Latest entries in MOVE Music
The latest in music and live shows.
March 10, 2012
The evolution of Avril Lavigne
Avril Lavigne made a name for herself in the world of music at the tender age of 18. Early in her career she became known for rock/punk and rebellious style accompanied by a similar sound that distinguished her from other breakout artists at the time.
In 2000, Lavigne signed with Arista Records and two years later released her debut album Let Go. During production, Lavigne struggled with musical direction while writing in her hometown in Canada. This prompted her to relocate to Los Angeles and record. A year after the album was released, it sold over 17 million copies worldwide and was certified six-times platinum in the United States. Let Go could easily be described as a cross between pop and rock sound with one fundamental message: this is who I am.
Following the success of her first album, Lavigne released her second studio album Under My Skin two years later, selling more than 10 million copies worldwide. She co-wrote many of the songs on this album. Lavigne used her second album to talk about her life experiences including dating and relationships. Compared to her other album, Under My Skin has a darker feel with the help of alternative rock, goth rock and pop-punk songs.
Lavigne’s third and fourth studio albums are significantly different than her first two albums. The Best Damn Thing showcases her fun, light-hearted and playful side with many energetic songs. Although she wrote and produced many of the songs on this record herself, they did not have as deep a meaning as the first two albums. Goodbye Lullaby has many stripped down instrumentals, which included piano and acoustic guitar, and is said to be about “life” and personal experiences.
Throughout the years, Lavigne’s public image has changed noticeably. When she first gained popularity she was known for her rebellious attitude and tomboyish style to match. If given the choice, she preferred wearing skater clothes to high heels and skinny jeans. The media dubbed her the “pop punk princess.” Her second album prompted her to take on a gothic style, wearing things such as black tutus. During the time of her third album, The Best Damn Thing, Lavigne changed her style once again. She died her hair blond and wore more girly outfits, which matched her change in music style.
Recently, Lavigne gave a gift to her fans: a music video for her song “Goodbye.” Many news sources such as Yahoo! believe she is trading her signature style for a more mature look. They don’t see Lavigne as the same person she was a couple years ago. The new music video was filmed by Mark Liddell and consists of Lavigne posing, as if she were in a high fashion photo shoot in various types of lingerie and a blond wig, which makes her almost unrecognizable. Yahoo! poses the question best: “has she gone too extreme in an attempt to be more mature?” Will her style change once again after she releases her fifth album rumored to be released sometime this year? Only Lavigne holds the answer to this question.
Feb. 20, 2012
Artist Spotlight: Katy McAllister
Up-and-coming artist Katy McAllister is making a splash in the music world. Last month, she released her second EP, Katy Mac Throwbacks. Composing and performing her own material, McAllister started writing music when she was a sophomore in high school. Gaining more popularity, McAllister will soon be a force to be reckoned with. I have been listening to Katy McAllister’s music for the past week. Her songs are catchy, down to earth and capture the struggles and joys girls face, specifically those in high school and college. All of her lyrics are accompanied by simple piano chords, which have become a staple for this young artist. McAllister’s songs can be compared to artists such as Taylor Swift, who composes her own music as well and writes about similar life themes.
McAllister’s love for music stemmed from her family. She grew up near the city of Denver. At the tender age of four, she learned how to play the piano. This spurred her to join her church’s choir and stick with it until she was in college. During this time, she composed her own songs on the side. McAllister filled page after page of numerous notebooks with lyrics to more than 300 songs.
In 2009, McAllister was introduced to Tyler Ward, a local producer and Denver native who would later work with her to release her first EP. Ward believed in McAllister’s talent largely due to her writing abilities. Together, they released Katy McAllister's EP on July 29, 2011. Her first EP contains some of her most popular songs, including “Not Cut Out” and “Here’s to the Heartbreakers.”
The song “Here’s to the Heartbreakers” from her first EP has become a key principle that is the definition of Katy McAllister and her music. This particular song is a tribute to guys who aren’t ready for relationships, saying lying can cause the demise of any relationship.
Today, McAllister can be found writing and producing music where it all began: in her parent’s living room. Playing shows all over Colorado and the United States, McAllister is making a name for herself. Her YouTube channel is filled with original songs as well as covers of popular songs like “Wonderwall” by Oasis.
