Frequency Issue 23

frequencyWMRE’S MUSIC & CULTURE MAGAZINE

ISSUE 23 SPRING 2009

editors-in-chiefPATRICK I. BUNTICHAI

CHELSEA SPENCER

managing editorSEAN HALLARMAN

contributing writersMcLEAN CRICHTONSEAN HALLARMAN

LAUREN LADOVTRAVIS LEVIUSIJEOMA OKORO

GEOFF SCHORKOPFCHELSEA SPENCER

CHARLIE WATTSTIM WEBBER

contributing photographersPATRICK I. BUNTICHAI

TRAVIS LEVIUS

assistant editorsVICTORIA ALDEN

ALICE CHOMcLEAN CRICHTON

LARA KESLERDASHA KIRILLOVALAUREN LADOVTRAVIS LEVIUS

ARI ROSEPAM STERLINGCHARLIE WATTS

TIM WEBBERWYATT WILSON

designed byPATRICK I. BUNTICHAI

ISSUE 23 SPRING 2009

editorial

the magazine

Frequency Magazine, supported by WMRE, is Emory’s only student-run music and culture magazine. We aim to bring Emory students, faculty and staff and others in the Atlanta area new information about music, film, food, fun, booze, and entertainment. Although we center most of our features on local Atlanta musicians and artists, we also like to slip in our vital insight into the radio world of WMRE. Begun in 2002 under the name Listen, the magazine was redesigned and renamed Frequency in 2007, then redesigned again in 2008. We’ve gone from black and white photographs on newsprint to this high-gloss, full-color work of art. We’ve featured artists ranging from Hot Chip to The Coathangers to Cipher Kenni. Frequency is written completely by contributing writers and we’re always looking for submissions, photographs and artwork. Questions? Complaints? Praise? Contact Patrick Buntichai at [email protected] or Chelsea Spencer at [email protected]

Corrections: In Issue 22, the Bob Dylan Tell Tale Signs album review was written by Tim Webber.

Jay Reatard caught me off guard. In our phone interview, he was genuine, articulate and, well, rather polite. Not that I really expected him to spew fiery vomit through the phone or anything, but I wasn’t quite expecting what I got: a quiet, grown-up teenager who wants nothing but to write music and avoid the other kids. Now, the man has a reputation for live shows that exhibit a Jay Reatard quite different from the Jay that I got. And I’m pretty sure that’s why we picked him to play our spring band party. Before I knew anything about him, I knew about his live shows. Most people I asked about Jay told me they saw him play live before ever hearing his recordings, which are widely considered to be a phenomenal example of what honest indie-punk rock can and should be today (goddamn, I mean even Pitchfork Media loves his releases). One gets a paradoxical, yet gratifying feeling of integrity when listening to his clever lyrics shrouded in abrasive noise. He’s no one’s guilty pleasure. But that’s not why we’re excited (and just the slightest bit fretful) to have him play our very own Performing Arts Center April 10. We’re looking to see some good, old-fashioned ruckus. Jay maintains he’s not as pugnacious as the Internet makes him out to be, but good riddance, Emory could really use a good punch in the face. So, get ready for “Big dudes! Big hair! Big fun!”

- Chelsea Spencer

comment2

culture report22

feature12

pieces4

the report18

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FUTURE OF THE MUSIC INDUSTRY

ATLANTA PSYCHICS

JAY REATARD

PISON FLO

NU CLASS OF SOUL

RECESSION: DO IT YOURSELF

MUSIC SOCIOLOGIST

I DO MUSIC

GALLERY OD

YEAH YEAH YEAHS

MSTRKRFT

SWAN LAKE

ELVIS PERKINS

DAN DEACON

JUNIOR BOYS

ATL EMPIRE

SHOW SCHEDULE

frequencyISSUE 23 SPRING 2009

CONTENTS

THIS APRIL, ONE OF TIME SQUARE’S LANDMARKS WILL BE conspicuously missing in the hurried urban landscape that is Manhattan. The Virgin Megastore, the two-floor monstrosity,

will be closing down, followed shortly by its sister store in Union Square. The recent economic downturn our country finds itself in has been cited as the cause, although one must wonder whether this is really the heart of the music industry’s predicament.

User-to-user sharing, and the problem it poses to record sales, pre-dates Wall Street’s implosion. Record stores in particular face the problem of selling an outdated technology. However, the music in-dustry has, for the time being, learned to embrace the Internet and sell to records in a .mp3 format. This does not seem to be working.

The recession has spread to the record labels as well. Touch and Go Records — who boast the Yeah Yeah Yeahs, TV on the Radio, All the Saints, and Blonde Redhead as current artists and alumni of the label — has ceased manufacturing and production of many of its subsid-iary record labels, focusing on its main corps of artists. Touch and Go and many other independent labels will soon discover that there is little room for profit on the periphery of mainstream music.

So is this a cause for concern? If you are looking for a job in music, should you go take the LSATs? I don’t think so. Because the user-to-user piracy problems existed prior to the recession, the problem with the music industry is institutional. Rather, the credit crunch in the financial sector is preventing record company’s from continu-ing to refinance their debt and creditors are calling in their loans. The economic downturn is only exposing an industry in the midst of spending more money than it’s making (sound familiar?) to facilitate infrastructural transition.

The transformation from CD to .mp3 is much different than other industrial transitions: the product is moving from something one physically holds to something one believes exists in the depths of their hard drive. Over the next ten years, the industry must learn to handle this new market and control user-to-user file sharing in order to sustain a modicum of business. It is inevitable, also, that record companies will find a way to better control their product (i.e. iTunes encryptions but much more widespread).

The industry must take proactive measures to maintain its own vital-

ity. Labels should begin to make more vinyl albums, as some already have. While the sound quality of a file on a CD is identical to a .mp3 file, vinyl albums give the sound a new, authentic dimension. More importantly, record labels must harness consumer’s desire to receive a tangible good that they can hold in their hands when buying an album. That combination makes vinyl a very attractive alternative to the CD.

Record companies will also have to consolidate. The democratizing effect the web has had on music has been great for creativity. But there is only so much demand that can be generated for every indie musician with a Macbook in her garage. In order for the industry to survive, there must be a return to the days when being signed to a major record label was not only desirable, but essential to sustaining one’s music career. This will not prevent musicians from producing and distributing their own music via the Internet, but does create a clear boundary between internet phenomenon and celebrity.

Artists must also regain focus on live performances, something one truly cannot experience through a YouTube clip. But economic times have left concert-goers with far less discretionary income to spend on concerts. Langerado, a music festival based in Miami, was cancelled this year due to low ticket sales, despite having Death Cab for Cutie, Snoop Dogg and Modest Mouse as headliners. One must wonder, in pressing economic times will consumers still spend money on mu-sic?

The answer, in short, is yes. Music is a market where demand stays relatively stable, even in tough economic times. In fact, some may argue that music is one comfort where demand increases in tough economic times because of its therapeutic value, similar to alcohol. While mom and dad may insist on eating at home more often, little goth Johnny still wants his new Slipknot album to rinse the pain away. Similarly, people will still want to go to a concert for the escape it offers from the drudges of pressing fiscal burdens.

Music has played an important role in the narrative of world history. The industry is going through a foundational crisis and it will be some time before it finds itself on its feet. In the meantime, it’s not going anywhere. Yes, radios may not exist in 10 years (or CD players for that matter), but people’s love for music will be unfettered. As long as music has a place in our life, it has a place in our economy.

COMMENT

2 frequency SPRING 2009

THE MUSIC INDUSTRY IS OUT OF TUNE

THIS APRIL, ONE OF TIME SQUARE’S LANDMARKS WILL BE conspicuously missing in the hurried urban landscape that is Manhattan. The Virgin Megastore, the two-floor monstrosity,

will be closing down, followed shortly by its sister store in Union Square. The recent economic downturn our country finds itself in has been cited as the cause, although one must wonder whether this is really the heart of the music industry’s predicament.

User-to-user sharing, and the problem it poses to record sales, pre-dates Wall Street’s implosion. Record stores in particular face the problem of selling an outdated technology. However, the music in-dustry has, for the time being, learned to embrace the Internet and sell to records in a .mp3 format. This does not seem to be working.

The recession has spread to the record labels as well. Touch and Go Records — who boast the Yeah Yeah Yeahs, TV on the Radio, All the Saints, and Blonde Redhead as current artists and alumni of the label — has ceased manufacturing and production of many of its subsid-iary record labels, focusing on its main corps of artists. Touch and Go and many other independent labels will soon discover that there is little room for profit on the periphery of mainstream music.

So is this a cause for concern? If you are looking for a job in music, should you go take the LSATs? I don’t think so. Because the user-to-user piracy problems existed prior to the recession, the problem with the music industry is institutional. Rather, the credit crunch in the financial sector is preventing record company’s from continu-ing to refinance their debt and creditors are calling in their loans. The economic downturn is only exposing an industry in the midst of spending more money than it’s making (sound familiar?) to facilitate infrastructural transition.

The transformation from CD to .mp3 is much different than other industrial transitions: the product is moving from something one physically holds to something one believes exists in the depths of their hard drive. Over the next ten years, the industry must learn to handle this new market and control user-to-user file sharing in order to sustain a modicum of business. It is inevitable, also, that record companies will find a way to better control their product (i.e. iTunes encryptions but much more widespread).

The industry must take proactive measures to maintain its own vital-

ity. Labels should begin to make more vinyl albums, as some already have. While the sound quality of a file on a CD is identical to a .mp3 file, vinyl albums give the sound a new, authentic dimension. More importantly, record labels must harness consumer’s desire to receive a tangible good that they can hold in their hands when buying an album. That combination makes vinyl a very attractive alternative to the CD.

Record companies will also have to consolidate. The democratizing effect the web has had on music has been great for creativity. But there is only so much demand that can be generated for every indie musician with a Macbook in her garage. In order for the industry to survive, there must be a return to the days when being signed to a major record label was not only desirable, but essential to sustaining one’s music career. This will not prevent musicians from producing and distributing their own music via the Internet, but does create a clear boundary between internet phenomenon and celebrity.

