Random Access Memories - Daft Punk


It seems like just about everyone is finally on the Daft Punk bandwagon these days, the duo has been kickin’ it since the 90’s, gaining popularity outside of the French House scene in 2001 with Discovery. Every child of the 90’s knows Daft Punk hits like “One More Time” and “Harder, Better, Faster, Stronger,” but unlike many dance hits of the early 2000’s, Daft Punk’s are timeless. DP’s last major work was on the Tron: Legacy Soundtrack. My personal music fetish is when bands do original soundtracks for movies, so I endured Jeff Bridges’ ugly digitally altered 3-D mug to hear (and see) Daft Punk’s soundtrack and cameo in Tron: Legacy. Their newest album, Random Access Memories, was released today after considerable hype and presents a more sophisticated, thoughtful Daft Punk. The tone of the album has been set for months with the release of “Get Lucky” and the general air of mystery and epic-ness surrounding it.

I, like everyone else, had high hopes for the new album. Collaborating with Julian Casablancas (he’s never looked better than in “Boombox,” am I right??), Pharrell Williams and Paul Williams (no relation to Pharrell, in case there was any confusion) seemed like a scattered but inevitably great move for the duo. While certain stylistic points vary, the album achieves a cohesive experience while incorporating tracks that can stand alone like “Instant Crush,” “Lose Yourself To Dance,” and, of course, “Get Lucky.” 

One of the more interesting tracks on the album is “Touch.” Featuring the legendary Paul Williams, it’s unsurprising that this track feels straight out of a musical. I get pretty uncomfortable listening to the raspy beginning monologue of “touch…touch…I remember touch,” but the track progresses into a touching (okay, okay, pun intended), groovy musical number. It’s basically the flamboyant ballad of an unsatisfied, lost human-turned-robot missing physical contact. It’s pretty ridiculous, but in the context of the album it’s fantastic. I can just imagine the Broadway spin-off of “Touch” as combination of Tron and Phantom of the Opera. The whole song is pretty ballsy of Daft Punk, while it stays true to many traits of Random Access Memories and their music in general, the garishness is laid on thick. My favorite part is the piano riff at 3:22 that mimics parts of “Get Lucky,” which, fittingly, is the following track.

Random Access Memories possesses plenty of characteristics of a soundtrack—perhaps their recent experience in the field primed Daft Punk for cinematic quality music—rolling with theatrical style in “Touch,” throwing a textbook movie score symphonic intro into “Beyond,” and a Jon Brion-esque flutey riff into “Motherboard.” DP experiments creatively on the album, harkening back to 1970’s electronic disco not only in their sound but by using electro/disco pioneer Giorgio Moroder’s voice in “Giorgio by Moroder.”

Rather than serving as a sad attempt to bring Daft Punk up to date from their early millenium hits, Random Access Memories and its success cements the duo as innovative and creative. If anything the world hasn’t been ready for them until now. Now we can all buy our own Thomas helmets and get with the program.

-Anna McClain

Of Monsters And Men @ Arlene Schnitzer Concert Hall

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Photo by Shannon Boerner


Iceland’s Of Monsters And Men made their way into my heart when they released their EP, Into the Woods in December of 2011. I listened to their EP so many times and played them so consistently on my radio show, that their song “Six Weeks” is my most played song in my library and their song “Love Love Love,” is my favorite to cover.

Needless to say, I absolutely love OMAM for their genuine talent. I had the opportunity to see them in December at KROQ’s Almost Acoustic Christmas. Unfortunately the sets lasted 30 minutes at the most and someone was majorly slacking as the sound check for the next band, Neon Trees, was being broadcast over the speakers instead of the Of Monsters And Men performance.

When I saw that Of Monsters and Men were coming to Portland on May 13th I was stoked to have a second chance to see the six-piece group, this time as the headliner at Arlene Schnitzer Concert Hall.

