Horn Gallery Spotlight: Tim Hecker

farm1.static.flickr.com_2015-04-06_16-58-32by C. F. Collison ’15

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)

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Horn Gallery Spotlight: Cam’ron

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?

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Kenyon Alum Brendan O’Connor on Rap Lyrics and Court Trials

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:

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Spooktober Soundtracks Vol. 3 – Contemporary Horror

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:

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DJ Spotlight: Natalie Reneau ’15

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

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A Word on Flow

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.

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CLPPNG – Clipping

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;[1] 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.[2]

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Summer Playlist


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.

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To Be Kind – Swans

by Adam Brill ’17

Michael Gira is a man unafraid to follow his instincts wherever they take him. Gira’s biography alone can tell you this. He hitchhiked through Europe, ended up in Israel, and spent four months in prison for selling drugs all before his 18th birthday. Gira eventually received his GED, went to art school in LA, and moved to New York City to start a band, Circus Mort.  He recorded one EP with Circus Mort, and then promptly disbanded the group to start a second project, Swans. Swans’ early releases were marked by heavy abrasive sounds and little melody or tonality. Eventually, female vocalist and devoted Swans follower Jarboe joined Gira. Jarboe’s presence lead the group to soften their sound a bit in favor of more sophisticated songwriting and textures. Gira also quit alcohol and found Jesus, which obviously influenced the songwriting on their 1987 release, Children of God. This album is, in many ways, the most important release in Swans’ career. It marked the first album with acoustic guitars, melodic vocals, strings, and woodwind instruments. Thematically, the album shows Gira’s religious influences. Instead of purely pounding noises, Children of God is much more musically varied. This allows for more interesting song dynamics and ultimately makes the music a lot more listenable. The releases following Children of God continued to explore this newfound songwriting style. In 1996, Swans released their supposedly final album, Soundtracks for the Blind. This gargantuan release (a whopping 2 hours and 20 minutes) was by far their weirdest, longest, and most ambitious release. Musically, Soundtracks for the Blind, runs the gambit from post rock textures to noise to gothic rock to bizarre sampled skits while still maintain a consistent vision throughout. Many publications referred to the album as the band’s masterpiece. It seemed like a fitting and apropos way to go out for one of rock’s most forward thinking outfits of the past 10 years.

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