Artists must also regain focus on live performances, something one truly cannot experience through a YouTube clip. But economic times have left concert-goers with far less discretionary income to spend on concerts. Langerado, a music festival based in Miami, was cancelled this year due to low ticket sales, despite having Death Cab for Cutie, Snoop Dogg and Modest Mouse as headliners. One must wonder, in pressing economic times will consumers still spend money on mu-sic?

The answer, in short, is yes. Music is a market where demand stays relatively stable, even in tough economic times. In fact, some may argue that music is one comfort where demand increases in tough economic times because of its therapeutic value, similar to alcohol. While mom and dad may insist on eating at home more often, little goth Johnny still wants his new Slipknot album to rinse the pain away. Similarly, people will still want to go to a concert for the escape it offers from the drudges of pressing fiscal burdens.

Music has played an important role in the narrative of world history. The industry is going through a foundational crisis and it will be some time before it finds itself on its feet. In the meantime, it’s not going anywhere. Yes, radios may not exist in 10 years (or CD players for that matter), but people’s love for music will be unfettered. As long as music has a place in our life, it has a place in our economy.

By McLean Crichton

COMMENT


THE MUSIC INDUSTRY IS OUT OF TUNE

NU CLASS O F SOUL

PIECESJaspectsTAKE THE “A “ TRAIN - Atlanta, GAWell, they are not exactly soul artists, but they share the same intent of push-ing boundaries of musical genres. In fact, the Jaspects’ tag-line is “Redefining All Aspects of Jazz.” The award-winning, classically-trained jazz sextet — all recent Morehouse alumni from various parts of the U.S. — enjoys having a multi-generational fan base. How many 20-something-year-old musicians can achieve such a feat, let alone impress mega-celebrity jazz aficionado Bill Cosby? With each release, their music gets more eclectic and daring. Their most current single, “Unifunk,” has been the apex so far, incorporating their old-school jazz sounds with an exciting electro-house/techno beat with an up-

lifting message of social peace. And have you attended any of their concerts?! Simply nothing like it, just like their approach to jazz. This uber-talented group would not have it any other way.ALBUM: The Polka-Dotted Stripe (due in April)HOT TRACKS: “Unifunk,” “A Night in Tunisia,” “Uppity Negro”

Jessica TonderDARK & LOVELY- Atlanta, GAPlay a song by Jessica Tonder and prepare to be easily intrigued. Imagine Ella Fitzgerald as a young girl, bumping trip-hop titans like Esthero, Portishead, and DJ Krush on her 8-track player, and that’s what Tonder recreates in her mu-sic. An alumna of super-prestigious Berklee College of Music, the multi-ethnic songbird had been introduced to several styles, cultures and generations of music as a child, and it shows in her songs. There’s a haunting mystique to her sound and her delicate, smoldering vocals, and for an artist that is search-ing for peace in a broken world — based on her concept EP The Robot and The Little Girl — her music can, at times, sound anything but cheery. Listen to “Smoking Gun,” a scathing, intelligently written charge against the Bush administration’s “mishaps,” and you will see that this little girl has a whole lot of pent-up frustration. Her dense sound may not register with the mainstream listener, but we will be rooting for her ascent to stardom nonetheless. ALBUM: The Robot and the Little Girl EPHOT TRACKS: “Detox,” “Art of War,” “The Bee (Remix)” with Proton

Brittany BoscoTHE GOLDEN GIRL - Atlanta, GAJust wait until the world gets a hold of Savannah-native Brittany Bosco. Imagine the best of true-school hip-hop (Little Brother, Madlib) with the best of left-field experimentalists (Flying Lotus, J*Davey, Sa-Ra) and add yesteryear’s premier acts in various genres (Pink Floyd, Sarah Vaughn, Earth, Wind, & Fire) and you may start to conceive her insanely addictive, fresh sound. Last year, she put out her teasingly brief EP, and it ended up on many people’s best-of-2008 lists. Perfectly titled Spectrum, it is a colorful smorgasbord of sounds and genres that showcases her range musically and vocally. For instance, the beat on “Glitch” is a glorious, industrial boom-bap track that would fit on Cannibal Ox’s Cold Vein album, and her left-field vocals fit ever-so-nicely to the surreal soundscape. Then she totally flips it and does a stellar, slow-churned jazz piece on “Blues for Blue,” and while other artists may hide behind busy production to cover vocal weakness, Bosco shows that when it’s all stripped, she still shines. Her eight-tracked EP should be enough to satisfy your cravings for the time being, but you will still end up frenetically yearning for more. ALBUM: Spectrum EP HOT TRACKS: “It Was You,” “Glitch,” “Black Keys”

J*Davey TODAY’S FUTURE FROM YESTERDAY - Los Angeles, CAArguably the pioneers of the new electro-hip-hop-punk-funk sound, the dynamo duo of singer Jack Davey and producer Brook D’Leau have shattered perceptions of what it means to do “black music.” Good luck trying to place a label their sound. It’s simply just too new and boundary-breaking to generalize. J*Davey are their own genre. There’s something for the skater boy, something for the B-Girl, something for the urban hipster, and even for the old-school funk enthusiast in each song. They may have retro influences, but their style is unapologeti-cally futuristic — and trailblazing. Kinetic, and sometimes frenetic, J*Davey’s uniquely sexy sound will grab you like a vortex.ALBUM: The Beauty in Distortion/The Land of the LostHOT TRACKS: “Mr. Mister,” “Hi Sun,” “Cowboys and Indians”


Kameron CorvetLA NOUVELLE SENSATION - Atlanta, GAIt is sometimes hard to believe that the “R&B, Hippie, Neo-Soul, Rock Star” title that Raheem DeVaughn gave himself was not for Kameron Corvet. He’s hardly R&B, but his rock-tinged soul has the ability to appeal to many listeners. The hooks, the strong falsetto voice and the arrangements work spectacularly together (“Kiss and Makeup,” “Let It Go”) and are even suitable for the pop market with their touch of Prince and Kravitz. Corvet has a growing and devoted following on both sides of the Atlantic, and recently co-headlined with Grammy Award winner Adele in At-lanta. What makes him so special is the pure sincerity of his self-penned lyrics, and if you know where to look online (“Kam’s Cam”),

you will realize that he really values a connection with his listeners and fans. Nowadays in this vapid music industry, it is refreshing to find a true artist at heart with a unique approach to soul.ALBUM: Korporate RockstarHOT TRACKS: “Kiss & Makeup,” “War Within,” “You Will”

NU CLASS O F SOULERYKAH BADU IS NOT THE ONLY MUSICIAN WHO REPRESENTS AUTHENTIC, FORWARD-THINKING SOUL. Explore these creative geniuses and promising artists who transcend today’s stale music boundaries.

Janelle MonaeTHE FIFTH ELEMENT - Atlanta, GAYou have hopefully heard of her by now; she is arguably the emerging champ to come from the Atlanta music scene. With her funky-retro hair, quirky persona, and cyborg references, many are guilty of knowing more about her image than the sheer quality of her music. For the record: this girl can sing. And with intense, thoughtful lyrics such as “Are we really living or just walking dead now?/ Or dreaming of a hope riding the wings of angels/ The way we live/ The way we die/ What a tragedy, I’m so terrified” on the great “Sincere-ly, Jane,” Monae is clearly much more than her quirky style. Do yourself a favor, cop her Metropolis EP and get plugged-in immediately.ALBUM: Metropolis: The Chase EPHOT TRACKS: “Sincerely, Jane,” “Metropolis,” “Many Moons”

PIECES

by Travis Levius

Peter Hadar CrazySexyCool Soul - New York, NY

It’s hard to figure out why the self-proclaimed “Cool Weirdo” has not blown up yet. Soul peers Rashaan Patterson, Erro and Raheem DeVaughn have talked about his talent, and URB, Essence, and Billboard have sung many praises for his infectious, groove-heavy material. Why isn’t he selling platinum numbers? That answer may remain elusive, but now you have no excuse not to discover

this guy’s sound — a tantalizing mix of sensual soul/R&B, electronica and “glam-experimental” flavors. Add in a great voice reminiscent of Dave Hollister, and you have a star package (patiently) waiting to be unraveled by the masses.

ALBUM: She’s 4 MonthsHOT TRACKS: “First Sight,” “All Mine,” “Can’t Stop”

MusinahDOER OF TALENTED DEEDS - Brooklyn, NYShe turned heads last year with her voice featured on the delightful album-opener and single “Daykeeper” by the Foreign Exchange. Her voice was also featured on “Changes,” one of the better tracks on Com-mon’s Universal Mind Control. This woman with memorable vocals is Muhsinah, and I guarantee that after you listen to any of her recent albums she will land on your favorite list of artists. Muhsinah, which translates from Arabic to “doer of good deeds,” constantly pulls creative material and multi-genre influ-ences (i.e. psychedelia, broken-beat, jazz) in her craft to produce a very cerebral yet mellifluous sound-scape. It’s worth mentioning that her vocal layering is some of the most sublime layering on wax since Marsha Ambrosius from Floetry. What is more astonishing is that she produces, writes, and arranges all of her tracks. When you listen it is almost impossible to believe that the wonderfully progressive music was mostly done by one person. She may seem like a Jill-of-all-trades, but who is to say that over time she can’t be the master of it all? ALBUM: The Oscillations: Sine HOT TRACKS: “Construction,” That Day,” “Try”

2009

SPRING 2009 5 frequency SPRING 2009

PIECES

RECESSION DO IT YOURSELF

BROKEN ZIPPERHave you ever bought a new pair of jeans just because the zipper on your old pair was broken? Recent times make this option cost-prohibitive. Luckily, Frequency knows how to fix your broken zipper for free! All you need are scissors, pliers, thick thread and needles, then follow these steps (hint: take off clothing before operating on zipper):

1. Use the pliers to remove the metal stopper at the bottom of the zipper. Zip the zipper down to the bottom, stopping just below the last of the teeth.

2. Arrange the teeth evenly. Make sure that the fabric and zipper are lying flat. Slowly zip up zipper halfway.

3. Sew loops around bottom of zipper where you have removed the metal stopper. Make sure that these are sewn perpendicularly to the zipper. Sew at least six stitches and finish with a knot on the inside.