After LC alum Adam Shearer ‘01 finished his opening set of songs from both of his bands Alialujah Choir and Weinland, Of Monsters And Men started off with ”Dirty Paws,” the song that includes their album’s namesake lyric. Playing songs from their only full-length album, My Head Is An Animal, as well as an artfully-crafted, unique cover of Yeah Yeah Yeahs’ “Skeleton,” they wowed the audience with a well-planned, emotional journey through their set list.  

Being so close to the stage intensified every lyric’s meaning, and gave every genuine smile from the band members that much more validity. Their passion and excitement came through in each song and their stage banter was more entertaining than I had expected. Even with little slip-ups, they remained composed and endearing, allowing them to really connect with the audience.

The two most notable songs of the night were “Beneath My Bed” — an unreleased track with a typically OMAM catchy chorus — and their “remix” of their own chart topper “Little Talks” that they performed as an encore. The audience was honored to be the first to hear this emotional version live that amplified the meaning of the lyrics.

 

It was an incredible show that left the audience pining for more. Their live sound is just as wonderful as their recordings, proving their talent and enveloping listeners in their emotions. I suggest you catch them on their North American tour that goes through June 16th, 2013. 

-Shannon

Interview: Lipstick Lumberjack

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Orange County folk duo Lipstick Lumberjack have earned the attention of music fans with their detailed lyrics and original harmonies that bring a fresh new twist to the folk duo theme. The band combines the musicianship and vocals of the talented Sam Sobelman and Katherine Donovan, whose voices combine to create a soulful sound reminiscent of bands such as The Civil Wars, with an indie twist. I was lucky enough to ask the band about their songwriting process, their history as a band, and their “dream” gigs:

Abby Steward: Where are you from?

Katherine Donovan: I am from Orange, California.

Sam Sobelman: I was born in the heart of Amish country, PA, raised on a sheep farm in the foothills of Lake Tahoe, and somehow wound up in urban Santa Ana.

AS: What are your influences?

KD: I listened to a lot of Elvis Costello growing up and I think that my lyric style is heavily influenced by that. When I first started writing music, I looked to Ben Folds and Rilo Kiley for inspiration. 

SS: I listened to a lot of scrappy indie pop back in the day. of Montreal, Death Cab for Cutie, the Unicorns, New Pornographers, Belle & Sebastian, Ol’ Dirty Bastard… ya know the scene. I think I have a quest to write smart, catchy songs like those groups used to, without ever sounding exactly like any other song they wrote. Each song has to be a little different, in structure, in story, in theme, insoundscape, but it has to have the same somethin’ that makes it a Lipstick Lumberjack song. Wait, what was the question again?

AS: How did you begin making music together?

KD: The night that Sam and I met, we had our instruments and we played a song together on our first date. We connected that night and I knew instantly that I had found my partner.

SS: Well, Kat and I had been making music separately for many years. When we met, it was like a mighty morphin’ megazord had appeared out of nowhere, like we became a band that was greater than the sum of its parts. Our talents clicked on that first date, and then it just became a regular thing we liked to do together. And now we like to do it ALL THE TIME!

AS: How can you describe your collaborative songwriting process?

SS: About half the time, one of us will just pull a song out, nearly completely written, and then the other will say, “wouldn’t it be cool if…” and we try something new and it usually is pretty cool. But, because of that, you can often tell who originally wrote each song. We’re working on doing more simultaneous collaborations. That’s kind of new and messy but fun and it’s turning out some really awesome songs.

KD: It’s as if we are both fingerpainting on the same canvas simultaneously, overlapping each other’s strokes with our unique prints in a blend of color and texture and cat hair.

AS: Your lyrics are very detailed and have a great storytelling quality. What inspires you as songwriters?

KD: Personally, I am inspired by my experiences and by the experiences of others.

SS: I have many many many neuroses. I’m basically Larry David with a beard. Writing songs helps me deal with neuroses in a healthy way. It works pretty, pretty, pretty well. Also, sometimes I write songs around certain lines from TV and/or books that strike me a certain way.

