2011's Recap You Might Forget By Its End

The Quickest-Lived Social Music Network: Turntable.fm - Talk about cray (or is it Kray? Who cares!), the excitement behind Turntable.fm came and went quicker than Affion Crockett's show on FOX! Turntable.fm had tremendous potential to be one of the best and longest-lasting social music sites because it put users in a position of popularity through playing themed tunes everyone agreed on. It integrated commonality with competition, which ultimately became its downfall. Thanks a lot, you snarky ass click-happy music lovers. Not to mention the many "Whistle While You Indie" rooms killed the originality behind room creation. It was the summer fling before going off to college - that which is Spotify. Nothing like being social without saying a word or worrying about someone being queued up next to out-popularize your music taste!

The Year of The Indie Award: St. Vincent - This was tough. Plenty of indie artists came out with wonderful music this year, thanks to the GRAMMY's focus beyond album sales. The Weeknd, tUnE-yArDs, Washed Out, Toro Y Moi and The Roots (as usual, though) all had records that had everyone thinking outside the box, mainly to think they are indie music aficionados, but what really matters is how much the artist can shake these jokers up. St. Vincent has been doing that for years, and seems to only get better when looking at her album Strange Mercy. It was the best at showing what indie musicians are all about - being able to create some mainstream pop ish but excelling just as well in their own lane.




The Best 2011 Hiphop Beat: Lil' B "Motivation" (produced by Clams Casino) - This year had a colossal of dope beats, from 9th Wonder's entire Jamla crew to the Watch The Throne production. One producer that stuck out the most was Clams Casino, and it all started with this Lil' B jawn. The mixture of noise with the classic hiphop break and the extra tribal percussion snuffed a new punch to the hiphop scene, one that is highly untechnical and carefree, especially steering clear from in-your-face boom-bap rap.

Clams Casino - 01 Motivation [FLAC] by ClamsCasino

Nostalgia Done Right in 2011: Com Truise - Pick a record, any record, from this guy and you'll hear both originality and a Miami Vice soundtrack. Com Truise has the 80's new wave synthpop sound down to a nostalgic pat where the music sets people in a world stocked with postmodern industrial, futuristic-looking furniture and neon stop lights for the Jetsons flying saucer. Cyanide Sisters and Galactic Melt respectively embodied Com Truise's ability to own his own retro sound that matches what seemed to be dude's interpretation of what he grew up with.

Flightwave by JONEZ

The Sappiest Artist of 2011: Wiz Khalifa - Honestly, this award could've been given to him a long time ago. Don't let Kush and OJ and all his other slightly more machismo, smoker-crazed mixtapes fool you, Wiz is one sappy cat. Recalling "Say Yeah," let alone his extremely thin body, that dude is nowhere near capable of holding down a hardcore mantra. And that's ok - it's just when he wonders off into a "I Roll Up" stupor that pulls his chump card. Does Amber Rose really bring that out of guys?!

Best Flow of 2011: Dream Hampton "Denouement" - Although I speak a lot on music-type music, it doesn't hurt to highlight highlight-worthy spoken word. On one of the best albums of 2011, TiRon and Ayomari A Sucker For Pumps, journalist (and poet too, I guess) Dream drops the deepest piece any woman with a heart will understand. She opens up with:

Romantic love is always inconveniently self-announcing
Despite its unwilling participants. Wounded healers,
Unavailable men in need of constant companionship.
Women whose haunted havens are unsafe.
Love shit.

And throughout the poem, pieces of structured stream-of-consciousnesses that each illustrate a revelation of some love-and-relationship-sort, she places this toosie "though counter intuitive, when you hit a curve in love you should accelerate, not brake," reminding everyone that love is rough but fight through that shit.

The Best Tribute to an Icon in 2011: Bob Dylan at The GRAMMYs - Although all the award shows have become complete snoozefests, this performance/tribute set to "Maggie's Farm" was unforgettable. The two acts, Mumford & Sons and Avett Brothers, pave a folk-like river toward the sea that is Bob Dylan. They come together and perform in this magical fashion, especially hearing all those instruments (specifically Bob Dylan's raspy water-deprived vocals) play under the warm, intimate light - the way folk should always be enjoyed!

