Halleloo everyone, I’m back! There literally have been so many new albums this year already, and they’ve all been AMAZING! Every single new release this month (that I listened to) is on this list in some way, shape, or form. Believe it or not, though, even with all the new music this year, this probably has to be my most difficult blog to date. Probably because I was listening to the same three songs over and over all month, BUT LET’S NOT THINK ABOUT THAT! LET’S THINK ABOUT ALL THE WONDERFUL THINGS ON THIS MONTH’S BLOG!
2018 marks the beginning of a slightly more polished version of Trash Talk. Consider this semester the start of Trash Talk season 2. We had an awkward and rough go of things in the first season, but now we’ve sorted out most of the kinks.
Hey, hey, everyone! Another month gone, and another year gone! WELCOME TO 8102 EVERYONE! In this new advanced year, instruments are no longer around, and are now artifacts preserved in a museum. Robots have taken over the world, and, of course, music. I’m kidding, of course; that’s a total nightmare! In all honesty, though, 2018 is bound to have some great music, and there’s already some releases coming up this month that I am SO excited about! But enough about new music, let’s have a look at the music that’s already been released, and has made it onto my playlists this past month! This month has honestly been a little different from past months: I’ve had less of a variety this month! As you’ll be able to tell, it has definitely been a rock-filled month, since almost all I listened to was rock-based music. But you’ll also see that there were a few hidden exceptions to this!
Hey all! Wow, has it been a busy month. I’ve been SO busy with homework, my job, this (my other, unofficial, job), and every possible other thing you could think of. BUT I have found time to get some new artists, songs, and albums into my music library. I’m going to be honest though, there definitely are a couple people that I listened to A TON in October that I continued to listen to in November. And that’s okay! We all have those artists that we always go back to no matter what. Continue reading “The Daily Blend’s November Top Ten 2017”→
Like most of the UIC Radio DJs and music lovers in general, I’ve been compiling my end of year lists. Because my interest is mainly in electronic and dance music, I’ve decided to focus my list on the best tracks of 2017. The past year has been huge for electronic music. Techno continued it’s current wave of popularity, with new voices both refining and warping the genre into new directions. Lo-Fi house died and then came back, club music got deconstructed and rebuilt into a noisy mess, and push for more representation from female, queer, and POC DJ’s helped bring new voices to the table. Here’s what I took away as the best of the year:
10. DJ Boring-Goodbye Michael
This little wonder of a remix is only number 10 because it’s technically a release from the the late hours of 2016. Created in the wake of George Michael’s passing last December, DJ Boring takes the late singer-songwriter’s 2003 track “Amazing” and downgrades it for the lo-fi house generation. The result is a remix that improves upon its source materiel by letting Michael’s melodic genius shine through the distorted bass and tape hiss.
Hey everyone! My name’s Sam, and welcome to my blog! I will be doing this blog once a month along with my show, The Daily Blend, which is every Monday at 4 PM. So first, introductions. I am a first-year student from Rockford, IL, which is like two (ish) hours north of here. I went to a high school with a performing arts program, which I was heavily involved in! I have also been a dancer for the past 14 years. When not doing my show or homework, I play for UIC’s rugby team and play and write music with some friends (not that it’s actually going anywhere…). I love all different styles of music, although I tend to favorite anything with guitars and drums over other music genres (oops). On my show, I play so much different music to give everyone something diverse to listen to, because let’s be honest, no one listens to only one style of music their entire life. Continue reading “The Daily Blend’s October Top Ten 2017”→
Three jobs and twenty one credit hours have kept me off of UIC Radio’s front page this semester, much to the dismay of my twelve readers (I ❤ you guys & gals). A busy spring also kept Nick V, Cheech, and me from sitting down in the same room together for about two months. When we finally found overlapping free time, we spent the better part of two hours animatedly talking about Syria, Chicago’s water, and the prison system. But between catching up and conversations eventually bleeding into politics, I managed to ask a few questions and listen to some phenomenal answers.