AS: What would be your dream gig, and what’s the best gig you’ve played so far?

KD: My dream gig would be a gig in your dream! I would like to project a performance into the dreams of participating sleepers and be able to interact individually with each dreamer. Sam and I enjoyed playing the Motley at the Claremont College campus.

SS: The Motley at Claremont was definitely one of my favorites. It was neat to go back to my alma mater and realize just how old (but awesome) I am. It would be neat to play at a festival somewhere, sometime, but… probably mostly to see other bands play. I think I prefer more intimate venues. Let’s say the Natural History Museum, on one of their First Friday events. Then I’ll know we’re really doing it right.

AS: Your voices work really well together. How do you work out the vocals of each song (harmonies and such)?

KD: Arranging our melodies and harmonies is one of my favorite aspects of song-writing. I have a choir background and an ear for composition, so I arrange in what sounds right in the context of the music.

SS: We have very different styles/skills/sounds when it comes to vocals. So, we sort of know what we’re each capable of and I try to write songs with that in mind, so I can give nice juicy parts to each of us that accents our strengths. We’re both pretty skilled at harmonizing and blending with other singers thanks to many years in choir/a capella groups. It’s just a matter of finding the little niches that need an extra UNF and adding that harmony where it needs to go.

AS: Where did your band name come from?

SS: I was just rappin’ and some words came out of my mouth that sounded good together. (Discarded band names from said rap session: Anklydon Prom, Automatic Geriatric, Bikini Factory Line, Avocado Monster). Lipstick Lumberjack was the most google-able of all the names. In fact, it was a googlewhack! The only hit was for a piece of gay erotica about a costume party… I thought we could rebrand the name.

KD: That’s a lie, it’s really a super secret sex move.

AS: What’s next for Lipstick Lumberjack?

KD: We are recording our full-length, Just Friends, and we are planning a west coast tour to promote the album and to fund my mandatory (bandatory?) lipstick purchases.

SS: We’re also in the middle of A Year of Lumberjackery, where we write and record a new single every month. It’s kind of exhausting, but has inspired some fun songs and experimentation. But, between that and playing shows all the time, it’s seemingly impossible to find time to record our full length album! I swear, it’s written! We just need more time! Ahhhhhhhhhhh!

Check out Lipstick Lumberjack on Facebook, Tumblr and Bandcamp! 

-Abby Steward

Hear the first 20 seconds of “Give Life Back To Music” in the new Random Access Memories teaser from Daft Punk! Check out that stylin’ packaging and get a taste of what you’re in for if you plan on purchasing the vinyl. The much anticipated album will be out next week but it has also leaked online! Look for our review of Random Access Memories next week. 

Chance’s Acid Rap

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Chicago’s own Chance the Rapper dropped his new mix tape Acid Rap last Tuesday. I’ve been waiting on this shit since his tape 10 Day blew up. Though he started writing 10 Day during a high school suspension, Chance shouldn’t be mistaken for some kid who’s just messing around. The completion of 10 Day inspired him to make this rap thing serious, and immediately jump right into making Acid Rap. Two years later, Chance has made an album with heavy acid jazz and soul samples, bringing in a true Chicago feel.

Check out his video for the song “Juice.”

Beats like this have been out of the game for a while and act as a good throwback to old school hip hop. With a super unique flow and tone (so nasal, but still so good), Chance poses as an emerging voice for Chicago rap. Last year, Chief Keef did a lot for reclaiming Chicago’s name after Kanye defined the scene for so many years. But there is very little in common between Keef and Chance, besides a mutual concern for rising gun violence. Chance speaks about love and drugs, which comes across in his delivery and production.

In the end, Chance is just at the beginning of his career, and Acid Rap is about to launch him into the rap career he has long had his eyes on. This tape is potentially one of the best we’ll hear in 2013.

Stream or download Acid Rap album off chanceraps.com

-Emily VK

New Artist: O.C.A.D.