The Quickest and Tastiest Flavor of 2011: KING - How can you have the shortest EP that draws the biggest buzz only to never follow up? Though folks can stare at Jay Electronica for his once-a-year single releases, this L.A. trio falls guilty to that same strategy. KING released one of the best EPs this year titled The Story, and in three songs charmed their way into the R&B elite. Folks still talk about The Story, but shift the focus on what's next for KING. No one knows the answer though!

KING-The Story EP by weareKINGworldwide

Something Old, Nothing New: Black Folk Music as "Innovative"

I ranted a little bit on my Tumblr about this topic before, but this issue hasn't been toppled enough.

Black folks and Americana music seen as "game changers" - as the Huffington Post's Black Voices calls The Carolina Chocolate Drops - just because they tote a fiddle or a banjo discredits the word innovation.

Not that this band lacks creativity or talent, but the article came off as "oh look, Black people with banjos. That must be alternative," which gives Black culture yet another pounding against our foundation. The definition of innovation, change, remix, etc does not necessarily root in the right now, but if you let Black media (and really all folks of the press) tell it change comes as a matter of what's present. While that may be true for some things, that cannot hold true for music because of how far back the existence of music dates.

Now, if HuffPo placed emphasis on CCD's abilities to merge beatboxing with their Americana sound, this would be a different article. Additionally, if the rest of the selections weren't based on what simply looks different, this blog post probably wouldn't exist. However, this mindset has run rampant far too long.

Black culture right now, at least according to the media, is centered around the rap and corporate game. This short-changes everyone else and everything else Black folks are capable of doing: playing guitar, singing opera, harp and other ambient music, and so much more.

I get it. Singing and rapping is hot in the community. I get it. Blogs revolve around popular keywords, Google trends and social media topics. However, when will Black media expand to other audiences and cultures, not expose what's already here and what we already know?

Overall, Black media in general have cornered the term innovation to what is alternative and downright gimmicky. Looking at Odd Future Wolf Gang Kill Them All and CCD, one would think no Black people spit Atheist rhymes or can play a mean fiddle. That's far from the case because, if we wanna be real, we were among the first people ever to do those things.

While I don't wanna start a complete history lesson (because it's way too easy to look up the history of my points from this blog), I still worry about the cycle of our culture. I already know the world and cultures we live in acts in a chronological circle, but the circle seems to be getting smaller and smaller.

To read the story I'm talking about, click here!

Recap: Bubbapalooza Coverage for Examiner

Usually folks label me as a hiphop journalist or all about hiphop culture. While I don't take it as an insult, I'd like for you all to know that I do have just as much interest in other music cultures besides hiphop. Bluegrass in certainly one of them.

For Examiner.com, I covered Atlanta's annual Bubbapalooza in Little Five Points at Star Bar. Other than the subconscious racial tension - mainly along the lines of "whoa, what's this Black girl doing here?!?" - I had a great time getting to know on a fond level what bluegrass, hillbilly folk-type music is all about. Here's an excerpt of what went down:

Bringing the folk back to night one was Bareknuckle Betties. Toting a guitar, banjo, washboard and an upright bass, these four ladies put on a swell rockabilly performance. They brought an authentic and forgotten super vintage girl punk feel – because the REAL original girl punk bands were ladies of blues and rockabilly!

Emotions rose as Anna Kramer and The Lost Cause began their set, specifically from “Mama,” (Gregory) Smalley’s mother, as she was hugging one of the many attendees wanting to pay their respect to the Bubbapalooza family. At only night one this annual music festival showed the values behind this kind of music, and the cause of keeping this festival alive, despite the death of their founder 15 years ago.

 Check out the entire recap of the two-night festival on Examiner by clicking here!

Jeffrey Butzer Talks Toy Piano Album and Show at Drunken Unicorn

While developing a relationship with many Atlanta musicians through Examiner and AOL, I receive tons of emails with the city's best hidden gems. Jeffrey Bützer is a multi-instrumentalist notorious for blessing my inbox and leaving behind pieces reflective of Atlanta's greatest current musicianship.

