What’s New @ KZUU: 2/28/11

Here’s your new albums for the week of 2/28/11:

#17 Drive-By Truckers – Go-Go Boots

#21 Alexander Ebert – Alexander

#41 We Are Enfant Terrible – Explicit Pictures

#51 Acrylics – Lives and Treasure

#57 Starfucker – Reptilians

#63 Typhoon – A New Kind of House EP

#76 Lykke Li – Wounded Rhymes

#84 Wye Oak – Civilian

#107 Duchess Leo – Golden Grey EP

#111 Gil Scott-Heron & Jamie xx – We’re New Here

#117 Pandit – Eternity Spin


Blonde Redhead – Penny Sparkle (moved to MUS)

Avey Tare – Down There (moved to Staff Picks)

Twin Shadow – Forget (moved to MUS)

Whisper Lights – Whisper Lights (moved to MUS)

Sufjan Stevens – The Age of Adz (moved to MUS)

Salem – King Night (moved to MUS)


KZUU Top 30: 2/25/11

This week we had a tie for #1, a first in the history (of this semester) at KZUU! But as I always say, tie goes to the newcomer (I just started saying this today). So, coming all the way from Cleveland, Ohio is Cloud Nothings, the lo-fi punk band that’s taken the indie world by storm since the released their self titled album in January. You might want to take note that I interviewed lead singer Dylan Baldi on my blog last summer. So while I’m totally more hip than you guys, props for spinning Cloud Nothings to death this week! They tied with Bright Eyes, who is making a strong run with their newest album The People’s Key.

Other notable charters: Winter’s Fall, a relatively small band comes out of nowhere to steal the #3 spot. Quite the unexpected ranking there. James Blake stays golden, coming in at #4 this week. Tender Loving Empire band Loch Lomond charted in at #11 during the first week of airplay for their newest album: Little Me Will Start a Storm. Gathered Ghosts’ Sampler charted at #22, and if you’ve been digging the sounds of Javier’s solo project, go check him out TONIGHT at the Baby Marmosets House Show here in Pullman.

Stay inside this weekend everyone, it’s supposed to get frigid!

KZUU Top 30, 2/25/11:

1. Cloud Nothings – Cloud Nothings

2. Bright Eyes – The People’s Key

3. Winter’s Fall – At All Angles

4. James Blake – James Blake

5. Yuck – Yuck

6. Millionyoung – Replicants

7. Ducktails – Ducktails III: Arcade Dynamics

8. Smith Westerns – Dye It Blonde

9. Akron/Family – S/T II: The Cosmic Birth & Journey of Shinju TNT

10. The Babies – The Babies

11. Loch Lomond – Little Me Will Start a Storm

12. Minks – By the Hedge

13. Telekinesis – 12 Desperate Straight Lines

14. The Decemberists – The King Is Dead

15. Destroyer – Kaputt

16. La Resistance – Philosophy

17. La Sera – La Sera

18. PJ Harvey – Let England Shake

19. Tapes ‘n Tapes – Outside

20. Coma Cinema – Blue Suicide

21. Cut Copy – Zonoscope

22. Gathered Ghosts – Sampler

23. Girls – Broken Dreams Club EP

24. Hollerado – Record In A Bag

25. Iron & Wine – Kiss Each Other Clean

26. Ironwood Run – The Atlantic & America

27. Lost In The Trees – All Alone In An Empty House

28. Warm Ghost – Uncut Diamond EP

29. Ben + Vesper – Honors

30. British Sea Power – Valhalla Dancehall

– Adam

Band of the Week: Toro y Moi

Throughout 2009 and 2010, a new genre of electronic music emerged. Dubbed “chillwave” by music satire blog Hipster Runoff, the music of Neon Indian, Washed Out, & Toro y Moi was defined by a hazy, reverbed electronic sound, heavy on nostalgia and woozy synths. Those two years were dominated by the chillwave newcomers, and even into 2011 we’re still being bombarded with bands trying to capitalize on the success of the forefathers of all things “beachy.”