The Truth, singer-songwriter duo O.C.A.D.’s debut album, hit iTunes late last year, but didn’t make it to their YouTube channel, or my ears, until last month. As soon as the album’s dance beats and lyrics that are dripping with truth (yes, the album title is appropriate) made their way into my head, they became permanently stuck.

The 12 song album created by Olivia Cipolla and Arie Dixon is classified as World or Hip-Hop/Rap, but those categories don’t do justice to the unique, dynamic talent in their music. I’m obsessed with the juxtaposition of Olivia’s soulful voice and Arie’s deep spoken word harmonizing against body shaking bass lines and drum beats — and that only describes the chorus. The verses yield powerful lyrics such as, 

We black, white, and we gay and straight, and we rolling. Fuck that, this revolution will be televised, this time we won’t let it die. Don’t let them tell you otherwise, while mothers cry ‘cause someone lied to cover why, their son has died on the other side, the map (“The Truth”)

Their most popular song, “Muse” (featured in the Hip-Hop dance from Lewis and Clark’s Dance Y performance this year), is empowering. Olivia owns her sensuality and power. The catchiness might just drive O.C.A.D.’s message to a larger audience in the near future. 

Since I am more of an Alt Rock fan myself, I am overjoyed to find Hip-Hop/Rap that I love and find personally meaningful. This album is the first Hip-Hop album I have listened to on repeat since Macklemore’s The Heist dropped back in October of 2012.

I highly suggest you take a listen!

-Shannon

Portugal. The Man’s Noah Gersh On Influential Albums, “Evil Friends,” Working With Danger Mouse and More

Noah Gersh, Portland based band Portugal. The Man’s guitarist, vocalist and percussionist sat down with Nick Pimentel, my fellow PTM fan, and me in a Google+ Hangout last week. On a stint of fan recognition, the band included smaller music blogs in their promotional agenda and did an AMA on Reddit the same day. The format was casual and friendly, with Noah opening the floor up to any and all questions. We ended up talking about their upcoming album, Evil Friends, produced by Danger Mouse, their switch to Atlantic, the band’s Alaskan origins and some of Noah’s favorite music…

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Is there an album that everyone should hear that is especially dear to you?

Noah Gersh: There are so many of them, I think the one that I come back to all the time is [Enter the Wu-Tang] 36 Chambers by Wu-Tang. But I don’t know, there are so many different moments in my life, like The Color and The Shape by the Foo Fighters was a big record when I got a CD player for the first time, like a portable one. There’s a ton of them. I also make all of the Spotify playlists for the band so it’s basically my music taste and nobody else’s.

What album by Danger Mouse do you like the most?

NG: Dark Night of the Soul for what he did with Sparklehorse. Which would also, by the way, be one of my records that was amazing growing up. I love the Dark Night of the Soul album a lot. I talked to Brian about it a lot while we were making [Evil Friends], particularly because I was such a big Sparklehorse fan growing up but also because David Lynch is incredible, I mean I really enjoyed the whole record and the way that it was put together and a lot of things about that record in particular kind of stood out to me. But [Danger Mouse] has put out a ton of cool stuff, the record he did with Jemini, Ghetto Pop Life, was amazing. Yeah I would say those were my two favorites that he did.

How active was Danger Mouse (Brian Burton) in the composition of the music for Evil Friends?

NG: He was in there while we were doing it, we basically had what was a glorified pre-production period in El Paso, TX, before we started making the record with Brian. When we found out that we were going to be recording with him, the idea was to throw everthing out. But two songs ended up staying on the record from the El Paso sessions which were “Sea of Air” and “Hip Hop Kids.” He was around when we were writing those songs, we were doing them in the studio. We went in with ideas for things that weren’t finished and everyday we would do something new and go for it.

I’m curious about PTM’s move to Portland from Alaska, after what album was that, and how do you think it helped you guys as a band?

