Here at WKCO, we were saddened to hear of the untimely death of a Kenyon and WKCO alum, Andy Kotowicz. However, the degree to which his friends cared for him felt truly heartwarming when we received an e-mail from alums George Stone and David Bee who planned and held a memorial for David in the WKCO booth this past weekend. Andy, who graduated Kenyon in 1995 and went on to work as an executive at Sub Pop records, was described to us as having a truly inspirational love of music and WKCO. While in WKCO today we never got the chance to know Andy and surely cannot fully grasp the depth of loss felt by his friends and family, we are inspired by the bonds of community and love, strengthened by a mutual love of music and urge to spread that love, that continued to surround Andy after he graduated and left WKCO. We would like to thank David and George for teaching us this lesson and ask that everyone take a moment today to appreciate Andy’s life.
This Friday, April 10, Canadian ambient and drone artist Tim Hecker will be performing at the Horn Gallery. Currently based in Montreal while working at McGill University, Hecker’s work under his legal name was born out of a departure from his techno productions as Jetone. Since the turn of the century, Hecker has cultivated an idiosyncratic voice in the world of Western experimental music. He has released albums on outstanding labels such as Mille Plateaux and Kranky as well as collaborated with other giants of the left-field like Ben Frost and Dan Lopatin of Oneohtrix Point Never.
Below are some standout tracks from five of Hecker’s albums — enjoy!
Virginal I (from 2013’s Virgins)
In The Fog I-III (from 2011’s Ravedeath, 1972)
by Maddie Farr ’18
This playlist is for late nights when you’ve been working hard and feeling a lot and you need to be alone and outside. This playlist is angry and rhythmic, soothing and exciting. It’s a purge of feelings, perfect for long meandering walks in the dark.
by Gavin Mead ’15 and C. F. Collison ’15
Although we’ve been privy to the fact that Cam’ron will be performing at the Horn Gallery this Saturday for quite some time, it still hasn’t sunk in yet. Whether you know him as Cam, Killa, Flea, or Cameron Giles, when you sit back and really think about it, isn’t Purple Haze your favorite rap album ever? To think that Cam will be performing an intimate show on our own college campus doesn’t even seem real. What have any of us done to deserve this pure gift?
By C. F. Collison
Earlier this week, Kenyon alumnus and Noisey contributor Brendan O’Connor ’12 wrote a feature detailing the history of rap lyrics being used in court trials against their authors.
O’Connor received input from various noteworthy scholars on the issue, who commented on the criminal justice system, the nature of authenticity in rap lyrics, and legal prejudice against black performers. O’Connor also spoke with rapper Killer Mike, who performed at Kenyon’s own Horn Gallery in 2012 and is currently one-half of Run The Jewels, the recently lauded moniker he performs under along with rapper / producer El-P. A portion of the article is included below:
by Gavin Mead ’15
The previous two installments of Spooktober Soundtracks has been focused on distinct eras in the history of horror films, attempting to provide a look into exploitation horror of the 70s, exemplified by the Giallo movement in Italy, and the surge in dark underground films in the 80s, as led by the work of John Carpenter. The world of horror movies in our current day and age is interesting in that mainstream horror has become completely solidified as a genre. Horror directors are no longer working on the outskirts of the movie industry, and horror films have become huge cash cows for the major film studios and staples in their annual wave of summer blockbusters. Not only has this stifled experimentation in plot and visuals, but the scores for these movies have also become much more predictable as well by using the same jump-scare tactics and canned strings that were introduced to the genre over 20 years ago.
While this decline in quality in blockbuster horror movies is unfortunate, really interesting work is going on in independent film. Horror directors have delved back into the underground, using experimental tactics that in many ways make it difficult to distinguish their work from that of arthouse cinema. The composers of these films have followed suit, melding together references to the sound of horror’s past while also moving in more experimental directions, drawing from recent trends in electronic and contemporary classical music.
Here are a few of my personal favorite horror soundtracks of the 2010s so far:
By C. F. Collison
Name: Natalie Reneau
Show Title: Hell’s Baguette, Mondays 8-10PM
Hometown: Great Falls, VA
Major: English Major, Latin@ Studies Concentrator, Studio Art Minor
CC: First off, what are the titular “Hell’s Baguettes”?
NR: First off, it’s “Hell’s Baguette”. Last semester, when I DJed with Emma Specter ’15 and Rebecca Saltzman ’15, it was “Hell’s Baguettes” – plural. Now that it’s just me, I’ve switched it back to the singular. I’ve never told anyone what Hell’s Baguette means, but I’ll tell you this – it’s something between a moniker and a mantra
by Tom Loughney ’16
A friend of mine recently asked me about how I defined flow and its importance, and it got me thinking a bit on my experience with qualifying flow. When I first began exploring hip-hop critiques, most everyone utilized the term without ever really explaining what it was or what it meant. I remember my frustration with the nebulous use and nature of the word, so hopefully my thoughts will help those just starting out with hip-hop to gain a general sense of the ideas and importance behind flow.
by Tom Loughney ’16
Clipping is a Los Angeles hip-hop trio comprised of William Hutson, Jonathan Snipes, and MC Daveed Diggs. Full admission: I’ve never heard their first record; however, their newest release – the vowel-deficient CLPPNG – has me excited to check out their other work.
Far and away, the boldest, most characteristic aspect of this album is the production’s industrial sensibilities. The instrumentation is fantastically rich – each song manages to express the raw energy of the genre, while simultaneously avoiding any unduly abrasive textures. This is especially impressive given the inherently harsh sound of many of the tools and items they sample.
TUNES FROM THE BLACK LAGOON: A SUMMER PLAYLIST FOR SUNBURNT DAYS AND EQUALLY SUNBURNT NIGHTS (alternatively titled: one redhead’s peril)
by Erin Delaney
1. History Eraser – Courtney Barnett
Courtney Barnett’s first record (or rather two EPs released together), The Double EP: A Sea of Split Peas is full of quintessential summer lazy tunes. Barnett’s slacker rock aesthetic is effortless, yet her lyrics are consistently witty and pointed. Also, dat Australian accent.
2. I Was Born (A Unicorn) – The Unicorns
And where would summer be without some good old early 2000s lo-fi indie? This whole album, Who Will Cut Our Hair When Your Gone? soundtracked my finals last semester and is recommended for driving, bicycling, and getting rid of cysts.