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(06/28/18 11:17pm)
by Tt Shinkan
The opinions and views expressed in this article are those of the author and do not reflect the opinion of Byte or Byte’s editorial board.
Ever since my freshman year of high school, I’ve always wanted to visit Nashville, Tennessee not because I love country music, but because I wanted to see and learn the history of what makes this city “Music City”. After five years of waiting, I was finally able to go, and my experience was nothing short of amazing. Not only did I learn a little bit about the history and evolution of country music, but I felt like I learned a lot about myself as a person as well. So with that short introduction, here’s what it’s like to experience the music culture of The Music City!
(06/19/18 6:42am)
By Baylie Clevenger
Since opening for Justin Bieber’s “Purpose” tour and dropping his first hit song “White Iverson”, Post Malone has blown up in a big way. He went from clueless young kid in Los Angeles to headlining a sold-out nationwide tour. On June 6, he blessed the Farm Bureau Insurance Lawn with an incredible and versatile performance. He and Ty Dolla Sign took the venue by storm.
The show started with the openers SOB X RBE. Their performance was not bad, but it failed to get the crowd excited. Ty Dolla Sign, on the other hand, did a fantastic job. It was easy to tell he loved his music and loved being on stage to perform it. Even someone who did not know any of his music, such as myself, would enjoy it.
Malone started his set with “Too Young” from his first album, Stoney. This song was a great way to set the tone for the rest of the concert. The crowd was hyped and the energy was incredible. The rest of the show was a combination of songs from Stoney and his newest album Beerbongs & Bentleys. The hyped up tone held for the first half of the concert with other fast paced songs like “Better Now,” “No Option,” and “Over Now.”
While there were many upbeat, high-energy songs like “Takin’ Shots,” the show was balanced out with his acoustic performance of the more intimate songs like “Feeling Whitney” and “Stay.” That is what was unique about this performance. While there were the typical fast-paced songs, there were also the more meaningful slower ones. When he sang these songs it felt like the audience knew exactly what he was feeling when he wrote them. They told a story.
That is what was so special about this performance. What makes a concert and an artist good is their ability to connect with the audience and create a fun and upbeat atmosphere but also make it personal enough that the audience connects.
The performance was also perfect for the venue. A venue with seating would not have been right for this concert. The general standing room made it easy for people to move around, jump, dance and all other forms of flailing and movement expected at concerts. Seating would have made it feel rigid and less fun.
The venue, artists, and crowd worked so well together that the energy was incredible. Even though it was a sold out show, it remained intimate. The only displeasing aspect of the night was the setlist. I️ was hoping for a couple of my favorites from Beerbongs & Bentleys that I️ did not get. The slight disappointment with the setlist could easily be overlooked for the phenomenal performance though.
(05/15/18 8:33pm)
By Connor Tighe
Charlie Puth returns with his new pop songs on his latest album, Voicenotes. Although this album doesn’t differ compared to his earlier hits, this album still provides what Puth is all about. A man that can hit those sexy high notes while talking about his mystery girl—whoever that might be. Voicenotes perfectly symbolizes an artist who has grown along with his music.
(04/26/18 6:21pm)
Fascinating conversation on David Bowie and Prince and their differences from the "norm." Bowie's androgyny and Prince's masculine and feminine clothing. Prince and Bowie and how they paved the way for modern artists like Janelle Monae. Leading up to Janelle Monae’s gender performance, and why it’s important! Monae sports a tux or a suit, but also rocks dresses and skirts. Monae interlocks the masculine and the feminine. Riveting discussion on Monae’s work and dress, “categorize me, I defy every label."
(04/26/18 6:09pm)
[embed]https://soundcloud.com/user-519363288/inqueeries-theories-s1e3-bivisbility-and-janelle-monae[/embed]
Fascinating conversation on David Bowie and Prince and their differences from the "norm." Bowie's androgyny and Prince's masculine and feminine clothing. Prince and Bowie and how they paved the way for modern artists like Janelle Monae. Leading up to Janelle Monae’s gender performance, and why it’s important! Monae sports a tux or a suit, but also rocks dresses and skirts. Monae interlocks the masculine and the feminine. Riveting discussion on Monae’s work and dress, “categorize me, I defy every label."
Hosted by: Hanna Marshall and Noah Patterson
Graphic by: Randi Flick
Edited by: Marie Drasic
(04/23/18 8:39pm)
This week on Remixed we are discussing Nicki Minaj and her new song (also how much we love her), ZAYN and how we feel about him and thoughts on his music, and Bebe Rexha's new songs. All of this and more on this week's episode of Remixed.
(04/23/18 8:36pm)
[embed]https://soundcloud.com/user-519363288/remixeds3e11-nicki-minaj-zayn-and-bebe-rexha-get-discussed[/embed]
This week on Remixed we are discussing Nicki Minaj and her new song (also how much we love her), ZAYN and how we feel about him and thoughts on his music, and Bebe Rexha's new songs. All of this and more on this week's episode of Remixed.