4. Go ahead and zip it all the way up.. FIXED!

PESKY STAINSStains have often turned a new blouse into a fashion emergency. Gone are the days when a trip to the dry cleaners (or the mall) was an affordable avenue for wine stains. Here are some tips to get those tough stains out of your favorite clothes.

Vinegar is a cheap alternative for stain removal. For stains that are tomato-, wine- or grease-based, saturate the area with vinegar and allow it to soak, then wash. Repeat these steps if initial attempts fail. Beware though, the acetic acid in vinegar may weaken many com-mon fabrics such as cotton, rayon, acetate, triacetate or silk fibers and in some instances can cause color change. Try testing it out on a hidden seam to make sure your colors will stay true.

Plain old soap will do the trick as well! Make sure it’s not colored or scented and doesn’t contain moisturizer. The more basic it is, the better (not in the pH sense though, you want it to be neutral). After soaking in cold water, scrub stain with the bar of soap. Repeat until the stain is gone. This won’t work for grease or oil stains. Hope this saves you a trip to the dry cleaners!

DECORATEIs your apartment or dorm décor suffering from the recession because you can’t afford pricey posters or swanky paintings anymore? There are some creative ways to spiff up your crib.

Go to the local dollar store and pick up a few picture frames. A cheap way to fill them is with pictures of your friends or paintings of your own. Decorate the frames to give it a little something special.

Another great way to decorate your room is to draw on the walls with crayon. Leaving crayons around your apartment with the purpose of drawing on otherwise vacant walls will leave a creative landscape over your couch. Every square inch will reflect a different individual’s taste. Best part: it’s easy to clean up. Mr. Clean’s Magic Eraser works as well as many pricey solutions like silver polish.

THERE ARE FINANCIAL SACRIFICES TO BE MADE FOR THOSE IN HARD ECONOMIC TIMES. HERE ARE SOME MONEY-SAVING TIPS TO HELP MAINTAIN YOUR QUALITY OF LIFE.


7 frequencyWINTER 2008

PIECES

RECESSION DO IT YOURSELF

ASK A MUSIC SOCIOLOGISTEmory Professor Timothy Dowd provides a scholastic perspective on the state of music.INTERVIEW BY TRAVIS LEVIUS

FREQUENCY MAGAZINE: The music industry has seen major chang-es since everything is going digital. As a music industry scholar, do you see this as helping or hurting the music business? TD: It helps some but hurts others. The retail sector of the music business — like actual stores located in physical places have not been doing so well. And for the record company, things haven’t been going as smoothly as they would want but the shift has obviously been a real benefit to Apple with their iTunes and iPods and other companies that deal with MP3 players. And to a degree, some performer-musicians have an easier time getting their music out than the past so I think it’s been really beneficial to musicians who operate at the grassroots level — it’s through Myspace, through CD Baby and other sites. It’s pretty easy to get your music out there. The problem is getting the attention. That’s the big problem.

FM: The current recession has hurt plenty of markets and consumer wallets. Has the blow to the economy deeply affected the mu-sic biz?TD: Before this crisis hit, the music business as a whole, particularly the record industry and brick-and-mortar retail had been going through some problems. In some respects, their big days are behind them in terms of finances. This [crisis] didn’t help their situation. As far as consumers, if they have less, less and less money in their pock-ets, I wonder if that’s gonna make free online music [peer-to-peer] more appealing to them. I wouldn’t be surprised if that happens.

FM: We’ve seen eight-tracks, then tapes, then CDs, now the iPod — what’s next?TD: Well I hope the iPod sticks around, for self-ish reasons, because that’s [where] all my music is now. We might have a long stretch where your music system is computer-based. I don’t see it disappearing anytime soon especially since there are moves to integrate other media (television, motion picture, photography) into computer-based systems.

FM: In your opinion, what was the best decade period for music?TD: I really like the late ‘60s and early ‘70s — it was a really vibrant time. You saw FM radios creating an environment that was conducive to playing entire albums on the air. It was a sort of free-rolling period. Personally I think the current time is not necessarily [producing] the best music, but access, both old and new, has been incredible compared to the past. For musicians, I prefer the way things are now because I can record my stuff and share it with people — I don’t have to rely on gigantic record compa-nies to get this stuff out there.

FM: How many albums do you own?TD: I’m still moving all of my physical albums over to iTunes and I’m up to about 14,000-and-something songs, so divide it by 10 and that

will give you the [amount] of albums. I still have maybe another two-

or three-thousand songs.

FM: Was there a song or album that changed your life?TD: The first album I ever bought was a really weird album: the sound-track to 2001: A Space Odyssey. [There’s] some really bizarre music on there: very avant-garde 20th Century orchestral music, and I used to play that. My mom and dad would ask me to turn it off. So, where other people got in trouble for rock and roll, I was getting in trouble for really bizarre orchestral music. That [album] has a place in my heart.

FM: What are the odds of an aspiring singer becoming a platinum artist?TD: I think the odds are better than if you’ll become an NFL player. What do you do when you want to be an NFL player? You should participate in sports in junior high/high school, right? You should get someone’s atten-tion and get recruited to a big college program, then scouting comes and someone gets signed to the team…so otherwise, there’s steps. There are no “steps” if you want to want to do music and be an aspiring musician.

FM: How does the city of Atlanta compare to other U.S. “music capitals”? Is Atlanta really a hotspot?TD: Atlanta is obviously a hot-spot for hip-hop, and it’s been that way for a while, but even there it’s not the hot-spot. People like OutKast, of course [they] have been great for Atlanta, but you know the Atlanta scene is also part of, in some sections, the “dirty South. So in many ways it doesn’t have its own distinctive quality. And Atlanta’s scene arguably suffers in compari-son to [the one in] Athens. When you think of alternative rock and the like, you go there. As far as the live music scene, some place like Aus-tin is really happening versus Atlanta.

FM: Tell us your predictions on how the mu-sic industry and popular music will be in the year 2020.TD: I don’t know which one will dominate, but the trend right now is that you’re seeing a prolif-eration of genres and subgenres. My guess is 10 years from now, you’re gonna see a wider range available, which makes it harder for any one to be dominant nowadays.

FM: Can you comment on the state of mu-sic today? Good, bad or fugly?

TD: All of the above. You know, there’s a lot of really good music out there. It’s just sitting through everything and finding access to it. But access is not the problem; information seems to be the problem. Where is everybody? Where are all of the good folks? If you go to places like MySpace Music, Soundclick — there’s no shortage of really good musi-cians, but you have to somehow know how to find them. I’ve actually quit listening to the radio. There’s a large variety of stations, but most of it kind of strikes me as bubblegummy in a certain way. I find radio to be very conservative in its programming. But that’s how much things have changed; you don’t even have to listen to radio to find new stuff. When I was younger it was just the radio and record store and that’s what you relied upon. Live performance I think is suffering. Why? Because it’s cheaper to have a DJ. Small scale performance opportunities are not as plentiful as they use to be. Financially, it’s easier to go with the DJ, you don’t have to rely on some band to play the music correctly. A DJ is self-contained, versus a “do you want an eight-person band” in your little restaurant or club?” I don’t know.


PIECES

IT WAS SLIGHTLY EERIE to hear those lyrics performed by RE, a young, aspiring MC from Atlanta by way of New Orleans, at this par-

ticular event. It was as if he was the unofficial spokesperson, telling the crowd the main intent of I dO Music through lyrical form. In real-ity, his song “I Just Wanna Be” was a product from his own thoughts and struggles of “making it.” He understands that he is not his own, but that he is part of a larger picture of go-getters wanting to become established in the industry. However, many all over the Atlanta area share the same discontentment with the difficulty of talking directly to music professionals, network-ing with serious people and discovering valuable resources for advancement. Until…

THE ANSWERThey always say the best and brightest businesses are those that address a problem in a given in-dustry and become the model solution. Kervins Chauvet was unhappy with the opportunities available in the music industry and decided to actively solve the problem.

“The brand is my solution to an issue that’s been plaguing the aspiring music community for a long time... the lack of information and oppor-tunity,” Chauvet said. “Growing up as a musi-cian myself, I realized that a bulk of my obstacles stemmed from a lack of information and oppor-tunity. This is the purpose of I dO Music — to empower aspiring musicians to realize that they hold all the power they need to make it happen for themselves.”

As an extension of the famous, Atlanta-based Patchwerk Recording Studios (hit-making birth-place for Beyonce, Whitney Houston, OutKast, T.I., Cher, and Jay-Z), I dO Music mixer is the outlet for people working in the music industry, taking place the first Thursday of every month at

the widely-known hip spot Apache Café.

“The platform is truly unique in the way that it provides a dependable, consistent and quality platform where people who do music can net-work with like minds, learn from credible pro-fessionals, promote their projects and perform for a real audience. I can’t think of any other local or national brand that provides all of this in such a direct way,” Chauvet said. The set-up is simple: allow for uninterrupted networking amongst the attendees in the beginning, then offer a beatmaker component, a freestyle com-ponent, then the main artist showcase which in-cludes direct, publicly heard feedback from top A&R (Artist & Repertoire) exec Rob Watson (called “The Hot Seat”). The program ends with a topical panel discussion featuring success-ful music professionals. Launched September 2007, I dO Music has continued as a growing phenomenon in the Atlanta area, sometimes packing nearly 500 rappers, songwriters, singers, musicians, producers, A&Rs, and managers into the intimate space. It is not unusual for people to come from different parts of the country to promote their talents and business for the one-night, four-hour event.

They offer more than the monthly showcase and panel, however. The creators have also made “I dO Music University,” an intensive, registration-only, one-day event that, every few months, pairs prominent people in the nation’s music industry to the public who have serious business interests. Grammy-winning pop and hip-hop producers, along with managers and A&Rs for some of America’s most popular acts (Ciara, Fat Joe, Nelly, Jadakiss) gather to share invaluable information in artist development, music production, management and audio en-gineering. There is also “My Band Rocks!” the indie-rock showcase version of the I dO Music event which features some breakout bands in Atlanta every few months as well. It is clear that

I dO Music tries to provide all the resources for the independent music professional, but one thing is apparent: this is mostly for the rap/hip-hop person. There is a small pop presence and a sprinkling of R&B at the events, but for the rocker (besides “My Band Rocks!”), electro-beat maker or alternative or folk crooner, it’s best to market yourself elsewhere. However, I dO Mu-sic’s highly resourceful online blog gives great tips, wisdom and keys to getting to the top that is beneficial for an up-and-coming professional in every genre and type of music industry.