After taking the time to listen to McAllister’s music, I have discovered why fans love her music: she isn’t afraid to write what’s on her mind. The best songs come from real-life experiences, and McAllister has proven that. This is what sets her apart from other artists. If you’re interested in checking out Katy McAllister, I would suggest listening to “Amazing for a Minute,” “Phil” and “Wanna Believe.”
Jan. 16, 2012
How Hank Hears Hip-Hop: Jan. 16
Rap blogger Hank Koebler rates the day in rap music with How Hank Hears Hip-Hop.
Monday, Jan. 16: 3.5 out of 5 beats.
5. "Niggas in Poorest" — Mos Def, under the name Yasiin Bey, put together a freestyle over the Jay-Z and Kanye West hit “Niggas in Paris.” The beat stops sporadically, and Mos Def doesn’t say much of anything. Half of the lyrics are copied straight from the original song, with only minor changes. Rappers should know not to freestyle over a classic like “Paris” because their chances of sounding better than the original are slim to none. With a halfhearted effort like Mos Def’s on this song, the chances are closer to none than even slim.
4. "Stay Scheming (Acoustic Cover)" — Hearing the Caucasian Mike Posner try to come up with a variety of words to replace Rick Ross’s heavy use of the n-word is mildly amusing. Posner’s cover of Drake’s verse is arguably more enjoyable than Drake’s actual verse at first, but by the time Posner gets to the song’s signature line from Drake — “Bitch you wasn’t with me shootin’ in the gym!” — he seems to have lost his steam. Doing an acoustic cover of a rap song is an interesting idea, but it doesn’t work too well when a great beat is the song’s main strength in the first place.
3. "New Jack" — Harlem rapper Smoke DZA uses a laid-back slow flow on “New Jack,” but his verses are clever and entertaining. I don’t know if this is a song that would ever make it to my most-played songs list, but it’s definitely a solid change of pace to add to the music library.
2. "Never Enough Time" — A catchy drum beat and smooth guitar notes on the intro make the latest Trey Songz track instantly interesting. Although his music is considered “girly” at times, Trey Songz does a good job on this song of speaking to sentiments with which people of both genders can empathize.
1. "Hands on the Wheel" — Schoolboy Q and A$AP Rocky are two names I’ve heard for a while but haven’t gotten the chance to listen to yet. My impression from “Hands on the Wheel” is both of these rappers are on the above-average side of the spectrum. Schoolboy Q’s voice and flow remind me quite a bit of Curren$y, which is a good thing. Q has an album out called Habits and Contradictions, and this song has definitely impressed me enough to want to give the album a listen and find out more about his music.
Sept. 9, 2011
September boasts bountiful music bouquet
Spring is typically thought of as the season of renewal, but the month of September is making a strong argument for autumn: school, football and prime time television all kick back into full gear this month. Plus, this particular September is just begging for your attention in regards to music releases. These autumnal albums will wake you up way before September ends.
Sept. 13: Das Racist - Relax — The sarcastic duo of Heems and Kool A.D. have progressed from fast-food jokesters to acclaimed spitters with their two well-received mix tapes, all without breaking a sweat. Relax marks the group’s first commercial release, and those intrigued by rap with a sense of humor will definitely want to check it out. (Now streaming on Spotify Premium.)
Sept. 13: Girls - Father, Son, Holy Ghost These San Francisco rockers bring retro sounds and structures to the party with soul-melting intimacy. Their sophomore full-length definitely has the potential to be a fall favorite. Whether or not you like girls, you should definitely check out Girls. (Now streaming at Hype Stream.)
Sept. 13: St. Vincent - Strange Mercy — This one has album-of-the-year potential. St. Vincent’s packs some ridiculously soulful guitar swagger into her third release, and the murderer’s row of “Cruel,” “Cheerleader” and “Surgeon” is probably as deadly a threesome as we’ll see anytime soon. (Now streaming on NPR.)