Under many band names - West End Hotel, Midwives, The Compartmentalizationalists, and The Bicycle Eaters - Bützer is one man of many genres and a wide variety of compositions in his holster. His last release with Claire Lodge called Past Wanstead Flats exemplified his ability to make life - however long the album may seem - aurally feel like a movie (click the title to see the story I wrote about it for AOL to see what I mean). Bützer is showing no signs of slowing down, with a few more releases coming soon this year. Although cinema is his major influence, he is so much more than a guy who can make a mean film score. I spoke with him about his new solo release, an untitled box set with compositions from a toy piano unofficially called "the Toy Pop Box," and just a general idea of what's been up with the composer.

Instead of asking this question generically, I’ll give it a little twist. What words best describe your sound?

For the bulk of my music I would say, minimal, French, cinematic, I hope.

I would like to talk about this album you are working on, the toy piano project.

I actually have three things coming out back to back to back. In short, the first is a soundtrack I made last year. It will be a three-inch CD through Lona Records. Then a seven-inch is coming with my full band The Bicycle Eaters, and then the Toy Pop album will be part of a boxed set, both via AcidsoXX Records.

So how is the toy piano project going to sound? How is this gonna be different from the last album you did w/ Claire?

I play guitar with Claire, accordion piano and things with bicycle eaters, but the Toy Pop Box is closer to my solo albums. It is a mini album, so I'm going for a more minimal sound. 

Do you play toy piano, and how long have you played it?

I bought my first toy piano in 2003. I wanted a lighter sound on my first record to double some accordion and organ lines. I had heard mostly Rob Burger, of Tin Hat Trio, play them.

What other elements of your musicianship are in your album?

This mini album is for a toy boxed set. So it is mostly toy piano, toy accordion and other toy instruments. But there is some piano, guitar and other things. Unlike my recent recordings, I am playing everything on this album.

When is this album coming out?

I'm not sure about the release date. AcidsoXX is waiting on some artists to finish their albums.

What do you plan on doing next as far as making music is concerned?

I am doing a live score to Buster Keaton's film The Balloonatic at the Drunken Unicorn on May 28. The score has bits and pieces from the album - it's sort of a collage score. I also just finished a seven inch with The Bicycle Eaters, and myself and Claire Lodge have a new set of songs we are recording with The Compartmentalizationalists.

An Interview with A Fight To The Death

One thing I do with Examiner is a Get to Know Q&A with some of the Atlanta musicians who stop by Little Five Points. It usually covers their creations, upcoming projects, living in the A, and whatever I can typically fit within a 20-minute conversation. This one features an eccentric band called A Fight to the Death, and the band member really gave me a glimpse into the complications of the Atlanta indie scene and being a band in general. Here's an excerpt of it, but I suggest just go to the whole interview here:

At this rate, where do you see A Fight To The Death within the next five years?

I hope that we are able to use the geographic distance and also use the challenges and convenience in modern technology to become more of a national band, and I mean that well. I hope that that’ll allow us to play more and out of our comfort zone, and overcome the complacency that we have in Atlanta. I really hope it gets us out of Atlanta more and make us a national or at least a multiregional band. I hope our songwriting grows and becomes more bizarre and interesting, like I will not have any idea what our next record will sound like. I see us growing and crafting songs that have a greater longevity than just writing songs that we’ll be performing live as we won’t be in that setting anymore. Our focus will be a little different.

Album Review: Bilal - Airtight's Revenge

Bilal has seem to risen into mainstream life from out of nowhere. This album drop is like running into your long lost high school friend you used to clown with in American Literature back in high school. You're like "aw man, I can't believe it's you! It's so good to see you!" But in the back of your mind you're thinking "wow, he's changed. A LOT!" Well, this is Bilal in a nutshell. Much of his creations have changed since his debut album First Born Second in 2001. Those who are expecting to hear another "Soul Sista" track should probably step away from this album in the record store (or Best Buy, Walmart, Amazon or where ever you shop for music). This is nothing like the guy we used to know.