THE EXPERIENCEThe I dO Music mixer includes as many first-timers as regulars. I stood next to Hope, a fre-quent attendee who is an aspiring rap artist from Atlanta, and she gave me a nice and brief description of the type people that come: “seri-ous people that are seriously involved in music.” The opportunities are quite serious as well. One night the showcase portion featured a reggae artist, Akshun, whom A&R vet Rob Watson instantly loved.

“I’ve worked with Kem, India Arie. I’ve worked with the Marleys. Never ever since them have I heard someone as talented as you,” he said on the mic in front of hundreds of people. “If you give me your information I will, I promise you, I will try to hook you up...” That same night, a rapper named Big Rec (from Tulsa, Okla. and now resides in Atlanta) made his new-city debut at I dO Music. He started off with an intimidat-ing, water-tight flow verse in a capella and fin-ished it off with a song that appealed to nearly everyone in the crowd. Promoting himself as the “bridge of the commercial to the underground,” he showed other less-than-inspiring performing acts that you don’t have to sell yourself out for club and radio airplay to get recognized. His winning performance landed him a feature on S.I.R. Magazine and shortly after he received the offer that hip-hop MCs only dream of: opening for KRS-ONE. And who knows what else could happen when a determined producer meets the right rapper, or a hard-working songwriter con-nects with a talented singer on the networking floor? The future of America’s top musical acts could start here.

RE, the rapper mentioned in the beginning of this article, found himself placed in a grand-scale solution, standing onstage in front of hundreds of other music industry types that are striving to

MY NAME IS ________AND

I dO MUSIC BY TRAVIS LEVIUS


“This is for all of the talented true MC’sThis is a dedication to you from meWe in the same boat truthfullyAnd so if you unsigned then keep fightin’ like the UFCI speak, on behalf of the dudes that make beatsThe backpackers-trappersand music fiendsThe game ain’t what it used to beThat’s why we gotta stay connected like a USB…”

PIECES

BY TRAVIS LEVIUS

move forward or trying to bring people forward. RE repre-sented many people in the I dO Music event that have pushed and grinded for so long, and have been patiently waiting for a green light of viable opportunity. The lyrical irony continued in RE’s rap performance that night in his hook:

“I’m just me and my micWith all of my mightI’ve been waiting for this moment for all of my lifeI just wanna be, I just wanna be, I just wannaBe... signed.

Can’t get by with this nine-to-five jobI gotta make it, some way, somehow I just gotta get, I just gotta get, I just gottaGet... signed.”

He’s surely come to the right place.


1. ATLANTA CONTEMPORARY ART CENTER535 MEANS STREET, NWATLANTA, GA 30318Hidden behind the imposing shadows of the High and the Museum of Contemporary Art of Georgia, the Contemporary is unbeknownst to many Atlanta denizens. Phallic-like sculptures greet me as I make my entrance into the gallery and pay the $3 student charge. My eyes immediately go to the neon green and orange hovercraft exhibit. “Yes. This is going to be awe-some,” I think to myself.

The first exhibit I saw was Athens artist and musician Andrew Cayce’s “Recent Paintings.” He utilizes cartoonish depictions of communication towers, noodle-shaped ships and the alien obedience of bears in saturated neons that create a queer, yet almost religious, ambiance.

I stroll into the neighboring room of the gallery and study the mural-sized paintings on the walls. The next exhibit, Amy Pleasant’s “The Bed, after Lautrec,” displays an ethereal depiction of a woman emerging from the clouds in a dreamlike state and is based on the 1893 Henri-Toulouse Lautrec’s “The Bed.” On the next wall, there is a man facing his painted counterpart with matching whimsy.

As the name suggests, The Contemporary houses modern art primarily of Atlanta artists. It also sponsor a number of worthwhile events, lectures and workshops for the community.

2. BEEP BEEP GALLERY696 CHARLES ALLEN DRIVEATLANTA, GA 30308Next up on my tour d’Atlanta art, I head to Ponce to Beep Beep Gallery. I step on some stray wet paint from the attendant who’s out front repainting her van with the iconic Beep Beep robot. “Free publicity,” she shrugs with all the insouciance I expect of a New York hipster. I enter the single room gallery and take a look around. Beep Beep is a very small, independently run gallery that features and sells the collections of an array of local artists. Everything in this gallery screams eclectic, from the mixed media of most of the displays to the heavily graffitied bathroom walls and cleverly kitsch knick knacks for sale. With its comfortable feel and reasonably priced art, Beep Beep is a quiet but cool spot in an underrated part of town.

3. GET THIS! GALLERY662 11ST STREET, NWATLANTA, GA 30318

THE HIGH MUSEUM JUST ISN’T GIVING YOU THE SAME HIGH AS IT ONCE DID? LOOKING FOR YOR NEXT ART FIX? PLEASE TAKE THE PAINT BRUSH OUT OF YOUR NOSE, AND THERE IS NO NEED TO INJECT THE OIL PAINT IN YOUR VEINS. ART AFICIONADOS.

GA

LLER

Y O

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BY IJEOMA OKORO

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After circling the block for a good 20 minutes, I finally stumble across Get This! Gallery located in Midtown. “What exactly am I getting?” I ponder as I push open the door. I immediately understand the gallery’s exclama-tion: construction-worker orange covers the walls, and a large mixed media installation for “______ is not always a bad thing.”, the latest from award-winning Atlantan Ben Roosevelt. In “______ is not always a bad thing.”, Roosevelt takes the mundane from the cityscape and transforms the objects into bizarre graphic statement with a razor sharp wit. The tiny gallery is owned by Lloyd Benjamin, an autodidactic artist who first opened it to “cre-ate [a] forum for emerging contemporary artists from around the country.”

4. EYEDRUM GALLERY290 MLK JR. DRIVE, SEATLANTA, GA 30312I continued my quest for more Atlanta art and I was pointed into the direc-tion of Eyedrum Gallery. The offbeat gallery is “Atlanta’s premiere alterna-tive art space... [that] features everyone from emerging artists to some of the city’s most distinguished experimentalists.” The gallery stands as one of the best places for all sorts of sensory stimulation from the always-changing avant-garde creations of local artists (including Emory’s very own visual arts professor Sarah Emerson), a small stage for live — and sometimes impro-visational — bands that doubles as a space for theatrical performances, an

arena for film and a very colorful people-watching venue. If you love the snobbery of the New York art scene, then you’ll love Eyedrum, particularly on the first Thursday of each month when they hold free-form art events.

5. WHITESPACE GALLERY814 EDGEWOOD AVENUEATLANTA, GA 30307Finally to round out my excursion, I headed to Whitespace Gallery, hardly 10 minutes away from campus on Edgewood Avenue. I step into the brick and steel showroom and immediately feel the comfort and creativity of the wonderfully unpretentious space created by Susan Bridges of Inman Park. I take a look around at the latest exhibit on the walls, “Everything is Option-al,” paintings and sculptural installation by Deanna Sirlin. I pause to soak in a cornucopia of colors erupting from the vivaciously chromatic digital art. With an archive that boasts the detailed photography of Richard Fleming to the abstracted chimera of Julia Hill, the Whitespace Gallery possess a smartly selected array of local and nationally lauded artists. I finally make it back to my dorm room and collapse on my bed after a long day of gallery gallivanting and sigh as I happily overdose on the much-needed art hit.

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PIECES

GET REATARDED INTERVIEW BY CHELSEA SPENCER

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13 frequency WINTER 2008

GET REATARDED INTERVIEW BY CHELSEA SPENCER

Most people familiar with the name Jay Reatard have unearthed the video, which lurks in the bowels of YouTube,

documenting the man behind the pseudo-pseudonym ‘punching some kid in the face’ last year at The Silver Dollar Room in Toronto. More interesting than the clip, however, are the com-ments posted below the video, which reveal a spattering of opinions about the legendarily pro-lific garage punk. “If you behave like stupid cows in front of a good guy by destroying their equip-ment and throwing glass and beer in their faces and equipment, be sure to have a response. I’ve seen them in France and sorry guys, their show kicked ass,” writes eczema1966. “talk about a cunt singer… the kid just got on stage, no reson to punch him [SIC],” writes Flint1955. After over a decade writing music and playing both with friends and alone, however, Jay (née Jay Lind-sey) remains unruffled by the Internet masses’ debate on his relative semblance to female genitalia.

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featureFREQUENCY MAGAZINE: Why did you start making music? JAY REATARD: I guess I made music pretty much out of boredom. Most kids have to do something to occupy their time. It’s just pretty boring being 12- or 13-years-old. I didn’t particularly like the outdoors. I tried skateboarding, but I really wasn’t fond of the jock attitude that still went along with it. It was still a sport and I really wasn’t into sports [and] the competitiveness of it. And I never really got along with guys that well when I was that old, so [I decided], ‘I’m just going to sit in my bedroom by myself and play songs.’

FM: What were your first songs about?JR: I think the first songs I wrote were probably pretty childish. They were probably about what-ever you would think a 12- or 13-year-old kid would write a story about. It was pretty soon after that [age] that my songs ended up being based on contempt for everyone else outside of my room. I got so far removed from social circles or anything a kid should be involved in. I was just in my own self-indulgent world.

FM: Did you let people listen to what you wrote?JR: Not for a while. There was this record store I had been shopping at. I finally got up enough balls to let the girl who worked at counter have a cassette tape of maybe 10 of the songs I had been working on. She passed them along to a guy who was in my favorite band at the time [Eric Friedl of the Oblivians]. He put out my first record right off that tape. It happened pretty quick after I let somebody hear it that I had a record. It was like two months from the point that I got up enough nerve to let anybody hear anything that I had been working on for the past two years.

