wisconsin folk group, Bon Iver, wrote the band’s third full length album, where he took a different direction with sound.

Instead of the usual acoustic guitar, there is a synthesizer. Electronic samples add color to Vernon’s heaving, raspy voice.

There is auto-tune laid over most of Vernon’s vocals on the album, where he makes use of the Messina — a custom instrument devised by him and his sound engineer, Chris Messina.

This gadget features a keyboard which Vernon plays to create harmonies while he sings. A software running from a computer pairs with a piece of custom hardware that allows Vernon to achieve that almost “choral” sound. One note can be paired with different octaves of that same voice or a different instrument in real-time while Vernon sings along.

The main use of the Messina can be heard in the track, “715 – CRΣΣKS,” where Vernon explores feelings of loss, love and a combination of them both. “715” is the area code of  Eau Claire, Wisconsin, where Vernon is known for finding a muse in his small-town origins and nature.

The first track on the album, “22 (OVER S∞∞N),” features a sample from Mahalia Jackson’s performance of “How I Got Over” — recorded minutes before the legendary “I Have a Dream” speech from Martin Luther King Jr. Vernon says the duality and paradox behind the number ’22’ is like ‘the flip of a coin.’ The song’s theme can be said to mean we should appreciate life more while it is here or be aware it could be over at any point.

The theme of failing faith and religious disconnect is prominent throughout the work, especially on the track, “666 ʇ.” The choruses progress from “I heard about it (bit by bit, bit by bit)” (x3) to “I learned about it (bit by bit, bit by bit)” (x3) to “I laughed about it (bit by bit, bit by bit)” (x3). This can show his evolving feelings toward his faith and the fact that he can never progress in anything if he lets it bog him down.

Check out “22, A Million” on Spotify, Apple Music, Google Play Music and Deezer

 

If you’ve ever been to a football game, there’s no way you could’ve missed the band.

When the band marches onto the field, there must be a clear display of tempo to keep everyone moving in time with each other.

cadence (n) – the beat, time, or measure of rhythmical motion or activity (Merriam-Webster Dictionary)

A drum cadence is played by a percussion section in order to establish a tempo for the rest of the band to follow. Bands of all skill levels make use of the cadence for on-field marching in pregame shows, halftime shows and parades, while they also fit as extra material for drumlines to play during timeouts or following big plays.

Since cadences are played by drumlines of all skill levels, each one can be original to itself in skill level and sound depending on the player. For example, a college drumline would most likely play a cadence with more difficult writing than a high school drumline.

Musicality from the performers, choice of rudiments and a variety of instruments can provide character to cadences.

The Sound of the South drumline and their 2018 cadence, “Hold It,” is an evolved version of ones from prior seasons. Below is a video of the snare drum part.

Cadences require all sections of a drumline to be playing, including: snares, tenors, basses, cymbals and occasionally, the ‘flubs.’

While the sound of snares tends to be sharp, tenors provide some melody to the rhythms. Bass drums are a kind of mix of these two, where low end can be felt from the bigger ones, and the smaller drums provide the higher pitches.

Without the cadence, the band would likely be confused with tempo and risk a disruption in the performance.

Dawson Hicks, a freshman music industry major from Bremen, Georgia, with his song, “Golden Years,” is recorded live from the third floor stairwell of Patterson Hall at Troy University.

Listen on SoundCloud

With his guitar experience beginning around 10 years old, Hicks took lessons from a teacher with a blues background. He said his musical influences are vast, but he mentioned a few specific artists that possess qualities similar to his own music (Slaughter Beach, Dog  / Alabama Shakes / The White Stripes).

Hicks enjoys creating music directly from his phone using apps like GarageBand. The combination of unexpected instruments is something that interests him, where he mentioned his idea of a future guitar-clarinet duet.

Talking songwriting style and process, Hicks said he likes to “get weird with it.” He says piecing together bits of multiple songs can be an effective way of establishing a theme to your music.

Guitar isn’t the only instrument Hicks finds himself picking up to play on a daily basis. Funk is one of his favorite styles to experiment with on the bass guitar. He’s also a member of the Sound of the South drumline where he plays bass drum.

Hicks describes his song, “Golden Years,” as “melancholy, nostalgic, and happysad.” It explores not only the wonders of the best times of one’s life, but also the troubles that show during the good times.

Hicks hopes to record and release an EP with some acoustic punk/funk influence.

 

The fourth studio album from the biggest ‘boy band’ in music is an emotional journey stirring the psyches of an excited fan base, as well as an entire music industry.