This has to be the greatest album of 2010, arguably this decade, that expresses the mind of a musician. Aside from adding his anti-crooned out, all naturale vocals to love ballads, Bilal composes songs that are thought-provoking, deep-thinkers that just might hurt the average consumer's noggin. Airtight's Revenge goes an extra emotional step that most singers and songwriters choose to leave alone in their quest to the top of the music business.

A few of the songs on this album were remakes of previous Bilal brainchildren, but given a twist to fit Airtight's Revenge's sound. "All Matter" went from a jazz stream of consciousness to an adventurous, lesson-teaching track, but it lost its sincerity in the process. The blame for this falls on the production behind this, as well as the majority of the album. The band seemed so focused on sounding untouchable they forgot the emotional aspect of music.

These are songs that go deep, really deep, into subject matter Bilal fans - those who responded to the unreleased, the real, sophomore album Love for Sale well - will appreciate. The only thing that hinders them from enjoying it is how difficult it is to follow his change from his last album from nine years ago (which for anyone would seem easy to do, as old "fans" may not even remember it).

He tackles issues that most R&B crooners forget to cover - religion, parenthood, poverty and other socially conscious topics. "Little One," the most straightforward track on this album, is a song to his children about wanting to always be there, even when he's not. He says "I can help you walk, but can't make you stand" to illustrate that his presence should be felt whether or not he's there. Though the band keeps the track mellow and borderline boring - and could very well put your kids to sleep if you play it for them, it is probably the best lullaby (besides "Rock-a-Bye Baby" of course) you could play for your child.

The best head-nodder on this album is definitely "Flying." A song about the downside to drug abuse, as if no one knows of them, the song is near flawless. With elements of hiphop, soul and folk, Bilal tells a dark story of a travelling girl who lost her mom and dad during a drug bust, became a prostitute and a crackhead, pill-popping stripper, using drugs to ignore her surrounding though it is the cause of her tragedy. Raw in nature, his delivery is grand - like, he shits on every single R&B artist in this song by being as liberal as possible: using his entire vocal range, writing the most vulgar lyrics and dialect, and keeping the band as dark and soul-stirring as possible. It feels like a resurrection of Donny Hathaway on this song!

He reaches a level of boldness, according to how to be successful in 2010, in his songwriting through tackling these issues as well. In "Think It Over," instead of just humming a tune like "look, I'm sorry I left you" Bilal drops line that combine changing history with matters of the heart. He puts himself and his lover in the shoes of Martin and Coretta King by saying "I needed air / I stepped out / on the balcony / and the world took me out." I really enjoy how he calls out Obama in "Robots," as his presidency is in no way stopping "the machine" that is out to control us all!

Throughout Airtight's Revenge, Bilal showed signs of sarcasm in his voice. In "Who Are You," he tells tales about religion being a non-factor in how people should judge one another, but uses an old, old, traditional style of lyricism for this particular track with his usual vocalism. It goes from being innovative based on the lyrics alone to layers and layers of how expansive music is and how religion is incorporated into it. The song starts like a tale fresh out of Aesop's Fable but ends like a track a Rastafarian would enjoy rolling a fat one to.

Overall, Airtight's Revenge exemplified a deep-thinking progressive artist like Bilal. Although the album is a bit difficult to understand, it does carry itself freely from beginning to end. All elements of songwriting came out of this project, something that is well worth the wait. Not to mention Bilal's singing, though it hasn't changed much, is still untouchable. Some songs could have had less going on, production-wise, but it came off as necessary, especially considering its purpose - exploring the mind of Bilal.

Star's Grade: A-

Album Review: Eat, Pray, Love Soundtrack

Usually, I don't do soundtracks, but since I spent the time and energy into this for another job (it didn't get published *sadface*), I'll share this one with you.

Though the movie may seem to have a free-spirited message, “Eat, Pray, Love” the soundtrack falls short of flowing free. It complements the chic and contemporary vibe that the movie gives, but it can also come off as a typical compilation of today's movie score.

This soundtrack is full of eclectic and typical movie gems, from coffeehouse tunes to Middle Eastern pieces. Sony has managed to pull in timeless music by  Neil Young, Marvin Gaye, Eddie Vedder, and even Gato Barbieri. There is also a nice Brazilian twist from the Gilberto family, Bebel and Joao. It is brilliant to put together a diverse soundtrack, especially since the movie is based on Elizabeth Gilbert's international travel.