The epicenter of this movement could quite possibly be considered South Carolina (of all places). Both Ernest Greene of Washed Out and Chaz Bundick of Toro y Moi emerged from the Palmetto State in 2009 with a slew of EPs and singles. Toro y Moi’s first cohesive effort was a lo-fi dance LP called My Touch. While the songwriting was solid, the cheap production style didn’t favor Chaz’s sound as well as his peers (see Washed Out’s Life of Leisure). Returning to the studio, he released Causers of This in early 2010 to critical acclaim, and drew comparisons to the late J Dilla, Panda Bear, Daft Punk, and almost immediately inspired a slew of copycats.

Many criticisms of chillwave draw on the lack of creativity in the genre, naysayers will say that every songs “sounds the same.” A very narrow-minded, but accurate critique. Trying to avoid that stereotype, Toro y Moi’s third effort, Underneath the Pine is a powerful display of guts and talent, proving that Chaz Bundick is more than just the part of a fad genre.

Drawing comparisons to Stereolab and French electronic legends Air, Underneath the Pine is a mashup of styles and sounds that come off as refreshing and completely new. The album’s first single, “New Beat” is a blast of electronic funk, sounding like some sort of futuristic disco roller rink theme. “Still Sound” feeds you the same vibe before breaking down into a midsection that features smooth rhodes keys, a repetitive chirping sample, and layered vocals that whisper in your ear until the inevitable fade out. But those are the climaxes of the album. The songs sandwiched between those two singles are filled with track after track of laid-back hits that sound like Sly Stone and Alan Palomo got together to make elevator music. While none stand out as much as “Still Sound” and “New Beat”, tracks like “How I Know” and “Before I’m Done” provide a kick compared to the rest of the down-tempo material that fills up the middle. Regardless, they all flow together with remarkable ease, I’ve often found myself 5 songs deep into this album without even noticing.

This kind of sonic change is something most musicians try to avoid, and for good reason. Immediate reactions towards Underneath the Pine ranged from confusion to anger. We aren’t used to a musician sounding this different in a span of less than 12 months. With an album like this, time needs to be taken to soak it all in. This is an album that deserves to be played in mid-July with the windows down and the sunroof up. I think by the end of Summer 2011, we’ll understand Underneath the Pine a whole lot more.

– Adam

What’s New @ KZUU: 2/21/11

Hey all! Hope you’re enjoying your long weekend. I also hope you’ll be happy to hear we’ve got a lot of new music in this week. It just doesn’t stop! Click the links for a little preview and make sure to play these this week. I highly, highly, highly recommend the new Cave Singers, PJ Harvey, Chain & the Gang, and Toro Y Moi. Oh, and go to the Macklemore show tomorrow!

New adds, 2/21/11:

#5 Middle Brother – Middle Brother

#6 Danielson – Best of Gloucester County

#14 DOM – Sun Bronzed Greek Gods EP (reissue)

#28 Chain & the Gang – Music’s Not For Everyone

#29 PJ Harvey – Let England Shake

#37 Also – Music Belongs in the Background

#38 The Low Anthem – Smart Flesh

#70 Ghost Animal – Youth

#78 The Cave Singers – No Witch

#86 Gathered Ghosts – Sampler

#94 Toro Y Moi – Underneath the Pine

#95 East River Pipe – We Live in Rented Rooms

#212 Yuni in Taxco – Sanpaku

KZUU Top 30: 2/18/11

This weeks #1 comes all the way from down under to steal the top spot from James Blake: Cut Copy, the Aussie masters of dance, released their 2nd album, Zonoscope a few weeks ago and it’s been a hit since it landed in our Preview Rack. Cuts like “Need You Now” and “Where I’m Going” dominated the charts this week, racking up enough plays to land Cut Copy their first KZUU #1 of the year. James Blake, Akron/Family, and Tapes ‘n Tapes kept up their hot streak, filling up the top 4. A solid week, keep it up DJs!