Sept. 13: Neon Indian - Era Extraña — This band galvanized the electric scene in 2009 with its irresistible debut, Psychic Chasms . Alan Palomo and Co. are back with more synthy noise pop to get your shoulders swaying, toes tapping and occasional fist pumping. (Now streaming on NPR.)
Sept. 13: Toro Y Moi – Freaking Out (EP) Speaking of chillwave… Better known as Toro Y Moi, Chazwick Bundick (take your pick; either are fun to say) cemented his status as ice king in the chillwave scene this year with February’s stellar Underneath the Pine. Bundick’s not done with 2011, dropping some more tunes on this EP, which, judging by “All Alone” (now available for free download on Spin) should be a bumpin’ affair. (Now streaming at Rdio.)
Sept: 20: Wavves - Life Sux (EP) — Speaking of EPs… (Okay, I’ll stop.) Nathan William’s Wavves is really churning out the lo-fi butter this fall, composing around 20 original songs for MTV’s new “I Just Want My Pants Back,” some of which will be coming off this EP. Williams gave us an early taste with the brisk fan-anthem “I Wanna Meet Dave Grohl,” which looks like a good sign for the record, which features tracks with Best Coast and Fucked Up.
Sept. 27: Wilco - The Whole Love — You know it’s a great year, much less month, for music if there’s a Wilco album dropping with hardly any fanfare. Whether or not the group still has the mojo to spit out another dad-rock classic remains to be seen, but Jeff Tweedy has assuredly earned the benefit of the doubt. The album streamed recently on Wilco’s website, and single “I Might” has already dropped.
Sept. 1, 2011
Lollapalooza: about the money or the music?
Eminem commanded the main stage Aug. 6 at Lollapalooza in downtown Chicago. After tearing through a collection of hits both old and new, he finally arrived at his ubiquitous (in 2002, at least) hit “Without Me,” which opens with a classic phrase.
“I’ve created a monster.”
Some would like to believe that Perry Farrell says this to himself in his sleep. Farrell, the lead singer of Jane’s Addiction, is 20 years removed from his creation of the inaugural Lollapalooza festival. Critics contend that the fest is now an impure cash grab, a sad shell of its original message.
I have to both agree and disagree with this idea. For starters, Lolla rakes in an ungodly amount of money every year. An electronic sign at the Music Unlimited stage proclaimed that 270,000 festival goers bought tickets for the weekend, and it sure seemed like it with dense crowds every night. Attendees could choose to either pay $210 for a three-day ticket or $90 for a one-day pass (there are other options, but let’s keep it simple for this article’s purposes).
These buyers get the opportunity to check out some of their favorite bands, as well as countless indie bands populating the side stages throughout. Musically, Lollapalooza serves two purposes: to give headliners the arena to play one of the largest shows of their careers and to provide up-and-coming artists with half-hour showcases.
For these two groups of artists — the big-time names and the indie kids — Lollapalooza is as pure as it gets. Energy exudes from both groups and gives the festival its legs. The problem is the handful of bands that populate the mid-section. In the case of this year’s festival, Cee-Lo Green and Arctic Monkeys stand out as two glaring examples.
The former played one of the worst shows I have ever seen. He had little energy, and besides a terrific costume, he offered just about nothing to the crowd eagerly anticipating the arrival of Eminem. The Arctic Monkeys played a small selection of their songs during a rain-soaked set and appeared bored with the situation.
My question is: why are these two artists playing at the festival? They were both clearly disenchanted and didn’t want to be there. They’ve already proven themselves, yet they don’t get the 90-minute headlining slot they should command for a show. For these types of artists, it’s like they’re just there for the paycheck, which damages the musical integrity of the event.
If an Arctic Monkeys fan went to the show, they wouldn’t have been disappointed with the show, but they wouldn’t have seen a true Arctic Monkeys show. Their set was shallow and had a slight falsity to it. It’s not the band’s fault; the crowd was there for the Foo Fighters and had a fun time bouncing around to “Fluorescent Adolescent” while waiting.
It’s just that, sometimes, when you’re watching one of your favorite bands in that situation, you think to yourself, “This doesn’t count.” And it doesn’t. I saw the Monkeys back in May when they played a raucous set at First Avenue, and I absolutely loved it. Seeing them play the same songs at Lollapalooza just didn’t feel right. It didn’t count.