FM: How old were you when this was happening?JR: I was probably 15 by the time I let anybody hear anything and put out a record. I probably started writing songs when I was 13.

FM: You dropped out of school around that time, right?JR: Yeah, I stopped going after the eighth year.

FM: Do you have any good memories from school?JR: Absolutely, I think that junior high is where you’re really forming your opinions and becoming an independent thinker. I was getting these ideas when I was 12 or 13 that I really don’t like people. I’m a loner and I like being alone. It reinforced all that. That’s what school was good for: for me was [to realize] that I didn’t like being in a room with 30 or 40 people that I didn’t have anything in common with. [I learned] that I like to choose my environment and control [whom] I’m around. And school was the opposite of that. It just rein-forced everything that I was thinking at a younger age. I couldn’t bear the idea of high school. It was just too much for me. I knew that everything that I didn’t like about these kids was only going

to get worse when they became adults. With high school, I wasn’t prepared for it. I couldn’t do it.

FM: What about your music is important to you? JR: The most important part about it to me is that it gave me an outlet to veer off from the center of the highway, to go way into left field and to try to, at a really young age, follow what I wanted to do. It really helped me to live a pretty unique lifestyle and avoid all the trappings of society that I wanted to avoid.

FM: What do you want people to walk away with? JR: Even though I’m an adult now, it’s still sup-posed to capture that moment of being in your room when you’re a kid and bouncing off the walls.

FM: What has changed about your music since you were younger?JR: I’ve learned to focus on things a little bit bet-ter, rather than it just being this blind rage of en-ergy. I think I’ve been able to contain it a little bit and it might be more dynamic now. When I was younger the bands I was in were just — in a live setting and on record — at 11 the whole time and spazzed out the whole time. I think I’ve learned to relax and try to use melody a little bit more and play around with sounds, rather than just turning everything to 11 and screaming as loud as I can.

FM: You’ve lived in Memphis pretty much your whole life, correct?JR: Well, since I was like eight or nine.

FM: Do you like it there?JR: I like to exist inside a bubble of sorts. I’ve created my own fake world here for myself that I really enjoy. It’s disconnected from most people’s reality, and even my own really. It’s really cheap to live here. I can afford not to have a job and still have a lifestyle here that I enjoy. There’s not a lot of people, it’s like a small town. It’s like a vacuum here. You could be doing something for years of your life and no one would recognize. They will just pass you by and never notice, and I really en-joy that. I lived in Atlanta for a while and that was almost too big of a city for me. Cities like L.A. and New York, it just seems like you can’t exist inside of a bubble there. There’s just too many people.

FM: What was it like living in Atlanta for you? What did you do with your time?JR: I lived in Atlanta for, like, a year. I moved down there to record my first solo record [Blood Visions’ (In Red)]. I lived around Ponce at Dekalb, around that area. I made friends quickly with all the Carbonas guys and the Gentleman Jesse dudes. I guess they’re kind of all the same people that make up those bands. I made friends with Bradford [Cox] from sitting in that damn Majestic diner too much every day. That’s basically what I did when I lived there. I would just sit in there all day and talk to people that came in and seemed interesting. I was dating a girl that worked there


featureand I would just sit in there [for] her entire shift and eat cheeseburgers and drink sodas and talk to people about music. I guess I would go to Lenny’s and get drunk on the weekends. That was about it when I was there.

FM: I see from your blog that you’re not a big fan of Cut Copy. Do they represent a greater trend in music today that you dislike?JR: I don’t have any personal objections to [them] or anything. It’s just the aesthetic with their music that they’re employing really bugs me. I just re-ally don’t like the whole idea that modern indie rock has completely removed the rock from it. It’s like people have completely forgotten, with a lot of indie bands, that the roots of indie is rock or punk rock. They’ve gotten so far away from that. They’re influenced by the more watered-down ver-sions, which came later. I like synthesizers, but the bands that I like who use synthesizers use them in a more aggressive manner, instead of just making dance music. I just don’t see what the difference between bands like Cut Copy and house music or techno that you would blindly dance to at a dance club because you’re on ecstasy or something. It’s not very creative. There’s nothing artistic about it to me, or emotional even. It just seems devoid of emotion.

FM: Is there any dance music that you do think is successful?JR: I think the best electronic music was made when the technology was still really primitive, which forced people to be really creative. Now it’s pretty easy to program music with the tools that are readily available to consumers. Before, you had to save up for a long time to get one drum machine that does one thing, so you would get really good at just using that one piece of gear. Now with a mouse click you can download what would have cost you tens of thousands of dollars to assemble in 1983 or ’85, when that whole stuff was starting to happen. It’s just too convenient. It’s our music for people with shorter attention spans. I’m just not a big fan of it.

FM: I see you’re going to Europe soon. What is different about touring in the Europe versus the U.S.?JR: The main difference is that Europeans like art. Europeans like music. America hates art. Over my years, I’ve seen rollbacks in funding for mu-sic and art programs in school. It comes from there. If these kids don’t learn in school to ap-preciate culture, they grow up to be adults who don’t appreciate real culture. They appreciate pop culture. Europeans — well they appreciate pop culture as well — they really like the cheesiest as-pects of American pop culture. But they also really like things that are more conceptual, like bands in America that people aren’t willing to take a chance on and try to understand. They’re into listening to things that challenge them. People here aren’t really into that. If they don’t get it, they don’t get it. So when you tour there [in Europe], they just

treat you better because they’re really appreciative that you came across the ocean to present your music or your art to them. It’s just something you don’t get here. People here just seem like they’re at a show just to get drunk or be entertained for an hour or two. [In Europe], it seems like people come out because they’re really interested and they want to stimulate themselves.

FM: What’s the best/craziest show you’ve ever played? And do those two necessarily equate each other?JR: I think craziest can sometimes turn into worst, or best. We played a show in Toronto, where the guy had oversold the club by about 150 people, so the audience was just collapsing onto the stage. It was a big mass of people just smashing bottles and throwing stuff at us the entire time. [It got] to the point where they just broke everything we were trying to use, one by one, until the show was just impossible. Then it just collapsed. That was probably the scariest or craziest time; things just felt like they were out of control. Things were go-ing to go bad, so I just left. That was probably the worst crazy. The best crazy [was] the first show I ever played. There were no big events, but inside my head it was just the most insane thing ever. I thought, ‘Woah, I’m opening for my favorite band and there’s 30 people here!” It was just something different and so new that that was the craziest mo-ment I’ve had playing a show.

FM: What’s the best compliment you’ve received about your music? And the worst insult?JR: After a while, the insults don’t really have an impact. The most recent one was [when] someone told me that I was ‘a worthless, overhyped, punk rock rock star’ and that my bubble would be burst soon and that I would be working as the greeter at the Wall-Mart within the next few years. And I’m fine with that, it seems like an easy job I guess.The best is [when] I get emails from really young kids, where they say, ‘Hey in an interview I saw you talked about your process of making music and how you do it all at home and how it’s a really personal thing, how you do it alone. And that re-ally inspired me to do the same thing. Here’s some tracks I recorded. I don’t really know what I’m doing, but you inspired me to pick up the guitar.’ That’s really rewarding. I’m always blown away by that.

FM: What can we expect from your show at Em-ory?JR: I give as much to a show as I receive and so if it’s a really energetic audience, then the show will be like when you’re a kid and you’ve [drunk] too much soda. It’s a really high-energy punk show.

FM: What are you plans for the future?JR: I’m just going to keep traveling and writing songs. That’s all I know how to do.


16 frequency WINTER 2008

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IF YOU’RE NOT PAYING ATTENTION, you may hear Pison FLO’s references to dope and “dub sacks” and declare him the one million-and-first rapper to use past (or fictional) drug hustles to jump start his rap career. Don’t be misinformed; he’s really referring to his possession of, as The Fugees would say in their early days, “some lyrical cheeba cheeba.” In that case, his substance is quite potent, perhaps even addictive.

Referring to his fans as “fiends,” he describes his music as “more like a conversation with a dope rhythm to it so it’s easier to remember the story. I tell stories that sound feasible and relative to people I know aren’t being accounted for the radio or TV now.” Born Dale Neal, he first realized his lyrical gift

in college. “I felt like a regular dude with the irregular ability to express true life through rhyme. I kept just making fun songs about what was happening in my life, and from there my homie ‘Mouthpiece’ was like you got a gift from God. Once I realized that, I just put my pen to the pad and never took it off.”

The 21 year-old Midwest transplant resides in Atlanta, and it’s obvious that his musical style reflects both areas. In his songs you get a little Kanye, a touch of Lil’ Wayne, a hint of Lupe and a tad bit of T.I. Consequently, he has the impressive ability to appeal to every rap-coded region of the U.S. His swag and wit is so thorough and his delivery at times so imposing that it’s possible to overlook the fact that he doesn’t cuss in any of tracks, or that many of his lyrics contain uplifting, spiritual messages with none feeling contradictory. He can switch content so quickly that it’s easy to miss.

It’s difficult to encompass all that makes FLO “FLO” with one label or idea. It’s just too much. And he doesn’t stop at rapping. He’s also FLO the actor.

Already being the featured bully in “Madea’s Family Reunion” and frequently appearing on Tyler Perry’s “House of Payne” and BET sitcom “Somebodies,” FLO aspires to become the next Will Smith. “Serious ain’t even the word about how I feel about the film industry. It’s funny you mention Will because I actually thought I was the Fresh Prince in high school! I dug how Will was able to do it with class and respect for all ages and races. I actually was acting before I was ‘rapping.’”

It’s evident that he’s out to be a big influence, for the right reasons. Peep the last lines on his new single, “Dream On”:

“…and it seems, more green come when FLO leanand then Rock, without a bottle of Codeine Even without a model or whole teamof women with pedicures and toe ringsWho only like dudes cause of how they gold blingbut seem to like ME cause of how my soul blingThat mean FLO bling even with no ringOnly when I sleep do you see my low beamsI move life with money, I call “Go Green”Giving back to the hood until it’s your greenAnd I’m still living good getting more greenThey ask me why I do it, tell em what FLO mean.”