KZUU Top 30, 2/18/11:

1. Cut Copy – Zonoscope

2. James Blake – James Blake

3. Akron/Family – The Cosmic Birth and Journey of Shinju TNT

4. Tapes ‘n Tapes – Outside

5. The Babies – The Babies

6. Coma Cinema – Blue Suicide

7. Deerhoof – Deerhoof vs. Evil

8. Glasser – Ring

9. Millionyoung – Replicants

10. Tennis – Cape Dory

11. Broken Records – Let Me Come Home

12. Smith Westerns – Dye It Blonde

13. Zach Hill – Face Tat

14. Birds and Batteries – Panorama

15. Blonde Redhead – Penny Sparkle

16. The Brutes – Glorious Punch

17. Sharon Van Etten – Epic

18. Avey Tare – Down There

19. Bright Eyes – The People’s Key

20. David Lowery – The Palace Guards

21. The Decemberists – The King Is Dead

22. Ducktails – Ducktails III: Arcade Dynamics

23. Iron & Wine – Kiss Each Other Clean

24. Ironwood Run – The Atlantic & America

25. Lost In the Trees – All Alone In An Empty House

26. Minks – By the Hedge

27. Pepper Rabbit – Beauregard

28. Sufjan Stevens – The Age of Adz

29. Telekinesis – 12 Desperate Straight Lines

30. Cloud Nothings – Cloud Nothings

And We Danced….

Macklemore in front of 4,000 WSU students --Terrell Mall

This coming Tuesday Pullman will welcome back Seattle’s own Macklemore and Ryan Lewis. Their last stop in the 509 was on the 3rd day of school for Coug Fest while accompanying other 206 artists,  the Blue Scholars, Grynch and Sol. With roughly 4,000 WSU students gathered around Terrell Mall that night all chanting “Mack’s” name over and over,  it was an incredible scene to witness. This time around he will be joined by RA Scion (half of Common Market, with Sabzi of Blue Scholars).

The presence that Macklemore has on stage is on another level. From all the shows I’ve seen over the years, he is one of the artists that stands out above the rest. Mack’s interaction and appreciation of the crowd’s support is evident throughout his whole set; he has an energy on stage that ensures that his fans have a “really, really, really good time”. Whether you are a long-time fan of his music and know all his lyrics, or have never heard of his music, you get every dime worth of your ticket at one of his shows. So be prepared for this coming Tuesday, February the 22nd, and come to the CUB senior ball room to witness a great show….and bring your dancin’ shoes.

Tickets sold at Cougar Card Center- Doors at 7pm. Show 730

Facebook Concert Info

Irish Celebration Music Video

-bryce poulin


Review: Bright Eyes – “The People’s Key”

Bright Eyes frontman Conor Oberst seems to be the poster child for brooding indie rock. His musical career has been one of numerous trends and different outlets that expressed his poetic creativity. Many of these outlets being triumphs and others lacking that genuine feel. The People’s Key is where Conor Oberst’s career comes full circle. This album is a collaborative effort where shadowed members Mike Mogis (producer/multi-instrumentalist) and Nate Walcott (drummer/multi-instrumentalist) come into the spotlight. Their influence becomes one of the many factors that make this album a career-defining work of art. The Bright Eyes mantra is one that thrives on musical experimentation, releasing albums with a different genre in mind. From the electronic feel of 2005’s Digital Ash in a Digital Urn to the rootsy americana backdrop of 2007’s Cassadaga. But nothing has ever felt as developed and masterful as their 7th full-length, The People’s Key.

This album isn’t breaking any musical ground nor is it creating a new genre by any means. It’s only doing what Bright Eyes has done for years, but this time better than ever. With music at the age where the need to find new and upcoming artists is at an all time high, its nice to take a step back and remember an old favorite that made you love music in the first place. The People’s Key showcases Mike Mogis’ production at its peak on highlight tracks such as “A Machine’s Spiritual (in the People’s Key)”, the whispering in and out vocals at the songs most articulate moments show that Mike Mogis is just as much as key player in Bright Eyes as Conor Oberst. This is an album where every track can easily be your favorite, each catering to a different emotion and vibe but still holding a common thread keeping this an intact collection of songs. As for Conor Oberst, his vocals and lyrical content couldn’t be more pristine. His voice sounds fully developed opposed to his earlier awkward vocal stylings on Lifted. If you are unsure how to approach this album start with the polished “Shell Games” and work your way up. The People’s Key remains simple and straight to the point, ultimately staying true to Bright Eyes authentic sound. As Conor Oberst vulnerably states in the hiccuping “Haile Selassie”:

“I’ve seen, I’ve seen stranger things happen… happen… before”