I wanted to interview the FreeFAM founders for a second time. Last fall, they’d impressed me with their business-minded approach to their genre. Without sacrificing individuality and independence, they seek to create a brand to support all kinds of artists. Coming from a city with a music culture that’s very “out-for-yourself,” their message is refreshing. FAM is in the name.
An obligatory catch-up is needed first, as these guys have not sat still since the last time they visited UIC Radio’s studio. They’ve been playing gigs, traveling, and working with producers like CB Mix, credited on Chance’s Coloring Book. They’re working with LRG to create clothing and Pat Banahan of Lost TV to make videos. The group just released a music video for Bless the Bottles, (my personal favorite so far) featuring the same BMW I8 King Louie and Vonmar used in their own video. They even played a show at College of DuPage, which only sounds mildly impressive until you learn COD won’t back anyone without a tax ID and business number. They even have a website. FreeFAM is officially in business.
On Tuesday, I asked Nick V and Cheech about branding. I wanted to know what audience FreeFAM would draw as a full-blown music label complete with t-shirts and dispensaries. Both brothers said “local” immediately. They don’t want to limit themselves to Chicago, but their focus is building up a platform to support all members of music production. Their circle includes engineers and videographers, animators, and even a few family members for legal counsel. The want anyone who’s drawn to an image of family, brothers, positive moves, and a platform that’s there to serve their clients. Cheech commented that “non-threatening artists” are what resonate in Chicago today.
Nick said he wants people with energy. “Energy to party, to help, to create.” He’s got a vision of FreeFAM as a charity and force for good in Chicago. We inevitably broke into ranting about senators and bills, but Nick had a ton to say about water quality. It was endearing and inspiring and had me walking home thinking how one could add water filters to a music label…But that’s beside the point.
I asked about brands that could “make or break” an artist. Lil Wayne and Cash Money were brought up, as was Future, who got in a legal battle with his manager and was forced to release two albums ahead of time so he could start making his own money. Some artists get caught promoting BS; Cheech brought up the Fyre Festival flop. But Jay-Z’s own streaming website was mentioned as a positive. “It all depends on if a brand will encourage or control you,” Nick told me. A label obviously wants a return on investment and will have to control an artist’s image if money is lost. So who’s got their label working for them? Cheech laughed at this thought and brought up Kanye. “His label has been taking so much money from his music. Someone’s been making 50% off all of his songs.”
Controlling the artist is beyond the aims of the Freedom Family. Both brothers explained respect for their artist is the only reason they’d sign someone, and there’s no need to control someone they respect. They don’t intend to cultivate a brand that interferes with music production or limits the evolution and development of an artist.
“At the end of the day, music is the most important. But music won’t be heard without branding.” Other groups have PR people to handle web pages, social media, and scheduling. But for FreeFAM, “It’s just me and Cheech,” Nick says. The work is taking a toll; Nick V’s been off social media and left with what sounds like carpal tunnel in his hands and a prescription for range-of-motion exercises. “Shouldn’t be constantly posting, anyway,” he admitted. I told him not to worry about it. “It’s always nice to hear from family.”
The incredibly talented Australian pop star, Troye Sivan, surprised his fans with a surprise performance at the 2017 Coachella music festival.
Sivan joined DJ Martin Garrix on the Sahara Stage during his set to drop their new song together, “There For You.”
This is the first piece of new music that we have gotten from Sivan since his 2015 debut album, Blue Neighbourhood, and we couldn’t be more excited about it.
Sivan has been hinting on his Twitter that a new album is in the works, and new music will be coming our way in the, hopefully, near future.
“There For You” is a brilliant song with a beautiful message. It’s pop heavy and radio-ready, and while it may be a great song to bop to, the lyrics hold a lot in them.
“I got you, I promise
Let me be honest
Love is a road that goes both ways
When your tears roll down your pillow like a river
I’ll be there for you
But you gotta be there for me too”
Communication is the most important thing in any relationship. You cannot expect someone to always be there for you, if you cannot be there for them. Communication, and as stated in the song, love, goes both ways. One sided relationships are toxic and unfair and I cannot stress this enough.