I’ll let you do the research.

FLO and Fusion the Band performed with N.E.R.D. at Emory University’s Spring Band Party on March 26th.

THE FIX:Introducing Rapper-Actor

Pison FLOby travis levius


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YEAH YEAH YEAHSIt’s Blitz![Interscope]

I am fairly convinced Yeah Yeah Yeahs’ fans can be split into two distinct categories: those who enjoyed their second full-length album, Show Your Bones (2006) and those who did not. It may seem like a simple distinction, but it is an important one when looking at the trajectory of the Yeah Yeah Yeahs’ career. With Show Your Bones, the Brooklyn-based trio attempted to

vary their repertoire while employing Squeak E. Clean’s production that lived up to its namesake. Its glossy production, coupled with Karen O’s newfound restraint, contributed greatly to an increase in listenership. While the album did boast the occasional great hook, it proved too tame and far too overproduced. For this humble reviewer, “Rockers to Swallow” off their 2007 EP, Is Is, was a godsend. Though the EP was written before Show Your Bones, it was recorded afterwards, with Nick Launay at the helm. The gritty, devastating production marked what seemed to be a return to the aesthetic of David Andrew Sitek, the producer of their debut Fever to Tell (2003), while still embracing advancement in songwriting.

It’s Blitz!, the third full-length album from the Yeah Yeah Yeahs, finds Sitek and Launay sharing production credit — a blessing for the latter group of Yeah Yeah Yeahs fans. Gone would be the sheen of Show Your Bones, or so one might think. It’s Blitz! is, however, still a gi-ant leap away from Fever to Tell and Is Is. It takes the Yeah Yeah Yeahs out of the local dive bar and into the club, offering songs tailored for the DJ booth, interspersed with the occasional slow jam. Though this is certainly a distinct departure for the trio, they manage to create an album with some of the muscularity of Fever to Tell and Is Is, despite an uneven batch of songs.

Openers “Zero” and “Heads Will Roll” introduce this newfound club-inclination and


prove to be equally strong bangers. However, the third track, “Soft Shock,” embraces perhaps a bit too much twee for the Yeah Yeah Yeahs to successfully pull off, while fourth track, “Skeletons,” is overly austere. And so it goes for It’s Blitz!. Throughout the album, the track list proves to be wholly uneven, while never either achieving soaring highs or embarrass-ing lows. It’s Blitz! allows the Yeah Yeah Yeahs to exhibit some well-crafted pop songs sure to draw Blondie comparisons. However, the trade of Nick Zinner’s economical, yet devastating guitar playing in exchange for synthesizers does not always play to the trio’s strengths. It’s Blitz! certainly will grow on listeners, though its favor may be curbed by the band’s new choices.

OVERALL GRADE: C+BEST TRACKS: “Zero,” “Heads Will Roll”

-Sean Hallarman

MSTRKRFTFist of God[Last Gang]

Dance or electronic records are known for following the same general formula: include one or two hit songs amongst obligatory collaborations and instrumental filler.Fist of God, MSTRKRFT’s newest effort, follows this formula religiously.

By far, the best song on the record is “Bounce,” which features rappers N.O.R.E. and Isis. A staple in nightclubs across the globe since last summer, “Bounce” is infectiously catchy and ridiculously danceable. Its near-perfect blend of hip-hop, electro and rock makes it an essential download for any fan of electronic music.

“Breakaway” recycles the piano chord that MSTRKRFT used on their remix of Bloc Party’s “Flux” to great effect. Jamiroquai-like vocals from Jahmal of the Carps give the track a slightly retro feel and make it perfect for the dance floor.

MSTRKRFT and R&B crooner, John Legend, prove to be surprisingly suited to each other on the next of the album’s hits, “Hearbreaker.” MSTRKRFT tame their wild and frantic sound for Legend, giving his excellent lyrics and vocal performance room to shine.

Unfortunately, most of the other collaborations on the album fall flat. E-40 seems barely able to keep up to the dance-paced tempo on “Click Click,” where he only delivers a single verse, leaving the rest of the song unsatisfying. “Word Up,” billed as collaboration with Ghostface Killah, only features a chopped-up sample from the rapper which is sped up and repeated senselessly. The incongruities between MSTRKRFT and these rappers make these tracks fail, even as simple electro-bangers for the club.

Instrumental tracks like “Vuvuvu” or “100 Cigarettes” are fun and fiercely danceable, but ultimately forgettable. The instrumental tracks on this album would be at home in the middle of a DJ’s set, but they simply cannot work as stand alone tracks.

At the end of the day, this album has some definite highs, especially with “Bounce,” but the good doesn’t outweigh the bad. While the album is certainly filled with danceable beats, one can easily find a better soundtrack for a night of debauchery.

OVERALL GRADE: C+ BEST TRACKS: “Bounce”, “Breakaway”, “Heartbreaker”

-Tim Webber

SWAN LAKE Enemy Mine [Jagjaguwar]

Swan Lake’s second release, Enemy Mine, opens with Carey Mercer’s immediately identifiable bluster, squawking over a trudging buzz-saw synth bass on “Spanish Gold, 2044.” Spencer Krug’s distant caterwaul joins in, with his vocal part later replicated in Dan Bejar’s syrupy fashion. All in a day’s work for Swan Lake — the quintessential indie super group, if there ever was one. Swan Lake, consisting of Mercer of Frog Eyes, Krug of Wolf Parade/Sunset Rubdown/Frog Eyes, and Bejar of Destroyer/The New Pornographers, returns with Enemy Mine after 2006’s enjoyable, but ultimately lacking, Beast Moans. Unlike Beast Moans, the result is certainly closer to the sum of Swan Lake’s parts.

While Enemy Mine suffers from similar issues as Beast Moans, such as the three strongly characteristic voices occasionally stepping on one another’s toes, Enemy Mine appears less like a vanity piece and more like an organic, cohesive set of often superb songs. While Mercer and Bejar’s contributions to the album are generally strong, Krug’s tracks stand above the rest.

Despite Krug’s voice being shrouded by distortion and his claim that his “voice is tired,” he nevertheless carries “Settle on Your Skin”

in a most satisfying manner. Within the first few seconds of the track, an eerie momentum is established. It continues through most of the track until a brief respite tapers into the end

of the song, exhibiting Krug’s strong-suit of creating whimsical, wonderfully paced micro-opuses.

Another shining moment for Krug is “A Hand at Dusk,” which opens with an oddly familiar piano part. Creating beautiful melancholy, Krug’s voice shudders over the piano before being joined by Bejar and Mercer.

While the album’s nine tracks are divided democratically between the three songwriters, more collaboration would certainly not be unwelcome. On Bejar’s “Battle of a Swan Lake, Or, Daniel’s Song,” Mercer joins in nearly two minutes into the track in such an outstanding fashion that it begs for Mercer to have taken lead vocals for the entire song. Regrettably, most of the album features tracks sung primarily by their respective songwriter, despite the fact that, as exhibited on “Battle,” trading lead vocal parts on one another’s songs can be extremely effective by placing the singer in structures and textures generally foreign to his usual territory.

Overall, Enemy Mine is effective in establishing Swan Lake as more than a toss-away super group. The album instead provides a diverse, dynamic listen that, despite suffering from occasional flaws, brings Swan Lake nearly on par with each member’s respective main projects.

OVERALL GRADE: B+BEST TRACKS: “Settle on Your Skin”, “Spanish Gold, 2044”

-Sean Hallarman

ELvIS PERKINSIn Dearland[XL]

Elvis Perkins is not from this music

THE REPORT


somehwere fifty years ago, sauntering along the train tracks of a nondescript middle-American valley, with nothing but a harmonica in hand. If this description sounds reminiscent of a certain

Mr. Dylan, it should. It’s hard to deny the similarities between the two musicians’ unique voices, obscure lyrics and their musical struggles between the depressed and happy.

Perkins’ first album, Ash Wednesday, released after the deaths of both his parents, is one full of despair and remorse. It seems to move listeners enough to shout out, “Elvis, I don’t care how beautiful this music is. Here, please cry on my shoulder!” Yet, his second album, Elvis Perkins In Dearland, Perkins presents himself as a changed man, one who would pick up the old, depressed

Perkins and slap him in the face, exclaiming, “There’s life to be lived!”

On this sophomore effort, Perkins’ loneliness fades as he is joined by In Dearland, the

collective ensemble that used to tour with him, then decided to stick around, and rightfully so. In Dearland helps Perkins bring a needed complexity and dynamic feel to his music.

The album begins with “Shampoo” (“because it goes on first and cleans the hair”), and although still slightly somber, there seems to be hope for Perkins, as he exclaims, “I don’t wanna die.” Well that’s good, because this reporter doesn’t want you to either. The second track, “Hey,” establishes the upbeat jingle-jangle that makes this album what it is; it’s as if Perkins

can see colors again. But not until “Send My Regards to Lonelyville” does the album truly depart from the gloom of Ash Wednesday with the integral introduction of, wait for it, horns! And what magnificent horns they are. Featured for the rest of the album, they create a new strength and depth to each song — a New Orleans’ jazz funeral, of sorts. In “Doomsday,” Perkins shouts, “I don’t plan to die! Nor should you plan to die!” And there you go; you heard the man.

This album is a great step for Perkins, and his newly acquired band. It’s sincere, upbeat, and a worthy album for the folk-lover and indie-inspired ears. Perhaps one day this reporter will be seeing you on the tracks, ready for a harmonica hoe down.

OVERALL GRADE: ABEST TRACKS: “I Heard Your Voice in Dres-den”, “Doomsday”

-Lauren Ladov

DAN DEACONBromst[Carpark]

Percussion, brass, vibraphone, piano, glockenspiels, xylophones, bells and electronic mixes à la mode all come together to create an album that descends into madness. In his second official UK release, Dan Deacon’s album Bromst would be a lovely excuse to drop acid and groove ‘till the sun comes up. Bromst would be amazing to see as Deacon performs from within his audience, encouraging constant participation with the music. A Baltimore local, he is best known for his live performance of “Spider of the Rings,” released in 2007 by Carpark Records, which was almost entirely instrumental.