Lollapalooza’s critics have a point: there is a definite shallowness to the music pool at the festival and others like it. However, the good certainly outweighs the avaricious undercurrent. After all, being able to see headlining shows by Coldplay, Eminem and Foo Fighters in consecutive nights is an unquestionably cool predicament, and as long as those types of memories are being made, its easy for music heads like myself to look past the obvious cash grabs taking place.
To put it simply, it’s not hard to see superficiality in these music extravaganzas, but Dave Grohl shredding the guitar in the pouring rain with 70,000 people screaming and the beautiful Chicago skyline overlooking the park makes me not really give a shit. Forgive me.
Feb. 10, 2011
Hearts in the icebox: a Valentine's Day playlist
With the love-inducing, Hallmark-curated Valentine's Day looming in everyone's future, it's getting hard to ignore the pleas for chocolate, teddy bears and love. Whether you love it or hate it, and whether you're spending the day alone or with your favorite person, the day is coming. So, in the spirit of the holiday, here's a collection of V-day-related songs to go along with all the love and angst. A toast to love, lost or new. Sincerely, MOVE.
"Weekend" — Smith Westerns
"Crazy For You" — Best Coast
"Make Her Mine" — Mayor Hawthorne
"Hounds of Love" (new mix) — The Futureheads
"I Summon You" — Spoon
"Hotel Yorba" — The White Stripes
"Get Some" — Lykke Li
"Girlfriend" — Phoenix
"Say Yes" — Elliot Smith
"Heartbeat" — Annie
"Two Doves" — Dirty Projectors
"In These Arms" — The Swell Season
"Ignition" (Remix) — R.Kelly
"Norwegian Wood" — The Beatles
"You! Me! Dancing!" — Los Campesinos!
Jan. 28, 2011
3 Inches of Blood revives Iron Maiden sound
Fans of Iron Maiden all over Missouri will be flocking to Mojo’s on Saturday. No, they aren’t playing. 3 Inches of Blood are coming to town, and their sound is comparable to that of Maiden’s.
The four-piece metal band from Vancouver has put out four full-length studio albums to date. Their latest, Here Waits Thy Doom, was the first album not to feature any of the band’s original members. This came after original screamer, Jamie Hooper, was unable to rejoin the band after blowing out his vocals due to the harsh style of his singing.
Just after releasing their first studio album, Battlecry Under a Wintersun, the band went on tour in support of The Darkness. Shortly after that tour ended, the band went to the studio to record Advance and Vanquish.
But 2004 was a year of downfall for them. Drummer Geoff Trawick and brother Rich left the band. Rich was the band's bassist, which left the band without any beats whatsoever. The reasons for their departure were never publicized.
Shortly thereafter, the band also lost guitarists Sunny Dhak and Bob Froese. The two said they could not tour any longer and had personal issues to resolve. At that point, the band only had one original member, Hooper.
The show in Columbia is sure to be a wild one, as they are touring with a few not-so-well known acts. In a small venue such as Mojo’s, small town bands always get a ton of support. One of the supporting acts, Creaturezoid, is participating in the battle of the bands competition being held Feb. 7 at Mojo’s.
If you’re a fan of the 70’s era heavy metal that started it all, check these guys out and give them a listen.
Nov. 24, 2010
Keeping the blues alive
The blues is not dead according to the band The Mojo Roots. The four piece group from Missouri is dedicated to keeping the blues alive for another generation, and the group isn't ashamed to admit it. The band's approach to the traditional blues song is new and innovative, while still keeping the classic touch.
The band features an impressive lead guitar by Trevor Judkins, Jim Rush’s punchy bass lines and the tightly controlled rhythms of drummer Andy Naugle.
The band’s unique songs, written by vocalist and harp player Jordan Thomas, gives you a beat to groove to and catchy lyrics anyone can connect to.
“What attracts us to the blues is that it’s authentic,” Thomas said. “When you’re playing and you're singing, it’s about your actual emotion.”
Thomas has been playing a variety of instruments since he was 10 years old.
