"Charity Starts At Home" by Phonte

Hip-hop fans have been waiting. Ever since the split of North Carolina hip-hop group Little Brother, many have eagerly anticipated the moment when Phonte would step back in the limelight, grab the mic and start to rhyme again. But the past few years have witnessed Phonte forging his path as a successful R&B crooner with Grammy-nominated act The Foreign Exchange, with all thoughts of rapping in the back of his mind, appearing once in a blue moon. So when it was mentioned that Phonte was set to finally release his debut solo album, anticipation hit the roof. And when it was revealed that Phonte and 9th Wonder, the producer of Little Brother fame, had reunited earlier this year, Little Brother fans rejoiced. Everything seemed ready for the debut of Phonte Coleman. The question was who would take front and center: “rapping Tay, four-and-half-mic honoree/Or singing Tay, first-time Grammy nominee”?

While each side of Phonte appears on the album, it’s the rapper that takes center stage here, tackling themes that don’t stray far from the material he has been putting out over his career. The themes of the common man are heard, stories of ourselves at our worst and best. “The Good Fight” is a song about money woes, uncertainty of keeping the job and all the frustrations of a 9-5 that the majority of Americans face, especially in the midst of an economic downturn. “Ball and Chain” weighs the pros and cons of marriage, specifically the suffocation that occurs when love dies out in the house. And of course the album has its fair share of lyrical wizardry, such as the back and forth wordplay of Phonte and Pharoahe Monch on “We Go Off” and the opening track “Dance in the Reign.”

Lyrically, Phonte is better than ever. His album combines the rawness and honesty of his Little Brother persona with the maturation he achieved with his recent work as singer of The Foreign Exchange. Having written for himself and other artists since starting his adventures with The Foreign Exchange, Phonte has clearly polished his skills as a lyricist and now, on this debut album, he brings that experience and writes verses like a “pro with the prose/what a concept.” Even with his weaker punchlines, Phonte’s wit and charisma pulls him through, making the lines seem as if he’s delivering them with a wink and a sly smirk.

The production, for the most part, is solid. Nothing stands out, however, and it serves more as backdrop for the lyrical wordsmith to pick up his mic and paint images with words. 9th Wonder provides the same repetitive drum patterns and looped samples that he has become well-known for (whether that is for better or worse). Swiff D introduces the album on “Dance in the Reign” with a church organ and takes it to the church with a synth and Phonte preaching to the congregation. S-1 and Caleb bring a modern production to the quiet-storm sound with hard-hitting drums and an atmospheric sound that allows Phonte and Carlitta Durand to get musically romantic on “Gonna Be A Beautiful Night.”

Overall, Charity Starts At Home features mature, honest, and raw songs from N.C.’s top-notch spitter and crooner Phonte Coleman. It may not feature a breakout song, hold mind-blowing production, but it holds plenty of love and humility that hip-hop seems to have lost in recent years. The last line of the song “Who Loves You More” sums up the album perfectly: “I got a room and a microphone and a family I ain’t seen in months. And I played this record a million times just hoping you would play it once.” Phonte is one of us. He works hard at his job and goes through the struggles in life and love, just like any of us, hoping that someone will take notice at least once. “Let that boy saute!”

Shack-a-thon 2011

It's one of my favorite weeks of the fall semester - Shack-a-thon! Shack-a-thon is a week-long event, running from Monday, September 19 at 8:00am - September 23 at 5:00pm. Student organizations build a shack in NC State University's Brickyard and live in it for the remainder of the week, with the goal of raising money for Habitat for Humanity. Last year alone, more than $17,000 was raised.

WKNC has teamed up with the rest of Student Media to host the Student Media Bamboo Shack (you can even check in on foursquare!).  Constructed out of bamboo, zip ties, WKNC banners and biodegradable polyurethane, our shack is one of the most environmentally friendly shacks that has been built. Each organization came up with their own set of activities to fuel donations. Student Media, for Habitat donations, will be doing photoshoots (thanks Technician!), musical instrument lessons (guitar, accordion, harmonica and singing saw), bake sales and raffling off prize items. These prize items include gift cards, T-shirts and pair of tickets to see Widespread Panic this weekend. The drawings will be held Friday, September 23 at noon.

 

Bon Iver comes back strong with sophomore record

88.1 WKNC’s Pick of the Week 7/7


Coming off of the success of his self-released debut album, For Emma, Forever Ago, Justin Vernon, lead singer of Bon Iver, had a lot to live up to. Where he could have relied solely on the success of his debut, Vernon decided to evolve out of the cold, isolated feelings of the debut, and move into a world of sound that is optimistic yet grounded in reality, and colorful in its production.

The execution of tracks is quintessentially different. While in For Emma, Forever Ago the instrumentals were consistent and to the point, Bon Iver have produced a sound that is complex and varies multiple times within any given track. "Perth," the opener, starts with drums that drive the song forward. Then come along Vernon's vocals that push the forward. Then both come together for what is an extremely powerful moment within the opening track.

Bon Iver's self-titled album is muddled in its beautiful and tragic compositions—the mixture of sounds and paces transforms what could have come off as another tragic album into something that has hints of hope.

Although grounded in reality, the guitars are precise and add a level that compliments the lyrics in ways that introduce overall depth of the record overall. They are precise and the intensity of the guitars alongside the vocals helps dictate the overall feeling of the album.

It is the range within the vocals that also stands out within this work. In songs like Minnesota, WI, Vernon's ability to go from a somewhat unexpected low sound to the normal higher pitch makes a stunning difference in the delivery, and his ability to transition between the two sounds works seamlessly within the emotion Bon Iver projects. While the deeper vocals accentuate this very blunt meaning, the higher vocals emphasize the vulnerability of the subjects in the tracks.

Timing and precision are some of this album's greatest qualities. While in moments that feel similar to the dark and cold Bon Iver of before, Vernon and company construct these little moments that capture everything the listener needs to understand about the emotions that are being expressed, without weighing the listener down.

The perfect example of this comes in "Wash." As the track begins with a very simple piano intro followed by Vernon's vocals, it then picks up additional orchestral elements that fade in and out in a flash. Yet, as they seem to linger in the background, they provide for one of the most piercing moments in the album. The violins provide a brief, striking whirlwind that emotes all of the anxiety that builds up until Vernon sings with appropriate punctuation, "We finally cry."