(above) iridescence album art; Courtesy of Pitchfork

iridescence (n) – a lustrous rainbow-like play of color caused by differential refraction of light waves that tends to change as the angle of view changes (Merriam-Webster)

Since Brockhampton’s first studio release in 2016, they have stirred up a storm among the hip-hop genre, releasing the very successful Saturation album trilogy that following year.

In just the first week of the Sep. 21 release of their newest work, iridescence, the album had been streamed 28.2 million times, with 101,000 equivalent album units, according to Complex Music. It was released via Question Everything/RCA Records.

Just today, Billboard announced iridescence as No. 1 on the Billboard 200 Chart.

Such success comes following a recent world tour and $15 million record deal with RCA Records. Their previous records never saw this much hype, with their previous best, SATURATION III, topping at No. 15.

(above) Brockhampton; Courtesy of Stereogum

NPR Music on iridescence: “Like much of the band’s discography, the heart of the album is scattered but endearingly spry and honest.”

The album opener, “NEW ORLEANS,” is upbeat with some impressive rhymes from Dom McLennon and frontman Kevin Abstract. The song hints at Abstract’s love for London, not to mention a few of the tracks from the new album were recorded there at world-renowned Abbey Road Studios.

The second track, “THUG LIFE,” could reference to the band’s said appreciation of rapper Tupac Shakur (‘thug life’ tattoo). McLennon explores his experience with depression, referencing to Stockholm’s syndrome and his biggest threat being self. This also serves as a transition from the opening track, replaying samples from “NEW ORLEANS.”

The interlude, “LOOPHOLE,” features an interview between DJ Whoo Kid and rapper Cam’ron. Reflecting on his experience with the music industry and the financial troubles that still managed to come with it despite the flair, Cam’ron mentions his continuing search for a ‘loophole’ to find the success everyone always sees.

The one single from the album, “TONYA,” was met with much praise, highlighting troubles with family, on top of dealing with the ups and downs of stardom. This track contains perspectives from members: Abstract, McLennon, Joba, bearface, with a chorus by serpentwithfeet.

(above) Brockhampton performs ‘Tonya’ on the ‘Tonight Show’ – June 20; Courtesy of Billboard

“HONEY” shows appreciation toward rapper, 50 Cent, and features samples from Beyoncé during one of the song’s transitions. Band member, Matt Champion, and his hook from “BUMP” (Saturation II – 2017), can be heard before the closing verse by Abstract.

The band questions past decisions and the temporary pleasures from fame in “SAN MARCOS.” Bearface plays a somber progression on an electric guitar, and also takes a verse. Samples from the London Community Gospel Choir close the song: “I want more out of life than this / I want more / I want more.”

Brockhampton’s recent release was a huge success along with their recent world tour, and sits atop the Billboard 200 for the week of Oct. 6. The group’s discography is available on Spotify, Apple Music, and Google Play.

The Sound of the South marching band at Troy University has prepared another gripping halftime performance for the 2018 football season. 

Most football fans would say they love an entertaining halftime show, and it’s quite the change from people tackling each other, kicking field goals and throwing up huge passes.

The Sound of the South has followed the recent success in the football program with their 2018 production, which its members and spectators have described as ‘bombastic’ and ‘energetic.’

2018 Charts:

• “Can You Dig It” – Bryan Tyler, from the  “Iron Man 3” soundtrack (2013)
• “Birdland” – Maynard Ferguson (1978), arranged by Ralph Ford
• “Feeling Good” – Michael Bublé (2005)
• “Gaze” – Arranged by T. Adam Blackstock, based on “Rational Gaze” (Meshuggah,  2002)
• Theme from The Flintstones – James Morrison, arranged by Ralph Ford

Not having a dedicated theme to the halftime show has been something the Troy band has made a name for in past seasons.

Trumpet-screaming charts from Maynard Ferguson have found their way into the show since 2017, featuring various soloists from the ensemble.

The drumline parts were arranged by Dr. T. Adam Blackstock, Associate Professor of Percussion at Troy.  “Gaze” is based on “Rational Gaze” from the Swedish extreme metal band, Meshuggah. Known for intense polyrhythms within their music, a metal song transformed into a drum feature isn’t something you see every day.

“Feeling Good” calls for a small combo to assemble on the sideline, while the majorettes and dancers are featured on the 50-yard line. This is the slow, saucy and seductive chart that contrasts the upbeat ones before it.

The theme from The Flinstones is a huge throwdown of jazz chops, which features the brass section, specifically the mellophones and trumpets. Dr. Mark Walker, Director of Bands, hopes to “melt some faces” with this arrangement from Ralph Ford, a past Troy band director.

