Category Archives

8 Articles

Valentines Day Review: Love Mix 2017 – Giraffage

This Valentine’s Day, we here at WRUC have decided to review Giraffage’s “Love Mix 2017,” a compilation mix of a couple dozen unreleased edits of love songs. The remix is about a half hour long, and incorporates the music of a variety of artists, merging their styles together into a conglomerate that for some is pleasurable, but for some may be overbearing.

Upon hearing the first few minutes of the mix, I was not exactly hooked. The beat was great, and Giraffage certainly knows how to pick clips, but the style just doesn’t appeal to me personally. After having listened to more than just the first few minutes, my opinion remained the same — the beat is pleasant but not nearly enough to tie in all of the music and make it something that I would listen to again.

This opinion, however, was not the prevailing opinion; Fez, our GM felt that he was “caressed by the music,” calling the mix “beautiful and chill.”

Trevor, on the other hand, liked the mix even though it is not a genre that he particularly listens to. He thought that the song provides a slow, relaxing atmosphere. The blend of both the instrumentals and the vocals were mixed well with enough interesting variety throughout the entirety of the song. The duration and atmosphere of the song allows for listeners to kick back in a cozy environment with friends.

Spring Cleaning: Makar – Funeral Genius

In our “Spring Cleaning” segment, we review albums that have been sent to us over the years, and have subsequently been left lying around the WRUC Office. There’s no rhyme or reason to what we pick, but an album with an interesting (not necessarily in a good way) cover is more likely to catch our eye. The body of this post is written by Cameron Yang, with responses from the blog managers Trevor and Paul included as well.

These are our first reactions to the album Makar – Funeral Genius. We have no idea what this is going into it, and the inside and the outside cover give of completely different vibes, which only adds to our confusion… The recommended tracks are 2, 1, and 5 in that order, so we will at least listen to these tracks.

Track 2: I wanna know what I don’t know

I think everyone feels this way sometimes. The song starts off on a good note, with a relatively interesting piano intro, but that melody is basically the backing to the entire track. It gets boring very fast. The vocalist comes on, and sings the same melody on top of the same piano backing over and over for the entirety of the song. The beginning is indistinguishable from the middle or the end.

Paul: I thought it would be punk, and it was, in that it was a very simple and boiled down pop. But it needs to be about 1.5 minutes shorter.

Trevor: I agree.

OVERALL: Highly repetitive. Not a good start.

Track 1: Funeral Genius

Guitars open this track, which is a blessing for this band, since they seem to be able to do guitar chord changes much more easily. At this point we realized, there hasn’t been a hook, solo, or instrumental in either of these very popy tracks. The vocalist is as monotone as she was on the last track. We did notice on this track that they have a bassist that has been playing for at least more than a year, and ought to find better work.

Paul: I looked at their description, and they do actually describe themselves as punk to a degree. It has all the attributes of punk, minus the fun. The baseline carried me through about three fourths of the song, at which point I realized what I was really longing for was a hook or an instrumental solo.

Trevor: I don’t think it’s that bad. They don’t try to overdo themselves, they play within their own talents or skill. It could have been a lot worse if they pushed themselves too hard.

Track 5: I Can’t Tell You to Stay

This track is really benefited by the duet, and another solid baseline. It mixes up the formula they have and makes an altogether more interesting experience for the listener. We had heard the male vocalist before, but this the first time him and the female vocalist appeared on the same track. It’s a wonder why they didn’t put this track first, or at least before the first and the second track.

Paul: The bassist should definitely be playing jazz. Also, this song had no notable repetition; in fact, the swap between vocalists really provided a nice change of pace. The song ended weakly, though, as for the last 30 seconds or so the pianist and the bassist repeated the same two or three chords until fading out.

Trevor: This track was my favorite out of the ones we have listened to so far. I think the instrumentals did very well to develop a hook for the audience.

Final Comments:

It was potentially interesting pop with punk sensibilities, but it was plagued with repetitive chord progressions, uninteresting singers, and a serious disparity of talent between particular band members. The vocal mixing was the greatest sin of all, since a supposedly pop and vocalist oriented had mixed the instrumentals in way higher than they should have.