“There For You” is a song I feel like everyone can relate to at some point in life, and songs like this are perfect to find comfort in. Sweet and soft.
With that being said, I cannot wait to hear what Sivan has planned for his sophomore album.
As a longtime fan of Troye Sivan (and a fan of music and talent in general,) it’s been an emotional ride watching Sivan go from posting quirky videos on YouTube, to preforming on the iconic Coachella stage.
It just goes to show that if you’re passionate about something, and you want your dream bad enough, hard work and dedication pays off, and living the life you’ve always dreamed of, is possible.
“Treview” is a spontaneous and grossly-titled series in which I, Trev, review new tracks or artists that spark a greater conversation outside the music itself. Whether it’s titillating controversy, an impact on culture, or a shift in the musical landscape, these songs are more than meets the ear.
Make no mistake: I was very disappointed with the direction of Joanne, and while I frequently sweated through my intense CrossFit workouts light cardio to the multi-culture appropriating ARTPOP, I recognize it to be largely a flop as well. News of Gaga returning to more standard pop fare was exciting. After periods of jazz and faux folk, I, like many, desperately longed for some new, certified Gaga bangers. It’s revelation to absolutely no one that Lady Gaga hasn’t been as musically or culturally relevant since 2009, when she released her goth-pop masterpiece The Fame Monster EP. Meat dresses, #1 hits, anatomical controversies; Gaga was on top of the world, sparkler ti***es and all. Her weird, theatrical impact on pop music continues to this day. This is why listening to her latest single, The Cure, is so sad. Gone are the sonic risks, the sexual ambiguity, the Ra ra-ah-ah Roma roma-mas. Every aspect of her identity on this track has been weathered and dismantled, removed board by board until all we’re left with is Scheiße.
The Cure is a song that is sure to be void of radio failure, but is also totally void of herself. Even at her lowest, most celestial-centric moments, Gaga could still be counted on to be one thing: Gaga. Where some nauseatingly tried to cash in on civil rights movements in an act of marketing expediency, Gaga championed the LGBT community in her songs with a true and tangible compassion reciprocated to the fans that offered her support when she was no more than a club act with some buzz. Where most album covers are focus-group-honed, inoffensive squares of current trends, Gaga’s are a clusterf*** mashup of motorcycle-meets-maiden. Now, she has abandoned her signature anthemic sincerity and advocacy, replacing them with a hollow dance-hall track indistinguishable from the entirety of current Top 40 convention, complete with cover art that features, presumably, the best result of a photo shoot who’s rank insipidness challenges its very songsake and a background of grey that borders on sardonic. Remove the vocals, and it’d be virtually impossible to tell that this is a project of Mother Monster’s at all. One can’t help but wonder how much of it even is.
With The Cure, modern pop’s true queen has handed in her crown for generic sounds and guaranteed sales.
I’m sure I’ll still find myself casually listening along, that is, if I can ever move past the fact that this is simply the least-Gaga Gaga song that’s ever been released. Having been a fan since I too was one of the many closeted, little monsters in a small town, listening for a source of identity and freedom (The Fame was the first album I purchased in its entirety), this admittedly cuts deeper for me than it probably should or does for most. It’s understandable for her to be fatigued after several attempts, and years, of trying to be true-to-self have, for the most part, not paid off critically or commercially. Certainly there’s nothing wrong with wanting your work to be appreciated. Perhaps this is the start of an era with a subsequent EP or album that will redeem it. Maybe this will just be a one-off Coachella gift. I have to admit, the initial seconds of the song gave me post-Joanne hope. Lady Gaga heading back to dance territory, or even dance-hall for that matter, is certainly something welcomed by myself and fans worldwide. This is to say as long as it’s her dance territory. As long as it’s not this. With The Cure, modern pop’s true queen has handed in her crown for generic sounds and guaranteed sales. Little Monsters everywhere are asking themselves: “Where’s mom?” I feel sad listening to this. I feel sad for Lady Gaga.