“Eat, Pray, Love” is a tale about a woman who travels to three different countries in search of a personal freedom. Gilbert (played by Julia Roberts) travels to Italy (Eat), India (Pray), and Indonesia (Love) on a quest to break the mold of being the average modern woman by searching within. The songs chosen, though no distinctive sound detected, represent the thought process of Gilbert throughout her travelling.

Most of the songs may be classic American pop music, but there are some tunes that identifies with the countries Gilbert visited. Not to mention they sound remarkable!  U. Srinivas performance on "Kaliyugavaradana" will whisk you away, guarantee! As a genius like Srinivas creates music that pleases ears worldwide, this track totally complements the Carnatic Indian sound from the movie.

 “Better Days” by Pearl Jam member Eddie Vedder explains the entire movie in a little more than four minutes. His first verse “I feel part of the universe opened up to meet me / My emotion so submerged, broken down to kneel in” spilling of individualism fits the purpose of “Eat, Pray, Love”. Although it surfaced the Web far before it hit the shelves, “Better Days” can be played on repeat forever.

Overall, to listen to this soundtrack requires the same desire Gilbert has in this film. If this is not present, then the soundtrack will be nothing more than a thrown-together, chill-time, book-reading background noise. “Eat, Pray, Love” is a small gem for the free-spirited and lovers of the book.

Last Week on Tumblr...

For those that may not know, this blog has a sidekick!

When I'm not posting reviews, commentaries, and such, I am posting small music tidbits on Tumblr, titled Bubble Gum Pop Rap Lite. Almost anything has been posted on this site, from neat music articles to singles from great artists. Every week I'll give you a taste of what I've come across on the radio, in the news, and online. Enjoy!

Posted July 17th: A link to a new site on how to be a good party-goer called Stuff DJs Hate, and ALL EIGHT album covers for Arcade Fire's Suburbs.


Posted July 16th: the new scoop on 80s group Devo, and for all the Lil' Wayne heads, a list of what he's been up to in prison.

Posted July 15th: Sleigh Bells joint "Straight A's" (BEWARE, IT'S LOUD! REALLY REALLY LOUD!) Like M.I.A-loud, but it actually works.

Posted July 14th: the list of all the artists dropping an album on September 14th. Why? It includes labelmates Kanye West, Consequence, Kid Cudi, plus the '10 comeback kids The Walkmen, among many more!

Posted July 13th: an Invincible and Waajeed collabo "Detroit Summer", exclusively premiered on Hot 97 a couple days after my blog on her! Also a picture of the greatest prank of the year!

Posted July 12th: the original sample to Q-Tip's "Let's Ride" and one of the greatest songs from my personal favorite guitarists "Giant Steps" by Joe Pass. Also posted is the link to Pitchfork's new search for writers!

The Shores by The Sea of Cortez are BEAUTIFUL!

A summer treat, this single is!

"The Shores" by The Sea of Cortez, first heard on Stereogum, struck a certain nerve - my coastal nerve. Listening to this song could whisk one away to their Pacific coast, or at least to a nearby dock to chill and crack a bottle. "The Shores" could definitely be a pivotal move for the band, as it is released at the perfect time. Really no matter what the season, there will always be a reason to enjoy this song.

The build-up is pretty cool, but a minute long stretches it thin. After the first 30 seconds, the bells and claps finally fade in, confusing and leaving people thinking "The Shores" isn't working. Luckily, the band pulls it around after the second verse, bursting through the seams of this track with "Bohemian Rhapsody"-like drumming and short, stiff guitar strumming. The great thing about this climax, is that The Sea of Cortez gave the pace of "The Shores" a whole new pulse and allowed the song to breathe as a total summer hit.

This song definitely gives the vibe of a surefire surfer tune (I know if I knew how to surf I would surf to this song), and as the song fades out with the lyrics "floating out here, floating out here on my own. I'll keep on drifting, making my way to the shore," The Sea of Cortez has made its mark with potential to blow beyond the shores.