This Week’s Ice Fishing Catches: Jan 16 – Jan 22

DJ Ice here, this is a new series where I’ll post my top music finds this week ranging from your typical future bass & trap to occasionally chillhop, rap, & other genres. 2017 is already looking to be another great year for up & coming artists! Disclaimer: Some of these tracks were released earlier this month, but they’re just too good to leave out.

5. Elephante – Catching On (PLS&TY Remix)

Claiming 8 HypeMachine #1 spots and headlining his own tour, PLS&TY starts off 2017 right with a dark twist of Elephante’s “Catching On.” Lucky for you, it’s free to download.

 

4. Collarbones – Turning (TRAILS Remix)

Making his debut last year TRAILS has been making waves, receiving a lot of praise for his “A Flume Tribute.” TRAILS, like in all his remixes, breathes a filthy new life into this house song. It’s just as bouncy, but so much more bass-y. Grab this track for free.

 

3. Medasin – Territory

Medasin never disappoints with his sound design. “Territory” is a certified banger, a deviation from his last two singles — his remix of JAHKOY’s “California Heaven” and “Daydream” featuring Soba. With horn accompaniments, rumbling bass, and the ultimate future bass switch-up, you’ll be hearing this song in sets all year. And plus, he gives it out for free as a .wav for all you audiophiles out there. Trust me, Medasin’s gonna be yuge.

 

2. KRANE & Ekali – Akira

KRANE, having officially recently changed his name from KRNE, continues to put out banger after banger for another amazing collaborative album. This time he’s collaborating with the ever hyped, Ekali, who’s been on the rise thanks to his amazing remixes that from Flume’s “Smoke & Retribution” to A$AP Ferg’s “Work” both of which have been featured in countless DJ sets. KRANE and Ekali show what trap is all about in this bouncy, grimy track. It starts slow, atmospheric intro leading into a swell of flutes and hard-hitting drums into a filthy, bass-filled drop. Just wait till you hear the switch-up and the next drop. “Akira” is another free to download track.

 

1. K?d – Vindicta

K?d continues to show he can do no wrong, putting out sounds similar to Porter Robinson and REZZ, with what he calls the sequel to his Halloween ode, “Mortem.” For all you non-Latin speakers, mortem translates to death while vindicta means vengeance. “Mortem” was a scream of despair while “Vindicta” feels like the anthem of the harbinger of death. The buildup to the second drop is absolutely deafening, especially with the added spooky sample. This track twists and turns into cinematic chaos. You too can build your horror film library as K?d continues to graciously provide his tracks for free.

 

I’ll be doing live DJ sets featuring similar sounding tunes starting this Monday and every other Monday after that from 10-11pm. If you want to hear chiller, café-esque music, tune in next Monday same time. Thanks for reading!

Inner Thoughts by Kahlil Kwame Bell Review

by Trevor Atkins

kahlilkwamebell

I do not listen to a lot of jazz, but after listening to the first track, Focus, it started to grow on me. Focus starts off very quietly, building up with drums and slowly and softly working in the electric guitar, violin, slappaphone, and alto saxophone. It’s got a soothing atmosphere to the overall song and the instruments blend well with each other as they overlap. The song Mr. B on the other hand, started off louder with the bass and electric guitar, but then slowed down with the flute, slappaphone, percussion, and violin. My favorite track was Father to Child.

 

TIEN brings it in Invitation

by John Peterson

A few weeks ago at WRUC we ran into a copy of Invitation. It’s the freshman shot by TIEN, and artist from LA, funded on Kickstarter.

TIEN brings a mix of funk, soul, and r&b to a record that feels like a genuinely viable popular success. The hooks groove like hell, the lyrics are poppy, and track 5 (“Invitation”) has a couple killer lines on the electric organ.

Also check out track 3: “Peaceful, Patient”

Milo’s “a toothpaste suburb”

by Staff

Hellfyre Club, the label/rap collective based in Los Angeles, California, has been churning out boundary challenging hip-hop projects the past few years by artists like Busdriver and Open Mike Eagle. Hellfyre’s newly recruited member, milo, has a very distinct sound with his spoken word like delivery, atmospheric instrumentals, and abstract lyricism. This is his first official release and it does not disappoint. milo’s lyricism is on point as ever, making many clever pop culture and philosophical references. The production is spacey and lets milo’s lyricism take full effect and the features on the album are also satisfying. I would recommend this album to any rap fan, it’s fantastic.