Even in moments that seem completely unexpected, Bon Iver is able to tap into the dreary themes that won over so many earlier. In the final track "Beth/Rest," all the emotional sadness and intensity of any Bon Iver track are dominated by this 80s sound filled with vocal correction, saxophone and funky synth. However, they are all twisted brilliantly to work well within the arsenal of Bon Iver's catalogue.

If there was one thing that could have potentially got in the way of Vernon and company with their sophomore release, it would have to be the immense hype and anticipation following the critically acclaimed debut. In using the tragic tones of previous works and in expanding the musical arsenal of Bon Iver, Vernon has not only met the benchmark set by his first, but also raised it to a whole new level.

Bon Iver will come to Raleigh July 29 to tour with local band The Rosebuds, at the Raleigh Amphitheater.

88.1 WKNC Pick of the Week is published each week during the summer in the print edition of Technician, as well as online at technicianonline.com and wknc.org.

Panda Bear releases 'emotive' album

88.1 WKNC’s Pick of the Week 4/13


Animal Collective's Merriweather Post Pavilion was the apogee of 2009 music. The first time I heard the album, I was filled with absolute intrigue -- complex and subtle melodies evolved from thin, scaly, harsh textures in unexpectedly delightful ways. I was carried to heights I didn't before know existed.

The music was horrifying, yet it was wondrous, much like the first time I witnessed an eclipse or experienced a roller coaster. Its mystique drew me in and captured my attention in an unusual way. I didn't know how to approach the organized sea of harmonies, but I sat with my earbuds tightly in and listened. For the first time in years, modern music had me captivated. Today, I attribute Animal Collective with having turned my musical perception inside-out.

Noah Lennox sings vocals for Animal Collective and plays drums and guitar for the band as well. Yesterday marked the release of his fourth solo album Tomboy, much anticipated since its titular single dropped in the middle of 2010.

Previous releases by the artist who goes by the moniker of Panda Bear spanned into the deeply abstract as scarcely-changing tones droned on for minutes. However, Tomboy is an interesting change in pace as what is easily his most accessible album release yet.

Stylistically, it mirrors Animal Collective's 2009 release in its patterned intricacies. Sound fills every track's crevices, expanding to include percussive beats and crunches. The experience is practically religious, though in his April 4 interview with music journalism website Pitchfork, he hesitates to let it be labeled as such.

"It's not serious in a heavy-handed way -- and I really hesitate to say it has any sort of religious or sacred feeling -- but it's in that direction to me," Lennox told the website. He continued to describe the conditions of the recording studio -- dimly lit, uncomfortable, isolated and in a basement in Lisbon.

Despite its studio recording setting, this album is anything but claustrophobic.

In "Slow Motion," depth is portrayed with every reverberating beat. This piece is the impressionism of modern music; every meticulously placed, painstakingly perfected stroke of tone is visible under the microscope and up for interpretation. The listener is likely to get lost while attempting to sift through the multitude of layers.

"Alsatian Darn" plays with vocal inflections. Lennox himself fades into his music, becoming another instrument in the mixture. "Say, can I make a bad mistake? Say what it is I want to say to you, say what..." These lyrics loop into a cyclone of emotional confusion and somehow, the line between the listener's psych and that of the creator fades into obscurity.

Tomboy is Panda Bear's most recent release and one of the most emotive albums that this reviewer has ever heard. It's mastery of riveting textures is matched by the unique mood it creates. It is the perfect example of this generation's innovations in genres, and every listen-through is guaranteed to uncover previously over-looked details.

88.1 WKNC Pick of the Week is published every Wednesday in the print edition of Technician, as well as online at technicianonline.com and wknc.org.

N.C. band blends past and present on new EP

88.1 WKNC’s Pick of the Week 4/6

There are few bands as unique as local North Carolina legend Between The Buried And Me.

Time has seen this band shift from a pure metalcore band into prog-metal masters. Every album of theirs has shown a shift and change in not only the band's talent, but also in their songwriting skills. This EP, while it only contains three songs, holds a wealth of material contained in them.

From beginning to end, he Parallax: Hypersleep Dialogues will take more twists and turns that 24 does in an entire season. What truly sets this album apart from the band's previous endeavors, however, is the seamless blending of past and present elements.

We get a sense of what is to come from the start of the record as Thomas Giles ominously plays his keyboards, as if he were summoning the ferocious beast Godzilla from the depths of the ocean for "Specular Reflection." Just as the piano crescendos into a climax, the guitars and drums kick in, pummeling you with frantic riffs and erratic blast beats.

All throughout this barrage, Giles's vocals berate us with a harshness seen in many death metal bands. As he screams his heart out, the guitars take a gradual change from intense pummeling to a firm massaging, blending intricately with the harshness of the vocals, before breaking down completely into a serene progressive interlude.

Giles's vocals adapt to this change as his vocals take on an ethereal aspect, seeming to float over the air, as guitars hold a sustain over a constant drum beat, that slowly builds up into a melody that would make Muse jealous.

Seamlessly transitioning from the first song, "Augment of Rebirth" sweep picks its way into BTBAM history as being quite possibly the heaviest song the band has ever written. Constant stop-go guitar riffs litter the song from beginning to end, as keyboards seem to sneak in ever so slightly, intertwining themselves with the riffs and gutteral vocals.

Seeming to draw inspiration from The Dillinger Escape Plan with regards to insanity, the band constantly switches between intense fast playing and heavy breakdowns that seem to beat into your very soul.

But true to BTBAM style, they refuse to stay constant as they inject a polka interlude reminiscent of the bards of old as they entertained kings, before merging into a polka metal fusion blasting its way through your speakers.

In what could be my favorite song written by the band, "Lunar Wilderness" encapsulates everything that makes BTBAM, well, BTBAM.

It starts off beautiful and chill before suddenly kicking in with harsh vocals and catchy guitar riff that sticks with you for the rest of the day. The vocals take on a dual aspect as they shift between gorgeous clean vocals and harsh yelling.

Known mostly for their intricacies in guitar work, the band spares no expense as they unleash solo after solo, sometimes undercutting the vocals and creating a vacuum of intensity. Suddenly, as if the heavens decided to part and spare us from this destruction, the song drops into a peaceful ending interlude, letting the listener down from the chaos.