The next opportunity to catch the show at home will be Saturday, Sep. 9. You don’t want to miss this.

Despite personnel changes since this 2008 release, songs from the five-track EP will stand the test of time as signature sounds of the indie folk group from Seattle.

* Sun Giant album art (credit: Sub Pop Records); said to be a combination of two photographs taken by Sergey Prokudin-Gorsky

* Fleet Foxes (left to right – Casey Wescott, Christian Wargo, Robin Pecknold, Nicholas Peterson and Skyler Skjelset) (credit: Herb Music)

Sun Giant, released through Sub Pop and Bella Union, was originally supposed to be a tour-only release, but listeners absolutely loved what they were hearing and demanded more.

Pitchfork Media named Sun Giant the #1 Album of the Year, along with the self-titled debut, which was released that June. The group orchestrated 39 minutes of material that teetered on the folk, indie, country and classic rock genres.

Pitchfork Media on Sun Giant: “It’s a sovereign work, a statement EP, supremely crafted and confident”

Hauntingly beautiful, church-like harmonies (which feature the whole group) can be found throughout the EP, but especially on the title track. The group sings, “What a life I lead in the summer / What a life I lead in the spring / What a life I lead when the wind did breeze /  What a life I lead in the spring.” The listener is musically drifted about in the opening tune, with the quoted lyrics evoking a carefree, yet intriguing draw to listen. The lead singer Pecknold hums through the last 45 seconds while accompanied by some strumming from Skjelset.

The second track, “Drops in the River,” takes each portion of the song to add in instruments, leading to a powerful classic rock drive. The introduction of the song features Skjelset using a violin bow to achieve some ominous noise behind Pecknold’s opening lyrics. “Days are just drops in the river to be left always” speaks of things that have come and gone that are out of one’s control.

The EP’s arguably most “rock” song would be “English House,” a dazzling, string-filled tune that is outfitted with harmony starting from the first few seconds. A mandolin backbeat played by Skjelset reinforces time over a boomy kick drum and toms. Some subtle organ (Wescott) supports and leads in to the song’s most harmonious moment of “My love.” The band’s sounds, instrumentation and even looks are said to be similar to those of the 70s.

“Mykonos” tells about frustrations you can feel with the ones you love the most. Nicholas Peterson and his almost bombastic work with the percussion behind the album really play into Fleet Foxes’ almost ‘vintage’ sound, especially at that time.

Just a lone Pecknold and guitar comprise the last song, “Innocent Son.” Its somber quality is quite the emotional choice as a closer to the EP.

Fleet Foxes’ Sun Giant was most definitely a step in the right direction for the Grammy-nominated indie folk icon of a group.

The distinctive bluegrass quintet delivers once again with a lyrical and political giant of a fifth album.

These self-produced songs, All Ashore, were released July 20 through Nonesuch Records, showcased a theme of evolution for the group and its signature progressive sound in the bluegrass genre.

The Journal from Nonesuch Records could not have put it better when it read: “The work has the feel of a nine-song suite, one that invites you to unravel the threads of its connected themes and stories over repeated listening.” I found myself to be listening repeatedly when I came across this work from the “ridiculously eclectic” group that combines folk, jazz, funk, and arguably many more genres into a bluegrass instrumentation.

Some of the key listens from the nine tracks would include “Three Dots and a Dash,” “Jumbo,” as well as the title track.

The fifth track “Jumbo” seems to explore Punch Brothers’ feelings towards current events involving an unspoken Donald Trump Jr. and a difficult political climate in our country. There are more words that rhyme with ‘jumbo’ than you would think.

Listen for the world-renowned banjo playing from Pikelny in “Jungle Bird.” This is one of the funkier instrumental charts where he trades off the melody with Gabe and his speedy fiddling.

One of two singles released, “Three Dots and a Dash” demonstrates some upbeat bluegrass expressions in the key of G. The other single, “It’s All Part of the Plan,” slows down and takes a more lyrical route with an intimate Thile on vocals followed by a triumphant ending.

Chris Thile on the new release: “We were hoping we could create a thing that would be convincing as a complete thought, sort of a nine-movement or a nine-song thought, even though it’s rangy in terms of what it’s talking about and in the characters doing the talking.” (credit: Nonesuch Records)

The group was also featured as musical guest on TBS’s Conan last Thursday, offering some key TV time for the band.

If you are looking for your next tasteful, easy-listening, genre-bending group on Spotify, then check out Punch Brothers. While this was not their best album lyrically, they still brought plenty of musicality to the table, typical of the group. This culminated to a very entertaining nine-track record that is worth the listen and possible repeated listenings.