Star's Grade: B+

Check out the song on the Tumblr!

Tribe of the Mountain - The Weirdest Group yet Great Music

(Pulled from ACRN.com... yet again)

This episode of Guestlist I worked on with ACRN had to be with one of the strangest group of musicians I've met around here in Athens - and that says a lot when you live in a place where musicians will scratch metal on metal and call it "noise music". This time I did more than just hold the boom microphone, I was the production assistant as well as a camerawoman. My name shows up in the credits a lot more often, so please believe this is another clip added to my portfolio!

Anyway, the name of this group is Tribe of the Mountain. Yes, these guys took the name from Lord of the Rings. They play folky and funky kind of music, but best put by the lead singer "It all comes down to jazz!!!"

Enjoy the video below (p.s. they have the best energy, you'll see at the end of this video):

Guest List Episode 7: Tribe of the Mountain from ACRN.com on Vimeo.

The Gunshy Preview/Sibs Weekend Review (from ACRN.com)

The show already happened, but I thought I would post it on the blog anyway because I wrote it (I know, how cocky?). The Gunshy is an interesting band, which is started by an interesting person named Matt. I won't go into too much detail because it's in the article and I don't want to ruin it. So read below and enjoy!

P.S. Check out my review on the Sibs Weekend Concert at ACRN's Scene and Heard blog!

P.S.S. Remember to check out my blogs and sites on the side(bar).

The Gunshy / February 26, 2010 / The Union
By Star Watson, Staff Writer
February 24, 2010

Photo by: Provided Photo

Many people, especially OU seniors and graduate students, will remember The Gunshy from a couple concerts around town in 2006 and 2007, namely shows with Murder By Death and Oh My God at ACRN’s 2007 Lobsterfest in Baker Theater.

Back then, it was just Matt Arbogast and his guitar. “All that I remember from the last time I played in Athens was that I was on tour with Troubled Hubble, and we were at the Union, and the sound guy said to me, ‘Oh you’re that crazy guy with the acoustic guitar!’”

But after being MIA from the city of Athens for four years, Matt returns tothe Union on Friday with some new additions to the band. Alongside Matt on lead vocals and his guitar, the new members are Jonathon Pool on guitar, Kevin Ware on bass, and CJ Heimberger on drums.

Along with the new members, the band will be bringing a new sound as well. Since 2007, The Gunshy has transformed from the folk sound of their past into something broader.

“In the last few years, we’ve become a loud-type rock band with a lot of dynamics and wordy, story-type songs,” Arbogast said.

Although some people may have seen Arbogast perform with other guitar players, pianists, trombone players and a violinist, none of those musicians were full-time members of the band.

“It’s grown into less of a hodge-podge of people from other bands, and more into a set, established group of people,” he said.

He also speaks about working on his first cooperative effort on an album as The Gunshy, although it has taken them almost four years to get done while touring, as well as taking a personal time-out.

“I kind of needed to chill out a little bit and deal with the rest of life," Arbogast said. "But we’ve been back into the writing process for like six months now."

Aside from recording the album, The Gunshy has not strayed too far from the stage. They tour sporadically in Chicago, where they now call home.

“Touring is a lot less stressful for me with the band now,” Arbogast explained. "There’s less shots that I have to take, less driving I have to do, and I really just love traveling the country with my friends."

After living in the Windy City for six years, Arbogast has seen people in his group come and go, as well as different bands come and go in Chicago’s local music scene.

“Bands get respect when they stick around and play a lot of shows,” Arbogast said. "Since bands are very supportive of one another, although there are a lot of them, you still get to pick and choose who you play with and where you want to play. It’s a great music town and better than any other city I’ve lived in, definitely better than New York and LA."

As for performing in Athens, he hopes to get the crowd from years before that loved his crazy singing. “We’ll bring a lot of sweat and some stupid jokes,” Arbogast joked. "Hopefully we will mostly be entertaining and fun."

Other bands performing with The Gunshy at the Union will include Scuba Dog and The Ghost of Asa Phelps. The doors open at 9 pm and the cover is $3 for everyone 18 and up.