Combining all these songs together into one long, conceptual piece, these North Carolinians show they can fuse the beauty with the brutal and the calm with the chaotic, forming a tornado that will sweep you off your feet before putting you back down.

88.1 WKNC Pick of the Week is published every Wednesday in the print edition of Technician, as well as online at technicianonline.com and wknc.org.

The Dodos fourth album catchy, attention-grabbing

88.1 WKNC’s Pick of the Week 3/30

The San Francisco indie-rock band The Dodos released its fourth album, No Color, March 15. The duo Meric Long and Logan Kroeber teamed up with ex-member Keaton Snyder and tour mate Neko Case to create what is arguably the best album released this year.

Fast-paced minimalist percussion and rhythmic vocals drive the nine-song album. Neko Case of The New Pornographers contributes backing vocals for five songs. Despite being the vocal powerhouse she is, Case adds just the right addition of harmonies as to not overpower The Dodos, but simply make a great supplement to the album.

The album's opener, "Black Night," begins with attention-grabbing drums and melodic guitar. A distinctive trait of The Dodos is its lack of bass drum. Instead, Kroeber swapped it out for a tambourine. This is an unconventional route to take, but it generates a unique formation of songs.

Songs like "Going Under" and "Good," which both feature Case, are very catchy. Influences of The New Pornographers are evident, but not subduing The Dodo's style. The drums pound in an exciting cadence, balanced by the guitar work of Long.

Four songs in, "Sleep" continues the up-beat folk-rock, utilizing repetition and harmonies. Case echoes in the background, adding depth to the song.

"Don't Try and Hide It" is a little different, starting out with acoustic guitar and vocals only. The drums sneak up after the first minute. The rise and fall of the vocals works well in this song, especially with the notes Case can hit. She harmonizes with Long, singing "You are nowhere/you are nothing vacant."

"When Will You Go" offers a mix of fast and slow beats, along with sections of both jam sessions and single-instrument solos.

"Hunting Season" is similar to The Dodos' earlier work, like their big hit "Fools," off of Visiter. The Dodos found something that worked and stuck with it in this song. The lyrics are a little wittier, such as "this is what I've been waiting for, and the red light/you go be a girl I'll be leaving tonight."

"Companion" begins by dancing around classical guitar-picking and ethereal vocals. The album's closer, "Don't Stop," reverts back to the quick and choppy drum beats and steady vocals. The song finishes with a concluding crack of the drums, leaving the listener with a racing heartbeat and wanting more.

The raw and rackety drumming is the pulse of this album. The simple strumming and fastidious finger picking add spirit and bring the album to life. The chemistry between Long and Kroeber emulates that between members of a jazz band, in which each person plays off what the other is doing.

The Dodos are not afraid of experimentation, which is easy to see as the music floats between pure indie rock and folk rock with elements of psychedelic.

This album is a good follow-up to their 2009 release, Time to Die. The Dodos were on point, setting the bar high for the many new releases to come this year.

88.1 WKNC Pick of the Week is published every Wednesday in the print edition of Technician, as well as online at technicianonline.com and wknc.org.

Unsigned artist makes it on his own

88.1 WKNC’s Pick of the Week 3/23
By John O'Neal, WKNC DJ Buck Nasty

There's a lot of hip-hop knocking on people's doors nowadays, from little-known artists like Yelawolf to full blown show-stoppers like Nas. But nothing draws attention like having a lyricist who can wow you with his smooth flow while also injecting heartfelt emotions that leave you wanting more.

That person is Shawn Chrystopher, who hails from Inglewood, California. His latest album, You and Only You, is available free for download on www.youandonlyyou.com and features more hits than any album you would buy.

Shawn Chrystopher starts by using his real name as his rap label, which is surprising. He also sports no label, so he has the creative authority over all his own sounds.

It's OK if you haven't heard of him after three mixtapes, three albums and two singles. I first heard of him after watching The Reason's music video on YouTube, which is a dry showcase of what hip-hop should be.

What you don't expect is for his main song to be so raw. "You and Only You," the first song on the album, is spoken word. It reminds you that rap is only poetry over a beat, which a lot of artists forget. He talks about the material wants his girlfriend wants, and how he wants to make it big in the business for his mother.

I give a quick listen to songs on little-known rapper's albums, not because I don't think they don't have anything to say, but because the first 20 seconds make or break a song to me.

"Emergency Broadcast" will have you still listening for all one minute and two seconds of it, with your head bobbing. With the ripe trumpets and the melodic voice he presents, you wonder why rappers don't stay this fresh.

Another song that had me pressing repeat was "The Hangover." Many movies and songs have tried to embody this feeling, but Chrystopher captures it with ease. You can visualize the scene he is painting, and the beat's feel complements the message very well.

The image that a rapper is living well is a message that's put out too much. I thought Shawn Chyrstopher's "Sold Out Shows" featuring Cameron Wallace was another song like this. But his verses embody what he actually feels and how he puts so much effort behind making it.

You may not love hip-hop for whatever reason, but Shawn Chyrstopher's self-made sound is refreshing and worth the download, especially because it's free. He's at the South by Southwest festival right now without any label backing promoting his music, and I wish him the best for it.

88.1 WKNC Pick of the Week is published every Wednesday in the print edition of Technician, as well as online at technicianonline.com and wknc.org.

Alex Winston delivers charming sound

88.1 WKNC’s Pick of the Week 3/16
By Alexandra Adams, WKNC DJ Alex

Alex Winston's new album, Sister Wife, is characterized by Winston's fresh pop sound, clever lyrics and unbeatable hooks that you'll be humming after the first listen.

In 2009, she released Basement Covers, an album featuring covers of Mumford & Sons, The Rolling Stones and three others. It was literally recorded in her basement with Winston playing every instrument, and caused record labels to start paying attention. Her latest, Sister Wife, at just over 21 minutes long, is a perfect primer in Winston's unique style that has her poised to become an indie darling.

The 23-year-old Detroit native and classically trained opera singer wrote all of the album's songs, in addition to playing all of the instruments on the recordings.

Most of Winston's songs stay in her signature high-pitched, almost girlish tone. Her Joanna Newsome-esque sound may seem like it could be unappealing to some, but she does it all so well that it's incredibly charming and highly addictive.

"Locomotive" starts off the album with a driving beat and Winston's characteristic undeniable hook that gets in your head and stays there. It features a slight twinge of electro-pop while still avoiding an over-produced sound.