NG: The band moved from Portland to Alaska before I got involved, what prompted them to do it is that it’s pretty much impossible to tour out of Alaska, between flights… and it just doesn’t make sense. Zach [Carothers] ended up moving down to Portland for college, which I think he got through about 3 weeks of. He and John [Gourley] started Portugal down there, in Portland, touring. And they started touring even before there was a record out, because they didn’t, you know, have anything else to be doing, they had to stay on the road. Sleeping on couches and floors and that stuff.

So they were altready pretty established at that point?

No, no no. They were nobody, they were nothing and had nothing, they didn’t even have any music out. They were just touring with friends bands, trying to figure it all out. This was before Waiter: “You Vultures!”, the first record.

How has the switch to Atlantic Records influenced the band?

NG: They’ve been unbelievable to us honestly, we haven’t really witnessed any of the big, scary trappings that people complain about in a major label setting. I also think that’s due to the fact that the band kind of took the long road there, and spent 6 years being a band and touring and putting out records on Fearless and Equal Vision and I think by the time the band signed to Atlantic, there was already a base, so there isn’t really that same fear of making a record and having it be shelved and, you know, you’re not someone’s priority, because we can go tour the country and the world for that matter in a similar capacity with or without Atlantic. They’ve been unbelieveable in opening the doors to things that we wouldn’t be able to get before. Danger Mouse being a great example. That shit doesn’t really happen when you’re just a band on Equal Vision, not because [Danger Mouse] wouldn’t be into it, simply because, how the fuck do you even get to him? Everyone’s trying to talk to him and it takes someone like Craig Kallman at Atlantic calling and being like “You have to hear this band, I think you’re really going to like it,” for him to even listen. So I think it’s stuff like that that we all really appreciate, and love. If the foundation wasn’t there I think I probably would be saying it’s a lot scarier, with a lot more pressure. They knew what they were getting into when they signed us, and we want to keep getting bigger and writing better songs and they want the same and it works out really well. Nothin’ weird about it at all.

Look for Evil Friends out in June, and check out Portugal. The Man in concert on their spring tour, they’ll be in Portland on July 18th!

-Anna McClain

Phoenix: New Album Bankrupt! and Live @ The Crystal Ballroom

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Phoenix, the French band whose popularity skyrocketed with their 2009 album Wolfgang Amadeus Phoenix, released their highly anticipated follow-up, Bankrupt!, on April 23rd . There has been discussion over Phoenix’s reputation for meticulously crafted albums – with some criticism of the band for the significant time they have taken between album releases. However, after listening to the new album – along with witnessing the band’s stellar performance at the Crystal Ballroom on March 30th – the wait has been well worth it for Bankrupt!

Phoenix at The Crystal Ballroom, Photos by Nathan Tang

In the time leading up to the release of Bankrupt!, Phoenix implied in several interviews that fans should expect not expect their new music to be the same as Wolfgang Amadeus Phoenix – hinting that the new album would move away from the pop sounds of its predecessor and instead be more “experimental.” (You can read that interview here.) As a result, I was honestly surprised when the band announced at their performance in Portland on March 30th that they would play the entire new album during the set – it seemed like a bit of a gamble to play so many unfamiliar songs when a fair amount of the audience probably just wanted to hear them play songs like “1901” and “Lasso.” Sure enough, it seemed like many of the new songs did yield mixed responses from the audience. Even I was skeptical of their new music after the show: How could Phoenix have so abruptly moved away from the sound that made Wolfgang Amadeus Phoenix so amazing?  Nonetheless, after listening to Bankrupt! several times, it’s safe to say that the album has grown on me – I’ve fallen in love all over again.  If you listen to Bankrupt! hoping to hear Wolfgang Amadeus Phoenix, you’re probably going to be disappointed.  As Thomas Mars alluded to in a recent interview with KCRW, the band did not want to make “Ludwig Van Phoenix.”