In Bromst, the cacophony of sound begins and ends with the epic dance songs “Build Voice” and “Get Older” sandwiching the album with excellence. “Build Voice” mixes live percussion instrumentation with electronic mixes to start the album off with an exciting wall of sound. In the song “Wet Wings,” Deacon slows it down and switches to a completely different mood as layers of female folk-voices harmonize, culminating with one throbbing mess of lyrical wails.

Schizophrenic electronica dominates the album; but, through use of classical instrumentation, it ties computerized beats and humanistic harmonies nicely together. This is shown with the cascading effects of bells and synthesizers in “Sunprise Stefani.” “Snookered” continues on this trend as ambient swells of looped voices are juxtaposed with childish keyboard beats.

Bromst was released on March 24 by Carpark Records and Dan Deacon himself will be

THE REPORT


performing April 10 at the Eyedrum Art Gallery in Atlanta. I highly recommend you go there ready to dance, dance, dance.

OVERALL GRADE: B+BEST TRACKS: “Wet WIngs”, “Build Voice”, and “Get Older”

-Charlie Watts

JUNIOR BOYSBegone Dull Care[Arts & Crafts]

It should be self-explanatory, especially by the third album. But, I’ll make it clear to all recording artists out there anyway. If you’re going to make a boring album, please don’t put the word “dull” in your album title. The review will basically write itself from there.

Junior Boys, who have thus far built a career on the kind of sublime techno-pop found on late night dance floors, XM radio, and really hip elevators, fail to stir up anything worth caring about on Begone Dull Care, their third studio album.

After their debuts Next Exit, an eccentric and scatterbrained lesson in avant-garde minimalism, and So This Is Goodbye, a more tightly focused and darkly pop-ey work, Junior Boys chose to opt for an album so efficient and so streamlined, it becomes banal.

Instrumentally, Begone Dull Care adds nothing inventive to Junior Boys’ back discography, and even the album in itself feels repetitive. Each song on the album is interchangeable, with unfortunately few exceptions. The band pelts listeners with breathy keyboards and computerized percussion, leaving behind Kraftwerk-ish notions of experimentation in sound. After cutting out their instruments from under them, Junior Boys have little to stand on, offering mediocre lyrics and hookless melodies.

The album opens with “Parallel Lines,” Junior Boys’ electronic ode to “tears, fears…

odds, ends” and one-dimensional geometric structures (although my hunch tells me the song is probably about a girl or something, too). Greenspan’s lyrics are more impressive and expansive here than anywhere else on the album. His whispering vocals complement his band mate Matt Didemus’ infectiously ambient instrumentals, recalling earlier hits like “High Come Down” or “Birthday.”

Yet in later tracks, especially “Sneak A Picture,” the band attempts a soundscape along the lines of soothing techno artist, Stars of the Lid – to unimpressive results. The content of the track fails to fill the seven-minute length of the song, using repeated verse structures and melodies that border insidious. While an album like Stars of the Lid’s Avec Laudenum is a treat to relax to, Begone Dull Care simply puts the listener to sleep.

All too often, Junior Boys hit the same notes too many times. The droning tone of many songs becomes irritable. There are no tracks like “In the Morning,” Junior Boys’ bleak, bass-pumping and genre-bending hit from their last album.

Even in the album’s obliquely titular track, “Dull to Pause,” which opens with a pleasant and refreshing keyboard track, ends up providing nothing that would stop a listener from hitting pause on their music player.

Junior Boys’ previous albums will stand

the test of time much better than Begone Dull Care will. There will probably be an appropriate follow-up to the critically lauded album So This Is Goodbye – but this album just isn’t it. Junior Boys know how to make music; hopefully, their next album will have a less self-prophesizing title.

OVERALL GRADE: C-BEST TRACKS: “Parallel Lines”, “Dull to Pause”

-Geoff Schorkopf

In a couple of the songs, like “Queen of Nothing,” it seems the band just decided to run a drum machine and flit lyrics across the top without much care for the overall quality of the song. Marina was by far my least favorite track as the band attempts a quiet love song. The energy that was created by Tired Eyes and The Hours You Keep through massive crescendos is nothing like this quiet song that lulls the listener to sleep. The lyrics that are in the songs are not very memorable either. I have listened to this album ten times through and I still couldn’t sing along with most of songs as words are muddled behind synthesizers. This might be what the band is going for but I personally love nothing more than pelting out some lyrics at the top of my lungs going 50 mph down Pounce de Leon Rd.

Reading about this band made me much more excited about it than their actual music as they

seem to be at the heart of Indietronic music culture and they use a lot of clarinet. And I can always go for some wicked clarinet. The band

does succeed in their Indietronic endeavors as they blend both traditional and electronic

instruments together quiet nicely. +/- was formed in 1991 and has two other

albums out under the indie labels Teen Beat Records and Absolutely Kosher, which are some of my favorites as they sponsor such

bands as Sunset Rubdown. +/- started when the owner of Teen Beat Records was impressed by

some of James Baluyut, the lead singer, solo work. The first album was primarily a solo gig

but he Baluyut picked up Patrick Ramos as a from the band Versus as a guitarist, Chris Deaner on drums, and Margret McCartney

on bass who would later be replaced by Tony Zanella. Chris Deaner is an interesting

character as he is now the drummer for Kelly Clarkson- not a sellout thing to do at all.

Xs on Your eyes defiantly has it moments but overall I am left unimpressed. Xs on Your Eyes

was not my favorite album but I will give it this: it would be a great album to get laid to.

UPCOMING RELEASESMarch 30PJ Harvey- A Woman a Man Walked By

March 31Peter Bjorn & John- Living Thing

April 7The Coathangers- ScrambleBlack Dice- RepoBat For Lashes- Two SunsThe Thermals- Now We Can SeeAlligators- Piggy & Cups

April 9Lady Sovereign- Jigsaw

April 14Metric- FantasiesThe Juan MacLean- The Future Will ComeDntel- Early Works for Me If It Works for You II

April 21Manchester Orchestra- Mean Everything to NothingArt Brut- Art Brut vs. SatanDepeche Mode- Sounds of the UniverseRick Ross- Deeper Than Rap

April 28Box Cutter- Arecibo Message

May 5Peaches- I Feel CreamFreeway- Philadelphia Freeway, Vol. 2Akron/Family- Set ‘Em Wild, Set ‘Em FreeSt. Vincent- ActorYusuf Islam- Roadslinger (To Warm You Through The Night)Years- Years

May 19Passion Pit- MannersApostle of Hustle- Eats Darkness

May 25Phoenix- Wolfgang Amadeus Phoenix

May 26Grizzly Bear- Veckatimest

June 1Patrick Wolf- The Bachelor

THE REPORT


THE CULTURE REPORT:

ATLANTA PSYCHICS

PSYCHIC CASEYDAHLONEGA

Method: Tarot cards, you pick from deck (free at DUC, 20+ usually)Ambiance: Moons and stars cover the table-cloth. A large conch shell, crystals and a knitted witch’s hat also adorn the table.Quote: “I’m making love to the world. I made a lot of mistakes in my life, but I had a good time!” or “I’m 53, and I’m still gonna go join the circus!”

Her wrist jingled as she spread out the deck of cards. It was hard to tell where the tablecloth be-gan and her clothes ended. Psychic Casey could be your grandma, that is, if your grandma had long curly hair down to her butt, and was a wiccan. She

spoke to us, in her sweet southern accent, as if she was having us over for dinner. She told us one by one to ask her a question. It could be about any-

thing, but could only really deal with the next year or so — psychic powers with an expiration date.

We then picked a card from the deck, flipped it over, and she would have at it. She examined each card for some time, and then spewed out an-swers that seemed to run in circles and were more like crazy grandmotherly advice than the typical psychic’s answer you would expect. “If a man, no matter how beautiful he is, if stupid comes out of his mouth, uh-uh [wagging finger] no way.” Then some-times, she would break into fortune cookie-like expres-sions: “Unlock the you that is inside. Happiness is an in-side job.” She started almost every sentence stating: “If I may be so bold to say.” Ev-ery time she asked this, we wanted to say “no,” but alas, we held our tongues.

As she spoke to me, she rested her hand on my knee, completely unwel-comed, and yet gave me the impression she really cared about me, or wanted to catch a feelsky while she could. Charlie posed the fake question this time, asking whether or not she should stay with her band (Oscar-worthy act-ing, mind you). Charlie reached for her card, and as she turned it over, the tarot card could not be more perfect, it read: “O the Fool”. O the fool, indeed. Psychic Casey after seeing this, immediately insisted that Charlie leave her band, and strike out on her own. Wise words. Psychic Casey was extremely patient throughout the whole process, and entirely willing, almost forcing us to ask more questions. I think she was just lonely, and wanted to tell more people her catchphrases.

Overall Rating:

Psychic TiffanyLittLE FivE POiNts 483 MOrELAND AvE, AtL sANDy sPriNGs5170 rOswELL rD, AtL

Method: Palm ($25), Tarot ($40), Psychic/”aura” readings ($30) and Chakra CleansingsAmbiance: Small apartment, lilac carpeting, pink baby crib, simple purple table cloths, hip-hop playing, wallet kept in baby basketQuote: “I tell past, present, and future.”

From Little Five Points, you’d

expect the local psychic to be a crazy, dread-locked, hmm... what’s the word I’m looking for, freak. But Psychic Tiffany really proved to be none of the above. Unfortunately. A bit wary walking up the creaking, water-stained stairs, I knocked on the door, which just had the hand-written sign “open” on it. A quite large man holding a baby that looked straight out the womb opened the door for us, and we squeezed through, walking into a brightly lit, simply decorated room. Psychic Tiffany waltzed through the other door and greeted us. She had an air about her, something foreign in her manner. She took me into the back room alone. She didn’t want more

This issue’s culture report took a somewhat different turn when Charlie and I delved into the mystical world of psychics. We decided it would be interesting to see what’s what in the psychic field and see who’s real and who’s just bullshit-ting — and who is just really good at bullshitting. We asked them all similar questions, wore similar outfits each time and tried not to give too much away through our body language or speech. For each one, we also asked a fake question, one that revolved around our imaginary bands, to see if they could really see into our “past, present and future,” as they all claimed they could. Our findings were pretty unexpected, forming a new appreciation for the psychic culture, though we were still left a bit skeptical.