Next, the title track, "Sister Wife," is an irresistibly catchy song and a twist from the usual "love gone wrong" theme of many songs. Her play on the term "sister wife" is  easily understood by the listener and is like a cultural time capsule of America's current fascination with the members of the Fundamentalist Church of Jesus Christ of Latter Day Saints who have a bunch of wives.

She hilariously declares with gumption, "Hey there, Sister Wife / Get the Hell out, it's my night / You don't know the way to his heart like I do." The song shines as one of Winston's best.

"Sweet James" is reminiscent of She & Him's 60s girl group-influenced love songs. It's a bouncy tune similar to Zooey Deschanel's cheery, clever songwriting.

"Sweet James" is a modern cousin to the Motown-style tunes about innocent affection between girl and boy, complete with Winston's endearing "ooh oohs" and loving declarations that this James fellow is "nice as nice can be" and "true blue."

The one blunder of the album is "Don't Care About Anything." It seems to be meant as an emotional, stripped-down change of pace from the rest of the album. However, the track mostly comes off as strangely saccharine wailing until the relief of a somewhat redeeming chorus and violin solo.

"Choice Notes" is the album's second single and is upbeat with great production that isn't too over-the-top. Its fresh sound and happy beat has helped the track get grabbed up for some commercials in the UK, where Winston already has a dedicated following.

Sister Wife is a strong release full of charm, originality and authentic talent. From the strong songwriting and the fact that she plays every instrument on the album herself, Winston has quickly proven that she is a talent to look out for.

It is obvious that as she heads this week to perform at the South By Southwest (SXSW) Festival in the music mecca of Austin, Sister Wife is only the beginning for Alex Winston.

88.1 WKNC Pick of the Week is published every Wednesday in the print edition of Technician, as well as online at technicianonline.com and wknc.org.

"Dye It Blonde" both familiar and new

88.1 WKNC’s Pick of the Week 3/2
By WKNC DJ Margot

Musically, my parents and I do not agree on much. They raised me on ABBA, Moody Blues and everything 70s. By high school, I had dropped everything oldies for the indie music that is so prevalent in our generation.

But, after giving them a good listen of the Smith Westerns new album, Dye It Blonde, I had the whole family agree on a band that didn't hit their peak in 1978. And if you haven't been listening to indie music, the Smith Westerns provide a great starting point.

The band doesn't throw you through the hoops of obscurity that many people feel indie music is, but reminds fans of the early rock they grew up listening to as kids.

Dye It Blonde is the second album that the band has produced and was just released in mid-January. Their 60s-inspired Beatlesque sound is both familiar and new, compelling listeners to keep listening through the end of the album.

Their lyrics are honest and simple, and complement  their traditional yet somehow experimental instrumentation well. Expect strong electric guitar, pop keys and soft vocals that are oddly mesmerizing. Also expect a lot -- and I mean a lot -- of electric guitar solos.

The band hails from the Windy City and consists of vocalist Cullen Omori, guitarist Max Kakacek and bassist Cameron Omori. Before this album release, they toured with some of the big names in the business -- MGMT, Florence and the Machine, Belle and Sebastian and Passion Pit. The band was named band of the week by Rolling Stone Magazine after their release of Dye it Blonde on Jan. 18.

For a first listen, check out the tracks "Fallen In Love" and "Only One." These two songs are both different, but are connected by minor chords and melancholy rock that makes you want to take a road trip -- just in time for Spring Break. So, grab a copy of Dye It Blonde, get in the car with some friends and book it.

If you are already a fan of the Smith Westerns or didn't like them the first time you heard them, expect cleaner, softer sounds and clearer vocals -- an overall improvement from their self-titled first album in 2009.

Dye It Blonde is the band's graduation album, from teenage garage sound to a more polished, grown-up sound. The band leaves behind the harsh, quick vocals for slow melodic echoes.

Check out the song "Smile" for something clearer and dreamier than their original sound. The song features a chorus that is unexpected compared to the rest of the album, making the song stand out compared to the rest of the tracks.

Dye It Blonde provides a great transition, both for the band and for the 60s sound that seems to be coming back in great demand. I would recommend the album to anyone who's been looking for a Beatles rebirth or is a fan of the Dum Dum Girls. Imagine a masculine, louder Dum Dum Girls and you have the Smith Westerns.

88.1 WKNC Pick of the Week is published every Wednesday in the print edition of Technician, as well as online at technicianonline.com and wknc.org.

'Limbs' starts off slow, makes a promising finish

88.1 WKNC’s Pick of the Week 2/23
By Seth White, WKNC DJ Goof

Since their  2003 release Hail to the Thief and their departure from Capitol Records, Radiohead has broken away from the typical formalities of releasing an album.

Radiohead doesn't release singles, and rarely mention that they have anything near completion. Then one day they say they have a new album coming out, and four days later you have it in your lap.

The King of Limbs is Radiohead's eighth full-length album, and finds them once again polishing off the direction they have been heading in since the release of 2000's Kid A.

In Kid A, they wiped away the guitar-driven rock band persona they developed in their first two albums for something much more abstract. They experimented with scattered percussion segments, looped vocals and ambient noises that can easily leave the listener lost at first, but rewarded in the long run.

Limbs starts out much the same way with "Bloom." The song skips and buckles with spattered drum beats and an off-kilter bass line that slowly grows. Finally, Thom's reverberating vocals reel you into the bigger picture.

Although "Bloom" is entertaining, it is nothing the band has not tried before on Kid A or Amnesiac, and is probably the lowlight of the album. "Morning Mr. Magpie" is the same. It's better than the first track, but lacks the excitement expected when one hears Radiohead.

Limbs really starts to pick up speed in the third track. "Little by Little" is an energetic number that recovers from the dullness of its predecessors.

"Feral" is the most outlandish track on the album. It is an instrumental piece comprised of fast-paced, high-pitched drums, consumed by overwhelming bass and synth notes. Much like the rest of the album, it has a constrained, claustrophobic sense of urgency.

"Lotus Flower" is the album's dominant force. It is catchy, beautiful and reminiscent of the 90s band Massive Attack. "Codex," the following song on the album, is an elegant slow-burner that  quickly diminishes this excitement. The band seems to take a page out of Bon Iver's playbook for "Give Up The Ghost". Thom's vocals are at their prime here. They are haunting and calm, soothing and fearful -- a brilliant dichotomy that truly makes Radiohead the world-renowned band they are.