Hosted by: Tyler Wheatley, Matthew Yapp
Edited by: Sunny King
Graphic by: Daley Wilhelm
Thumbnail by: Isabella Torres
(04/21/18 7:47pm)
Matt and Sarah break down Kendrick Lamar’s historic Pulitzer win and the ever expanding Coachella music festival.
(04/21/18 7:37pm)
[embed]https://www.youtube.com/watch?v=qasvhrmgYj4[/embed]
Matt and Sarah break down Kendrick Lamar's historic Pulitzer win and the ever expanding Coachella music festival.
Checkpoint is Byte's video news series, reporting on recent events in the world of entertainment, tech, and pop culture. Whether its video games, film, television, or music, we've got you covered!
Anchors: Matt Yapp, Sarah James
Video Editing: Phil Akin
Audio Editing: Tyler Wheatley
Graphics: Daley Wilhelm, Tt Shinkan
Music: Jack McGinnis
(04/16/18 7:28pm)
This week on Remixed we are discussing the ever popular Drake and Cardi B's newest album, "Invasion of Privacy". Listen to our thoughts on the newest music and much more on this week's episode of Remixed.
(04/16/18 7:23pm)
[embed]https://soundcloud.com/user-519363288/remixeds3e10-drake-didnt-compare-to-cardi-b[/embed]
This week on Remixed we are discussing the ever popular Drake and Cardi B's newest album, "Invasion of Privacy". Listen to our thoughts on the newest music and much more on this week's episode of Remixed.
Hosted by: Tyler Wheatley, Matthew Yapp
Edited by: Joe Bursley
Graphic by: Daley Wilhelm
(04/16/18 3:11pm)
By Sunny King
I have to start out saying that I have liked 30 Seconds to Mars for a while, but I’ve just known their main hits for the most part. Many people may remember their biggest hit, “The Kill” (also known as “Bury Me”, released in 2005), from either the radio or playing it on Guitar Hero. Other popular hits from the band are “This is War” (2009) and “King and Queens” (2009). Other people may recognize the band’s front man, Jared Leto, from Fight Club released in 1999 or 2016’s Joker in Suicide Squad. I had high expectations for the album, “America” by 30 Seconds to Mars, but I cannot say that those were met and I knew that 30 Seconds into each song.
(04/15/18 5:24pm)
by Eben Griger
The Xenharmonic New Music Showcase 2018 features composers from all around Indiana, as well as from Denver, Colorado and Boston, Massachusetts. BSU graduate student Stephen Weigel will be performing as well, and was able to answer a few questions for us.
Xenharmonics refers to any music that does not stick to the 12-tone system that most people know. The music is mostly performed in traditionally non-European music. However, simply departing from the traditionally contemporary western tuning systems is not the only feature of modern xenharmonic music.
"It’s actually the deliberate usage of a plurality of tuning systems that is not... Electronics and technological advances have enabled people to play in any tuning system they like." said Weigel. “I find that tunings illicit different moods.”
And mood is a big focus for xenharmonic music. Traditionally, most 12-tone music is either major or minor, which tends to sound happy or sad respectively. Because xenharmonic music doesn’t follow the same system, composers create pieces that bring about different feelings from listeners.
“Why would you have only major and minor when you could have everything?” Weigel said. “That’s why I use xenharmonics."
The concert starts at 7:30 p.m. Sunday, April 15 in Sursa Hall.
(04/15/18 5:24pm)
The Xenharmonic New Music Showcase 2018 features composers from all around Indiana, as well as from Denver, Colorado and Boston, Massachusetts. BSU graduate student Stephen Weigel will be performing as well, and was able to answer a few questions for us.
(04/15/18 3:59pm)
By Ryan Fine
There may be no major indie rock act today who is quite as well suited to a cozy small venue as Lucy Dacus. At her Indianapolis debut in Fountain Square, the singer-songwriter proved that she is worth every ounce of hype her new record has brought. The two wonderfully fun, high-energy opening sets from Adult Mom and And the Kids would have made for a perfectly good concert on their own, and the crowd seemed to be satisfied even before getting any sight of the headliner. But as it neared 11:00p.m., Lucy Dacus and her band emerged from backstage in a single-file line with uniformly greyscale apparel and were met with warm applause.
Dacus arrived at the Hi-Fi in support of her near-flawless sophomore album Historian: a patient, sugar-sweet record released just over a month before the concert. She opened her set by playing eight songs from the album in a row, beginning with its most upbeat rock single “Addictions” and progressing almost sequentially through its tracklist.
This effectively put several slower tracks together in the setlist, taking the already-intimate barroom venue and making it feel more like a coffee shop. By the time she got to the blues-tinted ballad “Yours & Mine,” each audience member was fully focused on the performance as if she were singing directly to them. She introduced the song as being about things in the world that suck, and thanked the crowd for singing along and creating a “healing moment” for her.
The energy picked up a little bit after that with a transition to the quicker guitars of “Body to Flame,” a beautiful track about the ongoing mystery of getting to know other peoples’ internal struggles. “Timefighter,” which filled the next slot, was one of the clear highlights of the night. One of the show’s loudest and most intense moments, the song brought a boomy, disgusting bass tone to a night that risked sounding a bit too uniformly pretty.