The band began in a small, local grocery store, where both Thomas and Judkins were employed as cashiers. Neither knew they shared a passion for the blues until Judkins saw Thomas singing Delta-style acoustic blues at a coffee shop for a small crowd. From there, the band formed into what it is today.
Shortly after, Andy Naugle — a longtime friend of Thomas and fellow musician — joined and jumped on the drums.
“We started playing together in '06 informally, then formally in '08” Thomas said.
From then, the four began to actively perform in the mid-Missouri area, and in the spring of 2009, The Mojo Roots had its first release: a self-titled EP of five songs written by Thomas. When the original bass player left in December of 2009, bassist Jim Rush took his place without missing a strum.
“Blues is about connecting with people,” Thomas said. “You feed off the crowd and they feed off you.”
In 2010, Mojo Roots is going strong with its newest album Thirteen Shades of Blue, which was released in June. The band’s schedules and updates can be found on its Facebook page. The Mojo Roots will perform Friday at The Blue Note, doors open at 7 p.m. and admission is free.
Oct. 22, 2010
Rebelution brings together musical tastes at The Blue Note
Waiting in anticipation, the crowd’s cheers were greeted by the funky, reggae sound of Rebelution on Thursday night at The Blue Note.
Immediately thrown into a world of classic reggae with a rock/dub twist, the audience sang along and grooved to Rebelution’s high-energy set. The Californian natives evoked a genuine passion concerning its music, which helped to set the overall personal, forget-all-your-problems atmosphere. Accompanying this chill mood, Rebelution’s rock undertones and meaningful lyrics make it easy to see the group's appeal to a diverse audience.
Throughout the night, the band played old favorites, such as “Attention Span,” along with a fair amount of newer songs from its most recent album, Bright Side of Life.
After the band was through with its set, it seemed the band and the crowd both weren’t ready for the night to be over. Soon enough screams for one more song filled the room. The empty stage then lit up as Rebelution walked onto the stage with looks of surprise, but enthusiasm to entertain its fans for just a while longer.
“You guys brought it tonight," vocalist and guitar player Eric Rachmany said to the crowd. "I gotta give it up to you guys.”
The band then exceeded its fans expectations of an encore by playing more than just one song.
Bringing a diverse crowd together through the power of their fun yet raw reggae sound, Rebelution successfully provided Columbia with the last shades of summer.
Oct. 14, 2010
Michael Franti pleases Columbia audience
At Michael Franti’s request for the crowd to “shake it,” reverberating sounds, lights and bodies shook The Blue Note wall to wall as Franti’s funk/reggae/folk fusion band Michael Franti and Spearhead got Monday night’s crowd to shake away the day’s monotonies.
Not a foot on the dance floor touched the ground as the crowd bounced along with Franti’s airborne dreads. The song “Shake it” was among many played at the show from the band’s most recent album The Sound of Sunshine. In likeness to the album’s title, an aura of golden hues engulfed the stage throughout the concert.
The interaction between Franti and his fans is a bit like you would imagine a Raffi show to be like - if Raffi played Sublime covers and made quips about Mary Jane. He enthusiastically goad’s his crowd into jumping, shaking, hugging and smiling. It might seem cheesy at times but above all else - it’s fun.
Few artists possess Franti and Spearhead’s ability to engage their audience and get everyone into a groove. Franti’s strategy seems to involve simply embracing the inner goof or ‘freak.’ As the band was playing the song “Stay Human (All The Freaky People),” Franti had nearly the whole crowd nodding in confirmation when he asked, “Who here likes being freaky?”
Midway through the show, two of the band’s guitarists indiscriminately hopped off stage and meandered through the crowd. The two met in the middle of the floor and played riffs back and forth while fans close by grooved and watched in complete wonderment. As the band started in on playing Sunshine’s title track later on in the set (it seemed the show would be wrapping up soon), the lights fell momentarily and kicked right back up like the midnight sun. The crowd went wild and Franti delivered his second wind - though he probably could have played all night, he seems to encompass the energy of the sun. The concert was full of positive vibes and smiles. The music was great, the band was enthusiastic and like the speeds of light and sound and the summer’s sun, it all seemed to go by much too fast.