BY CHARLIE WATTS & LAUREN LADOv


THE CULTURE REPORT:

ATLANTA PSYCHICS than one person in there at time, for the auras

would get “confused”. Obvious physics. I got my palms read (not because it was the cheapest op-tion, but because she looked very good at reading palms). She held out my hands, glanced at them for maybe seven seconds, and then asked me if she could tell me anything she saw, positive or nega-tive. “Lay it on me” I responded. “First,” she said squinting her eyes, “you’re a good person.” I liked her instantly, though I later found out that she told the same to my friend. She contin-ued by telling me to make two wishes to myself, one of which I then had to tell her, and the other I kept to myself. She proceeded to tell me about myself, pre-dict that something very important was coming through in paperwork (what-ever that meant), and that in five to six months I would be having a very important relation-ship. Why five to six months? I didn’t ask, but apparently the palms revealed it all. She was very concerned with my love life and continued to ask me questions that I couldn’t answer. To change the subject, I asked her about my band — my imaginary band, that is. I inquired about their future, and their pending success. I’m not sure if she saw through this well-acted lie or not, but she told me that my position in the band was just a phase, one that I would soon grow out of. Then she told me I would never have a musical career. Well, that’s just rude. She hasn’t heard me on the har-monica yet! Before I left she, very profession-ally, gave me her business card and insisted that I call her if I had any questions, especially in the next five to six months, not to mention, for free! Overall Rating:

Mother Margaret/Madre Margarita367 CANDLEr rD sE, AtL

Method: Does what she wants, for $20 Ambiance: Everything you could want in a psychic and more. Plush red carpet, ornate white

Versailles-esque couches, porcelain statues of women, babies, angels and Madonnas covered in Mardi Gras beads everywhere. Everywhere.Quote: “Don’t be scared.”

The door creaked open, and this short, old Latina woman, who could barely see past the wrinkles over her eyes, was standing behind it, grimacing. Mother Margaret we assumed, yet she made no introduction, and just told us to sit

down as she shuffled off, not returning for another 20 minutes. But we needed those 20 minutes to take in the scene. Despite it’s normal exterior, the living room we were sitting in was just — well we could not stop saying “wow” — if that paints a good enough picture. The eyes from the hundreds of statues stared at us sitting on the oversized Baroque couches, possibly yearning for escape, or possibly for capture. Mother Margaret, out of nowhere, reappeared, and took Charlie

into a back room, which was marked off by those glow-in-the-dark stars you put on your ceiling as a little tike. The room was dark. A narrow pathway lined by Madonnas, led the way to a table with unlit candles and more Madonnas on top of it. As Charlie sat down, Mother Margaret in her heavy Spanish accent demand-ed that Charlie “take out $20, put it in your hands and make a wish.” Straight to the point. Mother Margaret was a capitalist true at heart. “You’re a good person,” she told Charlie. Well either we are both these “good” people or there seems to be a theme here.

Mother Margaret then bestowed upon Charlie her fortune: she would be happy, successful, have kids and a rich husband in the future. More original fortunes could be found on Bazooka Joe Gum wrappers. She did however, repeat similar aspects of Charlie’s future as our first psychic, Casey, did. When Charlie inquired about whether or not she should stay

in her band, adding the (true) anecdote of her music major, Mother Margaret looked skepti-cal. She said that Charlie should do what she wanted and that she was going to be good at whatever she ends up doing. Lame. Mother Margaret did add, though, that God would open many doors for her. Good, because Charlie had no in-tentions of opening any doors herself. We left disappoint-ed. All the statues, bizarre furniture, and peculiar manner of Mother Marga-ret herself pointed to greatness, nay perfection. Mother Margaret, like her plastic Madonnas, was a complete sham, who dangled her wackiness in front of our eyes as she stole our money from our hands like the little witch she pretended to be.Overall Rating: (it would only be one moon, but those Madonnas were out of sight!)


WMRE

YOU MAY BE GUILTY OF LIVING UNDER A ROCK if you’re a fan of WMRE and haven’t heard of ATL Empire. Many may be well aware of their ubiquitous weekly e-flyers that feature guest rap artists. And many may often ask, “How did they get them on their show?” It is because the show’s DJ’s StatiK (Liam Greenamyre) & Burnsteen Bear (Santosh Reddy) hustle. They hustle hard.

“What makes ATL Empire special is the hard work we put into it,” DJ StatiK explains. “We’re not content to be like other shows, and we’re not willing to accept that the radio at Emory isn’t a big deal. We put in the effort to make sure that we have the hottest guests every week and are playing the best music out there.” ATL Empire’s guests run the gamut from the popular Southern-fried rap of lyrically heavy, conscious artists Killer Mike and Nappy Roots, to the “tear-da-club-up” sounds of DJ Unk and Young Dro. Though its focus maybe on the Dirty South scene, you’ll hear a variety of sounds on their show.

“We don’t just stick to one part of rap, we try and get with it all, from snap music like Unk to more meaningful music, like Nas, to trap music like Gucci and Oj,” says DJ Burnsteen Bear. Tune in to the self-proclaimed “dopest [show] on radio,” ATL Empire, every Thursday 6-8 p.m. for a crunktastic experience.

wmre show profile:

ATL EMPIRE


WMRE Programming12- 2pm Eric and Becca’s Winning variety Hour: Eric Santos & Becca Cozad variety2-4 Transfer Sluts: Sammi Sinsheimer & Peanut Jones pop and emory gossip4-6 The Afternoon Show With Fahad: Fahad Chughtai british, irish, australian, international, variety6-8 PIMP: Geoff Schorkopf indie8-10 Coast To Coast: Chris Hintz & Carson Dimick talk, sports, politics10-12 Mixed Race Babies: Patches Buntichai & Friends indie, R&B, pop, electronic, alternative12-2am The Deep Dish: Josh Booher & Margaret Spear celebrity gossip

2-4pm Damn Hipsters Are F***ing Everywhere: Madison Poche & Lauren Ladov indie pop/rock4-6 Jazz On Funk: Jason Shimiaie & Jassel Majevadia jazz, funk6-8 The Bedinge Hours: Adam Hoffman & Reid Sandler jam band8-10 Galactic Booty Hour: Jenna Mullet & Kyle Wright indie, pop10-12 Ebony and Ivory: Andrew Sears & Alyssa Collins R&B12-2am The Fuzz: Greg Taillet & David Michaels rock, electro

8-10am Open Heart Surgery: Leah Lamoki inspirational12-1 LI Ups the Punx!: Julien Feldman punk, ska, indie3-4 Cyrus’s Show: Cyrus Parlin variety4-6 Sun and Moonshine: Martin Holland & Kylie Petti folk rock6-8 Radio Reloj: Aida Curtis latin, international8-10 Pop! Zombies: Anneka Reid & Tarik Trent bringing 60’s pop, 70’s punk, powerpop, and rock n’ roll oldies BACK FROM THE DEAD10-12 If That’s What You’re Into: Alice Cho, Victoria Alden, & Nicki Janes indie, sexytime12-2am No One’s Listening: Nicholas Kentros, Justin Liu, Adam Rogoff, & Amar Medic eclectic, obscure, mainstream rock

1-2pm Bollywood Funk: Satwant Singh bollywood fusion, bangrah2-4 There’s No ska in Gaff-town & Use Protection: These Indie Boys Are Hot: Lara Kesler & Charlie Watts indie, folk4-6 Unforgivable Wednesdays: Peter Brody & Justin Soleimani indie, electronic, dance6-8 Myxomatosis: Wyatt Wilson & Graham Hadley remixes, acoustic. live8-10 Radio on the Tv: Mclean Crichton, Ben Friedman, & Mike Silwanowicz post-pogressive, nü age metal10-12 Xpressway to Yr Nun: Eliot Johnson power pop, punk12-2am Wonder Mike Radio: Michael Duryee-Browner rap, hip-hop, reggae, funk

9-11am War of Agression: Brad Massey oldies1-2 Real Rhymes: Zayir Malik hip-hop, R&B2-4 ABCs & 123s: Genna Scheuerell & Olivia Seeley rock, indie, alternative4-6 Mike, Ike, and Johnny: Mike Blau, Johnny Lippincott, and Ike Privitera 70s, 80s rock6-8 ATL Empire: Liam Greenamyre (DJ Statik) & Santosh Reddy (DJ Burtsteen Bear) atlanta hip-hop8-10 Tasty Grapes Radio Presents...: Sean Hallarman, Brendan Munzer, Frank Lemmon, & James Poole rock n’ roll10-12 Music Johnny Likes: Mark Kunzman 80s, 90s, and today12-2am Kloset Kommunists: Shreyas Sreenath & Ogy Dharmar rock, indian, jazz, experimental

12-2pm Color My World: Matt Wiegel & Jane Choe music and colors4-5 Der Mikronprofessor: Jonathan Jackson german5-7 ‘Lil Bit of Orange: Pam Sterling & Alex Mogul indie7-9 Money Hungry Radio: Malcom “DJ Greedy” Forde & Corey “Mr. Money” Moore hip-hop, reggae, r&b 9-11 Ibiza Nights: Brenno Valerio & Steven Siegel techno, house

12-2pm The Bistro: Anish Shah & Aru Murthy bollywood fusion, world music2-4 Saturday Curbstomp: Laura Bakewell hardcore4-6 All That: Megan Watters & Elliott Marks 90s alternative rock6-8 Gravity Box: Martim S. Galvão electro mash-up8-9 Sublimaze: Steve Sherrin post-rock, prog-rock, indie9-11 Proper Nouns: Chelsea Douglas & Jamie Nussbaum indie, pop11-1am The Love Shack: Malcolm Tariq & Jayme Chen funk, pop, rock

If you are interested in becoming a DJ, Learnlink Andrew Crichton, Programming Director.

WMRE

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Frequency Issue 23

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Transcript of Frequency Issue 23