Once Dacus finished her Historian run with the tragic and stunning “Pillar of Truth,” she announced that she would shift to play some older songs from her first album No Burden. Tuning her guitar by playing a chord that could have pointed to any number of songs from that album, she eventually began playing “Map on a Wall.” This song, along with the companion songs “Dream State…” and “...Familiar Place,” led to a segment that leaned heavily on the quieter moments of No Burden. Though it was nice to hear those songs, it would have also been nice to hear some of the more upbeat songs as well.
But even with the absence of “Troublemaker Doppelganger” and “Strange Torpedo,” she did have time to include her first mini-hit “I Don’t Wanna Be Funny Anymore.” Unsurprisingly, this was one of the best singalong moments of the show, only topped by the next song on the list. After the song’s final trailing moments, Dacus said that her next song would be the last one (but acknowledged with air quotes that she likely had an encore planned).
Every good musical artist needs a song that can turn their live shows into a warm community experience, and for Lucy Dacus, that song is “Night Shift.” Sprawling and emotional, “Night Shift” is the first and best song from Historian, and in the context of the album it pulls the listener in right from the beginning and guarantees a gorgeous album to come. At her Indianapolis show, she closed her main set with this song, and by the time the climactic chorus came around there was hardly a mouth in the room that was not full of its words. When it was over, Lucy Dacus and her band thanked the crowd and walked offstage to an applause thunderous enough to carry through to the encore set.
The song she chose to bring the show to its genuine conclusion was “Historians,” the final track from the album of a similar name. This is maybe the mellowest song in her catalogue, and for the first time that night, hardly anyone in the audience even attempted to sing along. Instead, Dacus was greeted with a deserved wide-eyed reverence as the audience absorbed the reserved atmosphere for the last time. Though in many ways it was different from the rest of her set, it made for the perfect epilogue to an impeccably crafted, well-told story.
(04/12/18 6:34pm)
This week on Remixed we are discussing The Weeknd's "My Dear Melancholy", Cardi B's "Be Careful", and Tyler, The Creator's "OKRA". All of this and more on this episode of Remixed.
(04/12/18 6:29pm)
[embed]https://soundcloud.com/user-519363288/remixed-s3e9-tylers-weeknd-with-cardi-b[/embed]
This week on Remixed we are discussing The Weeknd's "My Dear Melancholy", Cardi B's "Be Careful", and Tyler, The Creator's "OKRA". All of this and more on this episode of Remixed.
Hosted by: Tyler Wheatley, Phil Akin
Edited by: Eli Sokeland
Graphic by: Daley Wilhelm
(04/02/18 8:45pm)
[embed]https://soundcloud.com/user-519363288/remixed-s3e8-we-beefin[/embed]
This week on Remixed we are discussing the infamous Wendy's and their new mixtape, 'We Beefin?'. We are also discussing 30 Seconds To Mars and Panic! At The Disco's new songs. All of this and more on this episode of Remixed!
Hosted by: Tyler Wheatley, Daley Wilhelm
Edited by: Tyler Wheatley
Graphic by: Daley Wilhelm
(03/30/18 8:01pm)
by Preston Radtke
Frankie Cosmos has quickly become more than just a forlorn, artsy, indie minstrel. The time of chalking Greta Kline and Co. up as “just another bedroom act” faded right before Zentropy, the outfit's first proper studio release. Tracks like “Owen” and “School” found the band fusing catchy, DIY instrumentals with poetic, heartfelt lyrics dealing with realistic and visceral topics. Next Thing, the more critically lauded 2016 studio release, was slightly more experimental than Zentropy, delving into more unconventional song structures. Meanwhile, Greta Kline’s “every kid” persona remained, fortified through anthems like “Sappho” and “Too Dark.”
In the following two years, the band remarked on a nationwide tour, played Pitchfork Music Festival, and lead singer Greta Kline was featured on What I Want, the short-lived Brooklyn garage rock band who released their sole album last year. But the band’s crowning achievement of the year happened when they signed with legendary indie label Sub Pop. It was a hint that the band was near their arrival into the indie mainstream for good.
2018’s Vessel is everything that Frankie Cosmos is and should be: emotive themes, poetic lyrics, and self-deprecating humor. As was the case with Next Thing and Zentropy, Frankie Cosmos has marvelously captured the essence of a movement and even a generation. Kline and friends shoved away any hints at complacency with the tighter and more complex instrumentals and song structures. It seems the complexity of the band’s instrumentation is ever-changing in line with the people playing them.
(03/29/18 4:28pm)
By: Phil Akin
Stay Outside, a local band consisting of vocalist Aaron Becker, guitarist Garrett Johnston, bassist Sean West, and drummer Noah Mitchener, released a remixed EP called O,FN II. The EP takes the songs “Braveheart,” “Void," and “Wanderer” from their previous EP, Okay, For Now and revamps them in a softer, more mellow tone while adding an appropriate “II” to the end of each title. It’s important to know going forward that this is a remix, this isn’t what the band normally sounds like. While these new songs aren’t a stretch for the band, it isn’t what you’d usually hear from them.