I find the songs on Bankrupt! extremely impressive.  Some showcase a high fidelity, ‘wall of sound’ production style that Phoenix seems to have introduced on this album.  In “The Real Thing,” the album’s second track, the sonic space appears to be filled to capacity —featuring what sounds like an innumerable number of distorted synths and the usual brigade of guitar overdubs – and yet the track doesn’t feel cluttered or overwhelming.  Songs like “Chloroform” also feature this style, as overdriven synths combine with subtle guitars that harken back to classic Phoenix sounds.  (This is especially noticeable in the chorus of “Chloroform,” as guitarist Christian Mazzalai’s trademark picking intertwines with the repeating synth phrases.)  Other songs, like “Trying To Be Cool” – a personal favorite of mine – display Phoenix’s mastery of combining 80’s pop and funk sounds with contemporary styles.  Along with Mars’ irresistibly catchy lyrics, “tell me that you want me, tell me that you want me,” Deck D’Arcy’s powerful bass line is a highlight of this song.  (Although this is tangential, D’Arcy is just about revolutionizing the role of the bass in ‘indie’ music as we know it, as he performs almost every song from Bankrupt! using a synthesizer keyboard – allowing him to craft thunderous synth-bass sounds that are virtually impossible to produce using a bass guitar setup.)  Phoenix ends the album with the (yet again) synth-heavy “Oblique City,” a song that summarizes the beauty of Bankrupt!:  Layers upon layers of synths and percussion back Mars’ crooning; abrupt transitions between verses and choruses characterize the song. 

Bankrupt! represents Phoenix’s most ambitious work to date.  The record is a complex, carefully constructed collage.  While this album doesn’t feature the same pop songs that made its predecessor so beloved, Bankrupt! is still just as impressive.

- Nathan Tang

Local Natives @ The Crystal Ballroom 4/25

Those of you who have been to the Crystal Ballroom know that a sold-out show is packed, so I was pretty stoked to be right up front for Superhumanoids and Local Natives on April 25th.

Superhumanoids opened, laying down some overwhelming beats. My whole face was literally vibrating with each drum beat. They were fun to dance to, but I was distracted by trying to figure out which instruments they were actually playing and which sounds were generated electronically. I’ve seen a lot of experimental bands play over the last two years, so the genre has lost it’s excitement for me as a whole. Superhumanoids was not much of an exception. The beat was super repetitive and the band relied heavily on that similar beat for their entire set. They did have a good energy and the crowd was into it which made for a fun atmosphere. I thought the vocals were good at times but the lyrics were a bit underwhelming, at times they reminded me of Julee Cruise (known for the Twin Peaks soundtrack) with an upbeat twist. Overall they got me into an dancing mood but were completely out shined by Local Natives. Here’s a small snippet of their set: 

I should preface this next part by saying that in no way am I a dancer and am rarely inclined to make any kind of rhythmic movement. Before Local Natives came on, my friend turned to me and asked, “So are we gonna be, like, dancing to Local Natives?” I hadn’t really thought about it, mostly because my LN favorites are mellower, like “Cards and Quarters.” Long story short, I ended up head banging hard enough to offend the girls around me.

The energy of the band was amazing, I was totally entertained by Taylor Rice’s stomping around, (which can be seen in the Vine above). The whole band obviously put their all into their set and the crowd could feel it. Not sure how Ryan Hahn —who has ditched his goofy hair for a more understated buzz cut — was wearing a thick denim jacket for most of the show without overheating. The band was exhausted by the end of their set but came through with a zealous encore.

The crowd at Local Natives was great and pretty cohesive as far as concert vibes go, probably due to the positive energy from the band. I’m not usually one to get angry at eager concert goers, I’ve had people parkour off of my body to get a better view and lived to tell the tale, but for some reason the girl hanging off of my shoulders in an attempt to both balance and pull me down ticked me off. I realize I whined about concert etiquette in my last concert review… I guess my love of personal space and music makes for a luckless combination.