The album ends on a high note with "Separator." This song is much less controlled than the rest of the tracks and is riddled with perfectly-placed overlapping vocals. Unlike the restless feeling given off by most of the previous tracks, "Separator" comes across as much more optimistic.

Although Limbs starts off slow, it gains speed and makes a promising finish. As with most Radiohead albums, it needs countless listens to be fully understood. It takes time to appreciate it for what it is.

88.1 WKNC Pick of the Week is published every Wednesday in the print edition of Technician, as well as online at technicianonline.com and wknc.org.

Self-titled debut shows heart and determination

88.1 WKNC’s Pick of the Week 1/31


The world of distorted rock is one that many bands dare to succeed at doing well, but ultimately fail at when it comes to executing at an album level.

It is a highly fickle sound that some attempt to manage, but fail to pick up an audience that becomes significant at a larger level. Even with all the disadvantages of taking a path that does not frequently lead to success, Yuck has embarked on this task.

As their debut album proves, they have all the potential of being a band that proves to be at the front of rock fans. Receiving accolades from the likes of the BBC Sound of 2011, Yuck had a lot to live up to, and their debut holds up astoundingly.

Yuck wastes no time when giving the audience a direct message about what they have come to accomplish. The first track, "Get Away," kicks into gear with little hesitation. The punch from the guitars has a raw and rhythmic tone with a subtle screech that makes the track accessible and instantly likeable.

Starting off on a good foot, Yuck follows one of the best tracks on the album with another that tops the list. Changing up the overall feel of their lo-fi sound, Yuck shows a lot of heart and determination. Their guitar riffs are soaring and contribute to the momentum of the tracks rather than serving primarily as a placeholder.

The brilliant thing about the young group's album is not that they deliver one hard-nosed track after another, but that they have a precise understanding of pacing and are willing to venture outside of their comfort zone.

Instead of over-saturating the listener with several songs in succession with the same tone and grittiness, Yuck strategically places tracks that are much slower, easier on the listener and expose an additional depth to the band not previously seen.

Pacing and changing up the tone of songs come to a pinnacle when placed perfectly into the middle of the album with the track "Georgia." Nostalgic, poppy and high-energy, "Georgia" becomes a standout that demonstrates the raw talent of such a young group. Adding their female member's vocal talent to the track demonstrate how they are able to diversify their overall sound.

For the lovers of 90s rock of a similar likeness, it is hard not to pin down the influences of 90s lo-fi acts within many of the songs. "Operation" quickly becomes one of those tracks that highlight the magnificence of artists before them, while demonstrating the band's enormous amount of heart.

Yuck provides for a sound that is easy to compare to other lo-fi artists, yet unique overall. It's simple, direct, distorted rock at its finest.

Ending off a fantastic album the right way, Yuck delivers the spectacular seven-minute journey "Rubber." Full of anxiety and the scruff that overwhelmingly defines their sound, "Rubber" becomes an excellent finale to what is a magnificent debut. If anything, Yuck is supremely appetizing to anybody that wants to listen to rock as loudly as possible.

88.1 WKNC Pick of the Week is published every Wednesday in the print edition of Technician, as well as online at technicianonline.com and wknc.org.

The Decemberists release "The King is Dead"

88.1 WKNC’s Pick of the Week 1/26
By Sarah Hager, WKNC DJ

The Decemberists celebrated their decade of making music together with the Jan. 18 release of their sixth full-length album, The King is Dead.

The Portland, Ore. natives are known for their mix of indie, folk and rock music all packaged under the chilling yet soothing voice of Colin Meloy. The new album offers another genre blend that wasn't prominent on former albums. The influences of Americana and blues are unmistakable during each new track.

The six-piece band plays an array of over 14 instruments, including Hammond organ, piano, violin and harmonica. In addition to the band members, guests Peter Buck of R.E.M. and indie folk star Gillian Welch also appear on the new album. Despite the mass amount of instruments and bodies, each song has deep layers of music without any part of it sounding odd or random.

"Don't Carry It All" starts off the album with a blast from Meloy's harmonica to immediately set the mood of The King is Dead. All the instruments complement one another. Sara Watkins harmonizes with Meloy on the choruses, which turn out to be a common tool throughout the album.

The second track picks up the tempo and adds interesting lyrics, which are an aspect of The Decemberists that any fan immediately recognizes. Their lyrics consist of clever rhymes and vocabulary-building words virtually every time.

"Down By The Water" and "Rox in Box" are truer to older Decemberists music. The first features harder cymbals, harmonies in all the right places and musical build-ups to engage the listener. This is the one you'll sing along to first. The latter is also catchy, but has an older feel to it, laced with sharp guitar licks and accordion.

"January Hymn" reminds me of Dave Matthews Band. It's slower with heavy reliance on acoustic guitar and voice. Lyrics like "April, all an ocean away, is this the better way to spend the day/Keeping the winter at bay" paint a scene of someone deep in thought, retracing their choices. With a shaker acting as the only percussion, the listener focuses on the lyrics and gets lost in thought.

"This Is Why We Fight" is a track that has more rock than country. The lyrics are choppier and repetitive, making a point and getting straight to it. "Come the war/come hell" paired with a chorus containing "and when we die/we will die/with our arms unbound" has a political air to it. The last 45 seconds of the song feel like listening to someone playing guitar from another room.

Overall, this album was not what I was expecting, but I enjoyed it. They embrace their Americana roots and run with it. This is right up the alley of fans of Bob Dylan and Neil Young. The vocals, wide range of instrumentation, lyrics and genre variation will reach a wide listener range. Although it strays from the rockier center of traditional Decemberists music, The King is Dead is definitely worth a listen.

88.1 WKNC Pick of the Week is published every Wednesday in the print edition of Technician, as well as online at technicianonline.com and wknc.org.

Folk group debuts sophomore album

4/26 WKNC Pick of the Week

written by DJ Ones, WKNC Daytime deejay

Following the immense success of 2008's debut self-titled album, Fleet Foxes took three years of touring, recording and reflecting before their sophomore release, Helplessness Blues.

The delay, although difficult for early fans, may have done just what it needed to calm some of the hype for their second full-length. It also allowed time for Fleet Foxes to grow, experiment and hone their skills as proper folk artists.

