Midterms? Shmidterms. Get over your grammy disappointment blues with some tasty tunes after the jump.
THE BOTS—No One Knows—as described by lindsay mewes
I’m a fan of keeping it simple. I’m also a fan of kick-ass rocker brother duos. So I was quite pleased when I first caught a glimpse of The Bots’ latest music video for “No One Knows,” a song off their sophomore EP “Black & White Lights.” This raw, acoustic version of the song showcases the brothers’ pure talent, including the undeniably cool ability to rock a sweet fro and walk backwards while playing an instrument at the same time, obviously. Though it’s far from the tough-sounding punk they’re typically known for, it’s both refreshing and extremely impressive to see the brothers offer up a subtlety amazing side of them that we’ve never seen before. Definitely put ‘em on your list of bands to check out at Coachella this year. Or if you can’t wait until April, learn more about them here.
JAI PAUL—Jasmine (demo)—as described by alejandra salazar
Big, bold bass drives this song, the kind of bass that fills up your ears and slows down the rest of the world. Jai Paul creates an undercurrent that lingers under the surface of his too-cool, too-warped bass lines, a trapped energy that smoothly draws you in until you’re completely mesmerized. The beat runs the show; vocals are a nearly incomprehensible echo and the only lyric you can really discern is “jasmine”, repeated over and over in layers of distorted, trance-like tones. I have no idea what this song is about or who it’s for—but if there’s any lack of literal meaning in “jasmine”, it’s more than made up for by its seamless, intoxicating noise. My recommendation: listen to with the best headphones or speakers you can get your hands on, crank up the bass, and just float away.
HOLLY HERNDON — Chorus — as described by jake friedler
Holly Herndon is a student at Stanford. Except she’s not studying HumBio or even Computer Science - she’s working toward a PhD in electronic music composition at CCRMA, the Center for Computer Research in Music and Acoustics. I originally wrote off her work as too experimental for my taste (the contrast that arises at the end of her MemChu performance is telling), but with the release of “Chorus,” I think she’s finally found the balance of intellectualism and danceability that her work has been striving toward for years. Consistent with Herndon’s notion that the laptop is perhaps the most personal instrument of all, the song is composed of warped samples from YouTube, Skype, and the artist’s own voice, all of which seem to bubble to the surface of the track of their own accord. Not content to simply arrange these sounds into a traditional recurring chorus, Herndon forces them to seek one all on their own, and after a couple minutes of frustrating struggle, they somehow manage to succeed. With the help of a heavy bass beat, a chorus is born out of chaos.
DRANGAR — Enn Logar Glóð — as described by connor kelley
There is next to nothing on the Internet about Drangar, and what I can find is in Icelandic that remains gibberish after punching it into Google Translate. For example, “They got Mugison a range of concerts on the cart at flateyri and was until this triple fraternity.” What. Nonsense. What does make sense, though, is that Drangar makes fucking great music. I can’t understand a single word and I really don’t care. It’s grimy, earthy, Icelandic rock with subtle electronic undertones. “Enn Logar Glóð” translates (surprisingly easily) to “Still Lit Coals”, which works just superbly. Drangar is kind of like a still lit coal – nuanced, yet powerful and still capable of combustion at any time. Catch the full performance covered by KEXP here.
YOUNG THE GIANT — Camera — as described by rachel grau
I love a dark song in the middle of winter quarter. A nice departure from the rest of the album’s upbeat, decidedly indie-rock tracks (and the band’s historically catchy tracks in general), “Camera” is a smooth, slow belt-it-out-when-you’re-alone-in-the-car kind of song that feels like it belongs in an underwater cave.
The ballad beautifully spotlights lead singer Sameer Gadhia’s impressive pipes, a much needed purity in an album packed with heavy instrumentals and synths. The first minute of the song is my favorite part: the song speaks of the mystery of broken love, as Gadhia’s velvety voice sings “all the strings that follow you / and the things they’re tied to” to what sounds like the long, funereal notes of an organ. It’s a relief to hear these darker, introspective lyrics from a band who admitted that lyrics are “kind of an afterthought”; later, we hear Gadhia eerily croon “on holiday with a broken camera / and all I say is I could be happier / I could be happier.”
JACKSON AND HIS COMPUTERBAND — “Arp #1” — as described by associate editor eric eich
I feel so damn anxious when I listen to this song. But also kind of excited. It’s the kind of jittery sweaty dance tune those French teens are always dancing to at parties (les boums?!) in coming-of-age movies, their improbable kisses lit up by neon lights of red and blue (the warmest color). Somehow their violent dance moves pass as cinematic shorthand for “having fun,” or maybe it’s the crowd’s hinted highs, sloppy makeouts, and view of the Champs Elysées that get the job done. Either way, if you’re still riding this techno rollercoaster (or is this house? EDM? maybe IDM? IDGAF) with me, open up your Photo Booth app, set the background to “Eiffel Tower,” and raise a glass to Jackson and his computer band. Cheers.
TRUST - Sulk (Piano Version) - as described by associate editor brittany newell
The original upbeat synth-drenched version of Sulk is rad, but I’m not in a sunny place right now. Geographically speaking. Not trying to spill my soul here. It’s just gray. Not conducive to dancing…or moving much at all. No wonder they read so much here. This version, slow and pained and piano-y and ballad-ish, best fits rainy England…and my pensive state of atrophy. Cheerio!
KENDRICK LAMAR — Rigamortus — as described by editor in chief lawrence neil
K.Dot, if you’re reading this, in the slightly modified words of Vesper Lynd: if the only thing left of you was your smile and your little finger, you’d still be a better rapper than Macklemore.
(‘17, Communication, Music Editor) is a contributor from San Antonio, TX. She believes in making playlists for every occasion and chronically overthinks everything.
(‘16) grew up in San Jose, CA and is definitely a breakfast person.
(‘15, Comparative Literature) grew up in White Suburbia, CA and is still trying to get out. His interests include haiku poetry, long conversations, and the re-mystification of our postmodern wasteland.
(‘15, Art History) joins you from the rain-drenched foothills of Duvall, Washington, where there are 3 stoplights and the smell of cow feces wafts through the summer air. He began his foray into the performing arts at age 8, and now studies architectural history and theory (primarily). He also loves avocados.
(‘16, Community & Events Manager) is an overripe Georgia peach with an Internet addiction. See more at http://www.ericeich.com.
(‘16, Culture and Commentary Editor) (also known as Ratty St. John) is in your walls. Her chewing sounds lull you to sleep. Keep abreast of the bastard at rattysaintjohn.tumblr.com.
(‘14, History/Creative Writing, Editor-at-Large) is from Cleveland, Ohio and writes fiction.