Local Natives did a stellar job of making their songs new and exciting while maintaining the familiarity listeners feel with their albums. I’m a fan of their new album but preferred the grittiness the live performance added to Hummingbird’s polished sound. There was an extra oomph to all of the songs they performed, my favorite rendition being “World News.” Local Natives pulls off the whole indie-rock harmonizing thing that other bands overdo (Fun. comes to mind here). I’m not a big fan of the whole contrived we-are-free-and-invincible-and-young-and-loving-life thing that some bands go for when coming up with a catchy harmony, so I have total respect for Local Natives that they pull off accessibility and catchiness while staying genuine and being able to get a crowd to really dance and sing along to fun, quality music.


Go see Local Natives live if you get a chance! 

-Anna McClain

KLC Happenings

As we near the end of the semester, we’ve had some cool things going on around KLC!

  • We had KLC Alum Gustav from 94.7 KNRK come in and talk to our DJs and answer questions about commercial DJing! Thanks Gustav!

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Gustav talking with KLC DJs, Photo by Anna McClain

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Shannon, Gustav and Alec, Photo by Ciara Dolan

  • KLC helped out at LC’s Spring Concert, featuring Dr. Dog and Dawes!

Dawes Sound Check/Setting Up Dr. Dog

Dr. Dog at LC

  • We had Portland band Gallop in studio last night, look for the recording on the blog in the next week!
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    Gallop playing their set in KLC’s Recording Studio, Photo by Anna McClain

  • Board Apps are open!
  • If you want to write for the Umbrella next year email aim@lclark.edu
  • Want to get involved? Email klc@lclark.edu

The Goddamn Band and Hop On Hold Tight: Spring Fling @ The Crystal Ballroom 4/20

LC’s Spring Fling 2013 at Portland’s renowned Crystal Ballroom was not only a display of jaw-dropping dance moves but a show of amazing LC musical talent. After the showcase of skills at CAB’s Battle of the Bands, winners The Goddamn Band and Hop On Hold Tight added their own names to a long list of those who have performed at the Crystal Ballroom including Macklemore & Ryan Lewis, Blitzen Trapper and Brandi Carlile, and Patti Smith.

KLC’s very own Recording Studio gurus, Nick Pimentel and Alec Speckenbach, kicked off the night with The Goddamn Band, a group of five who have fine-tuned their sound over the past year. They have a fun and accessible sound, carrying an energy like Of Monsters and Men, with a thoughtfulness akin to Bright Eyes. Despite any comparisons that can be made, they have a consistent and unique sound that sets them apart from the numerous student bands both on and off campus. Their sarcastically self-proclaimed hit, “How’s Our Fashion,” is the epitome of their crowd-pleasing, fun and rowdy side.

One of their newest hits is “Retired Racehorse,” the second of two songs themed around jockeys and racehorses. After speaking with Nick, I found out that he wrote these songs under the false impression that racehorses had a “charmed retirement.” To his surprise they are actually euthanized when their career is over. Regardless of the false pretenses, I’m a huge fan of his quirky, sincere and well-worded lyrics.  

The GDB, along with The Dancing Hats, have spent many hours in the KLC Recording Studio putting together their own songs. Check out their Facebook and YouTube pages and tweet at them if you like what you hear!

The second band, consisting of a few former members of LC’s Mowgli, was Hop On Hold Tight. Playing numerous covers and crowd favorites, their energy was electric. Cassie Beucherie led the group’s enthusiastic renditions with her powerful and beautiful voice. Supported by keys, guitar, bass, and a brass section, the group has found a solid tone that allows them to put their own spins on songs such as “Valerie,” “Oh What A Night,” “Ego,” and my personal favorites, “Sunday Morning,” and “Tighten Up.” (Fun fact, in these videos you can clearly see me poorly dancing and rocking along in the front row.)

The night was an incredible success with over 850 guests. It was a great kick start for The Goddamn Band and Hop On Hold Tight’s sure to be successful music careers and these LC student bands had a great time performing for the energetic crowd!

Looking forward to hearing what else you LC kids have to show us!

Keep rocking,

Shannon