Fleet Foxes, while holding onto their abilities to create folk tracks with large amounts of grandeur, allowed themselves to experiment, reflect and refresh what could have been an attempt to repeat the sounds present on their debut. Quite simply, Fleet Foxes did everything that was necessary for a proper sophomore album.

Getting an early insight into the majestic, nostalgic mind of lead singer Robin Pecknold, the album starts with an intimate beginnings as he reflects, "Oh man what I used to be!" As the harmonies of the band echo in the background, Pecknold carries along with hopeful yet observant sentiments on what could happen and what already has happened, a proper opening for an excellent second album.

Helplessness Blues keeps the audience captivated as they experiment with new techniques for song writing.

On two different occasions the band combines two songs, which create some of the most peculiar moments on the album. In "The Plains/Bitter Dancer," Fleet Foxes start with a light, yet long instrumental opening that merges into a track that is less traditional Fleet Foxes, and instead calls back to the older folk generations that influenced their music.

Some of the most stripped down moments throughout the album allow for some of the most powerful moments.

In the title track, Fleet Foxes hone this surging folk sound dominated by multiple acoustic guitars, the range of Pecknold and the ability to progress tracks from within to climax.

Pecknold and company have the capability to bring in beautiful lullabies to calm down and change it up. In "Blue Spotted Tail" they utilize only the smooth harmonies of Pecknold's voice and a guitar, which proves to be both soothing and dreamy.

However, Fleet Foxes is able to deliver one of their greatest tracks with the conclusion of Helplessness Blues.

"Grown Ocean," a soaring dream of Pecknold's creation, carries alongside an optimistic, grand collaboration of all elements, old and new.

Hearkening to some of the vast musical mixtures of their first album, Fleet Foxes is also able to create layers with incredible precision. As flutes penetrate the epic collision of instruments that guide us along the dreamy atmosphere of Pecknold's lyrics, Fleet Foxes conclude their excellent album with one of the greatest folk tracks of the past decade.

Through a combination of experimenting with new musical elements, utilizing their previous combinations of folk music and writing meaningful lyrics, Fleet Foxes delivers one of the best albums of the year.

88.1 WKNC Pick of the Week is published every Friday in the print edition of Technician, as well as online at technicianonline.com and wknc.org.

WKNC wins SCJ Awards for Excellence

You know WKNC is excellent, we know it's excellent, but its great to receive awards for a job well done.

In the annual 2011 Society for Collegiate Journalist Awards, NC State Student Media was highlighted for many different achievements.

WKNC earned:

2nd place in Companion Broadcast Website Overall Excellence

2nd place in Radio Commercial, Promotion,  Public Announcement

 

Among other facets of student media are the award-winning Agromeck yearbook; and photography and columns from the daily newspaper, Technician.

"The Age of Adz" deviates from norm

88.1 WKNC’s Pick of the Week 10/28
By WKNC DJ Margot

Sufjan Stevens has been silent for the last five years. His last album, Illinoise, was released early in the summer of 2005 and consisted of his usual, brilliantly haunting pop that is anything but normal.

The Age of Adz, released in early October of this year, follows a different path for Stevens. Instead of the orchestral arrangements we have come to know and love from his older albums, Age of Adz is brimming with electronic sounds and synthesizers.

For many Stevens followers, such as myself, this album instilled shock and anger. Stevens already took the originality that we loved and threw it to the ground. Everything has changed.

Stevens is no longer following his quest to create an album for each of the 50 states. Shocked fans discovered that the states mission was only an advertising scheme.

Listening to the new album, there is hardly a hint of Stevens's famous banjo. This news hurts.

But, by giving The Age of Adz a chance and a good listen, fans are able to see Stevens as the artist he represents. He is no longer a one-sound musician, but a genuine talent who has more to offer the world.

For those who have not experienced any music by Stevens, this is the time. Stevens covers a full spectrum of sound. The Age of Adz gives listeners a taste of the future for music.

Brass instruments mixed with electronic, constant beeps followed by trills and Stevens's known harmonies alongside auto-tuned tracks -- this combination of sounds, both old and new, shows the expanse and brilliance of the artist that is Sufjan Stevens.

For fans who are like me, take a deep breath, plug-in and listen to The Age of Adz with an open mind. Stevens is still there, under all of that new sound. We first fell in love with him for his originality. Now we can fall in love with him all over again.

Instead of following Stevens through the past and present of Michigan and Illinoise, let him guide you into the future with The Age of Adz.

We expected great things and he followed through with something greater than we could have imagined.

If you are still looking for the old Stevens, listen to the first track, "Futile Devices," which falls closely in line with Stevens's 2004 album, Seven Swans. The best example of his combination of sounds is, "I Want to Be Well," which is featured toward the end of the album.

With Stevens, nothing can go wrong.

88.1 WKNC Pick of the Week is published every Friday in the print edition of Technician, as well as online at technicianonline.com and wknc.org.

Blind Guardian sails to the edge of time

88.1 WKNC’s Pick of the Week 10/22
By Jonathan Newman, WKNC Chainsaw Music Director

How does one define epic? I believe, in my humble opinion, that if you were to look up the word epic in the dictionary you would see a picture of Blind Guardian's latest magnum opus, At The Edge of Time.

This album is pure magic. From the opening strings and orchestra, to the closing guitar riff, this album is absolutely flawless. All of the songs on the album are based off of fantasy stories, and it really shines through in the lyrics.

The opening song, "Sacred Worlds," was originally in the video game Sacred 2, where you had to find the band's instruments in a quest. They extended the song with a full orchestra intro and outro, adding more depth and character to the song. This song immediately sets the tone for the whole album and gives you an idea for what you have in store.

The next song on the album that really shines is "Tanelorn (Into The Void)," based off the series of books Eternal Champion. The song is fast, having more speed metal akin to their earlier work. The guitars drive you forward, leading you to a catchy chorus you can't help but sing along to.

One of my personal favorites, "Curse My Name," is based off of John Milton's novel, The Tenure of Kings and Magistrate, where a king is killed for not fulfilling his duties. It is an epic ballad where you will sing along to every word, and even raise your fist in the air, screaming the chorus at the top of your lungs. It is one of the best tracks on the album and quite possibly the best out of their entire 20 year discography, ranking second only to "The Bard's Song (In The Forest)", a crowd favorite.

Another stand out track, released as a single earlier this year, was "A Voice In The Dark." This song is a combination of all things that makes Blind Guardian special. It is a fast, speed metal type song with a catchy chorus that cannot help but make you smile as you listen to it. Try as you might to resist, you will have trouble not singing along to the chorus every time it rolls around.

The last song to make mention of is "Wheel of Time," based off of the Wheel of Time fantasy series written by Robert Jordan. This song is very much akin to the band's last epic song, "And Then There Was Silence." It is bombastic with its huge chorus where the lead vocalist, Hansi Kursch, vocals are layered upon each other.

It is a fantastic way to close an album, and one that will force you to play the CD again, and again.

All of the songs on here are beautiful and composed perfectly. The orchestra added to the songs con-tribute depth that one rarely finds in CDs these days.

This band has been together for over twenty years and have grown immensely; evolving from a speed metal band, to something that defies genres. I recommend this album for anyone who loves power metal, prog metal or even just music in general.

It is a fantastic album and one I think that will be very hard to top. I will be listening to this album until I reach the edge of time.

88.1 WKNC Pick of the Week is published every Friday in the print edition of Technician, as well as online at technicianonline.com and wknc.org.

'Doombound' from the Shire to Gorgoroth

WKNC Pick of the Week, February 11, 2011 by Jonathan Newman, WKNC deejay

Musically, this album is more akin to the bands earlier works Where The Shadows Lie and Sword's Song with the driving guitars and blast beats. They blend the male and female vocals seamlessly over the keyboards and guitars, giving the songs a more earthy, yet powerful tone.

The male vocals have improved dramatically. The vocalist has seemed to have found the perfect line between growling and singing to add a voice that blends both a uruk-hai and a man. The female's vocals sound like the elves Arwen and Galadriel combined, forming a light sound that compliments the male's harsh vocals. Together with the lyrics, the music creates a powerful effect that sucks you in, leaving you wanting more.

While all the songs on the album are special in their own right, there are a few songs that one should take notice of, with the first of these songs being "Bow and Helm."

The song immediately kicks in with dual guitars and a pounding drum beat before filling your ears with the horns of Gondor. The male vocalist speaks softly to us about the land of bow and helm, before the voice of the orc breaks in screaming over galloping guitars about the rise of the dragon. Then it slows down, letting the elf and man sing quietly, before quickly returning to the orc attack of guitars and drums.

"Kärmessurma" is one of the more unique songs on the album, utilizing both male and orc vocals over a driving guitar. Yet what makes it special is the whole song is sung in elvish, making us feel as if we are watching a shouting match between a man and orc, before the female comes in and calms everything down.

The second-to-last song on the album is worth noting. "Doombound" is the last song to use vocals, and it uses them to such an extent that when mixed with the keyboards and guitars, you truly feel the pain that Túrin felt in his last moments. With a catchy hook and painful roars, the song plows on, dragging you down, before lifting you back up with a piano interlude filled with the serene voice of the elf, giving you peace despite the fact that you are doom-bound.

88.1 WKNC Pick of the Week is published in every Friday in the print edition of Technician, as well as online at technicianonline.com and wknc.org.

Double Barrel Benefit #8 Compilation CD

88.1 WKNC Pick of the Week 2/8/11, written by DJ Switch, WKNC deejay

You never think your kid's ugly. Well, at least you never tell your kid you think they're ugly. My parents never did. They did say I have a face for radio, but I never quite got what that meant. Either way, there's no need to lie about the beauty of WKNC's Double Barrel Benefit compilation, because even though the student radio station put it together, it's a handsome piece of local music by all objective accounts. Recorded mostly in Caldwell Hall, this album was passed out to the crowd at 88.1's annual benefit concert as they watched those very same bands bring down the house.

Showing the diversity of Raleigh's music scene right off the bat is rapper Inflowential's "Wherever." It has a cheerful rhythm that reminds of Sugar Ray. As soon as you're swaying to that, he slips in nonchalantly and starts commanding a pitter-patter of rhymes. Inflowential has an easy mastery of words like Nas or Jay Z, but with none of the intimidating lyrics.

Kid Future has some seriously artful song lyrics, such as "you were born with no blood, wind in your veins," and the Old Ceremony has that simple beauty that you used to only be able to find in Bob Dylan or James Taylor songs.

Luego are students of the Guthrie school of folk rock, but, like Blitzen Trapper, they bring their modern indie rock sensibilities to give it a modern twist. Don't let the song title fool you, "California" is an ode to the good old North State, done right by a group of native musicians with true Carolina accents.

Cassis Orange easily became one of my new favorite bands with their contribution, "May, June, July." Now, normally I don't like dance music. I think this aversion stems from a childhood of getting rejected by girls at the middle school dances -- and an adulthood of getting rejected by some of those same girls at college parties -- but this track made me forget all that entirely. It's sort of like a mellowed-out Madonna, but not so dancey that it loses its beautiful, trippy melody and its mature songwriting.

Yardwork makes order out of chaos with "Hot Balloons." The guitar solos seem to climb around the impassioned vocals like ivy, wrapping over the pounding snares in an effort to quell this eminent crescendo of emotion. Bright Young Things is a sort of happy hodgepodge resembling something like Kula Shaker or maybe even an experimental-era Beatles.

Like their name, Hammer No More the Fingers is something both indescribable and obvious. You can't pin down exactly what it is that works for this band, but you know that it works— and "Blanko Basnet" definitely works. The vocals are some of the most unique I've ever heard. They have a slight adolescent twill, but still retain the power and resonance to howl above the rich intensity of the song.

No lie, this compilation is beautiful. Me, on the other hand—that might be another story.

88.1 WKNC Pick of the Week is published in every Friday in the print edition of Technician, as well as online at technicianonline.com and wknc.org.

The Best Albums of 2010

WKNC Pick of the Week, December 2, 2010

By John Gomes, WKNC Daytime deejay

It's that lovely time of the year where we put up Christmas lights, enjoy egg nog shakes at Cook Out and look back on the year that was. 2010 proved to be an eventful year, despite all the terrible moments -- earthquakes, oil spills, that bad call in the Maryland football game -- this year saw the release of some good albums. I highly recommend my personal Top Five list for your listening pleasure over break.

1) Yeasayer—Odd Blood

The sophomore release from this eclectic group is a warm, pop-infused masterpiece—a curious departure from the darkness of their 2007 debut album. Yeasayer introduces huge, pulsing synths and primal rhythms into their sound, resulting in some infectiously upbeat and organic numbers. Odd Blood isn't one-dimensional, however. The album features a couple of heavier, darker tracks to balance out the pop sound. Yeasayer remains experimental as ever, exploring everything from R&B to Middle Eastern dance music. The end result is a well-rounded, highly enjoyable album. (Bonus points for the band self-producing it.)

2) Arcade Fire – The Suburbs

Possibly the most anticipated album of the year, Arcade Fire's third release garnered universal praise. Like Odd Blood, The Suburbs represents a new sonic direction for Arcade Fire—gone are the Baroque sounds and grand crescendos that defined the band's sound. Instead, the album maintains a latent energy throughout every song, steadfast rhythms layered with rich textures and tones. These elements form the perfect vehicle for the album's main concept -- innocence and coming-of-age set in the backdrop of suburbia. Poignant and poised, The Suburbs is Arcade Fire's best release yet.

3) Best Coast – Crazy For You

Though many artists are doing the retro surf-rock thing nowadays, Best Coast does it best. The group is led by Bethany Cosentino, whose approach is refreshingly simple -- reverb-heavy guitars, easy chord progressions and honest lyrics about boys, her cat or getting high. Sure, it seems like a third-grader can write these songs -- "One day I'll make him mine / And we'll be together all the time" -- but there is beauty in the simplicity. The songs on Crazy For You are little pieces of pop perfection -- they're sweet, short, and will stay in your head for days. Put this album on and you'll feel like you're on a beach.

4) Broken Social Scene – Forgiveness Rock Record



Broken Social Scene is a rather apt name for the group whose massive lineup continuously changes. With so many band members playing so many instruments and adding so many sounds and textures, Forgiveness Rock Record is inevitably orchestral and grandiose. Each song exhibits a different dimension of beauty, from the majestic climaxes of "World Sick" to the melodic angularity of "Art House Director." Though not as cohesive as previous albums, Forgiveness Rock Record is still classic Broken Social Scene -- lush, resplendent and larger than life.

5) Caribou – Swim

Dan Snaith, who operates under the name Caribou, is an electronica artist and British mathematician. Naturally, you wouldn't expect those two things to go together. Swim evokes the same reaction with its out-of-left-field collection of tracks. Flip-floppy synths, divine bell chimes, and even jazzy flute flourishes all coalesce atop powerful, danceable grooves while whispery vocals echo and modulate in and out of your consciousness. This is not your father's electronica album. Each and every song evolves into something surreal at the end, with elements of rock, jazz and psychedelica thrown in the mix. Out of all the albums on this list, Swim sounds the most transcendental.

88.1 WKNC Pick of the Week is published in every Friday in the print edition of Technician, as well as online at technicianonline.com and wknc.org.

"Live From the Tape Deck" by Skyzoo & !llmind

11/19 WKNC 88.1 Pick of the Week, written by Kunal Vasudev, DJ Wise, Underground 88.1

Though the MC-producer collaboration is a concept that seems to have been left in the past, every so often an MC and producer team up for an album that recalls the days when acts such as Pete Rock & C.L. Smooth and Gang Starr ruled the Hip-Hop scene. Brooklyn MC Skyzoo and New Jersey Hip-Hop producer !llmind team up to craft a sharp, 12-track record that seamlessly combines the sounds of Golden Age Hip-Hop with the sounds of today’s Hip-Hop.

From the opening track, Live from the Tape Deck presents itself as an album built heavily upon hard-hitting beats and filling rhymes. The album is Skyzoo’s sophomore effort, fresh off of his 2009 debut The Salvation, and definitely showcases the MC’s evolving lyrical abilities. Where The Salvation left off, Live picks up, featuring a more focused Skyzoo who exhibits the ability to use fundamentally sound rhymes to construct fleshed out verses. His grasp of the English language is displayed as well, as Sky is able to twist words to his desires and utilize them in simple yet effective ways. This is very clear from the get-go in the second track of the album, “Frisbee,” where Skyzoo starts each line with the last word of the previous line so seamlessly that you don’t even notice that it is being done. Even further, “The Winner’s Circle,” finds Skyzoo roleplaying as Lebron James, taking a little under three minutes to explain what took Mr. James an hour and a some years to get out to the world. But Skyzoo’s abilities are truly exhibited on “Krylon,” a track, which, on the surface, seems to be a simple ode to graffiti, but digging beneath the rhymes reveals a deep track filled with metaphors about violence in it’s many forms, whether it’s physical, emotional, or sexual.

Of course, the album is not all about the impressive lyrical talents that Skyzoo showcases. !llmind, the Filipino-American producer hailing from New Jersey, displays why he is one of the most sought after producers in the Hip-Hop underground, producing for acts such as Little Brother, Boot Camp Clik, Supastition, and most recently Skyzoo. With Live, !ll attempts to capture the analog sound of the cassette and give it a more updated feel. What you have is typical East Coast boom bap percussion beneath layers of strings, synths and keys, which !llmind uses to create a haunting soundscape for Sky to mold his rhymes. It also does a brilliant job of recalling the hard-hitting sounds of the past while looking into the future of Hip-Hop production. The production calls for the best speakers one can find just to appreciate the richness, the honesty, and the fullness that !llmind weaves into his beats.

Live From the Tape Deck also has the bonus of making every part of the album feel apart of the album rather than just a collection of singles compiled together. The features, though appearing on four of the twelve tracks, match perfectly with Skyzoo and fit well with the records they are featured on, from Rhymefest on a political track to Torae backing up Skyzoo as “The Barrel Brothers.” And the intros & outros seamlessly transition into one another, never seeming out of place as the album progresses.

Ultimately, while Live From the Tape Deck evokes memories of the past, both through it’s title and the sound of the album, it is hard to attain that same feeling from the days of the tape deck. But Live brings Hip-Hop to its basic essentials: the beats, the rhymes and life. Nothing more, nothing less, and Skyzoo & !llmind combine to make it one of the best releases of 2010.

88.1 WKNC Pick of the Week is published in every Friday in the print edition of Technician, as well as online at technicianonline.com and wknc.org.