By Isa Mojares ’20
One of the things I’ve come to noticed since I got here to Kenyon is how much where we grew up/come from influences our taste in music. So much of who we are is shaped by where we grew up, and I guess it took me leaving my own hometown to see that. Last semester, a good friend of mine from back home decided to dedicate one broadcast of his radio show at Colorado College to playing songs by artists from Florida and New Jersey, the states where he and his co-host are originally from. Inspired by that broadcast, I decided to ask some Kenyon students about the bands and songs they feel best represent the cities and towns where they come from.
By the Blog Staff ❤
Our favorites from this truly exhausting year, 2k16.
Maddie Farr ’18
Best Album: MY WOMAN by Angel Olsen
Best Song: “Away Above” by Weyes Blood
Favorite Music “Moment”: JoJo releasing her first album in 10 years was the most exciting thing to happen musically this year, in my opinion. Her success makes me personally happy. I grew up loving JoJo, and seeing her incredible personal and professional growth on this album is awesome. Check out Mad Love., it is mad full of bangers!!!
Interview By Isa Mojares ’20
DJ: Heather Peterson
Show Title: REVOLUTION ROCK
Time: Tuesdays, 7-8 pm
For those of you who don’t know, Heather works at the college Bookstore. Officially, she’s known as the ‘Sales Floor Supervisor/Apparel Buyer.’ If you see her around, say hi! This past week, I got to sit down with her and her brother, Erik, to talk a bit about her love for college radio, and her new show.
Follow the jump to read the interview!
By Haley Shipley ’17
With 19 studio albums from three different bands under his belt, Ryan Adams has made a lot of music. He’s done everything from country/alt, to concept metal, to Taylor Swift. So which album is the Ryan Adams album that everyone should listen to? Which albums are just okay? Can you even rank a discography that changes tone and genre on a whim? Maybe not, but that doesn’t mean that this Ryan Adams fan isn’t going to try.
Also this is just my own personal opinion and will continue to change. Honestly, I changed the order of this list like 4 times just writing it. And don’t even get me started on how hard it was to only pick one song from each album as my favorite…
By Maddie Farr ’18
It’s basically impossible at this point to not be aware of our incoming environmental catastrophe. What were once theoretical statistics are now tangible realities, as temperatures rise globally, natural disasters intensify, and our coastal cities are threatened by the expanding ocean. This is our world, and the bite of it sometimes keeps me up at night. Which is why I fell so hard for Front Row Seat To Earth, the new album by Natalie Mering’s project Weyes Blood. The reality of climate change never leaves Mering’s line of sight as she sings of feelings as seemingly disparate from environmental destruction as love, longing, and iPhones. This is not a social justice album. Mering is not asking you to recycle more, although I’m sure she would appreciate it if you did. This is an album about how to get up every morning and keep living and loving, even when you are aware that within your lifetime you will experience environmental changes that no humans have experienced before. This is an album about the primacy of truth and love, and the ability of humans to survive change.
By Adam Brill ’17
Mariah’s album Utakata No Hibi was basically unknown outside the local Japanese Underground when it was released in 1983 on the Better Days label. It only began to generate buzz in the late 2000’s, when DJ’s started to drop samples of it. Throughout its over 30 year history, Mariah’s album has gained a mythical status, and listening now, it’s not hard to see why. Beyond the fact that it hadn’t been in mainstream circulation until Palto Flats reissued it in 2015, Utakata No Hibi is weird. Describing music as weird probably doesn’t tell you much, because well shit, most experimental stuff is weird. But, Mariah’s album is truly hard to pin down. Part of the reason I chose to write about this album is because it’s so damn hard to describe. So here we go…
By Charlotte Freccia ’19
Inspired by this insightful WKCO playlist that traced the use of I Can’t Stand the Rain by Ann Peebles through decades of sampling in hip-hop and rap, I decided to take a look at the ingenious use of sampling in the discography of Kanye West. In eight masterful albums, Kanye has managed to sample from just about every genre and era of music in distinctive and original ways: what other twenty-first century artist could sample from Laura Nyro, Can, Public Enemy, and Michael Jackson, all in one sonically and thematically cohesive record? His use of sampling has become one of the enigmatic, protean artist’s only true signatures. Here, I look at the most effective and surprising use of sampling in each of Kanye’s full-length releases. As Rick Ross once warned/promised in his intro to Kanye’s legendary track “Monster:” “as you run through my jungles, all you hear is rumbles/Kanye West samples, here’s one for example…”
Audrey Avril ’19
A chilly wind stirs across campus. The leaves start to shiver on the trees. Before we know it, we’ll be right in the middle of autumn. From brisk weather and hearty celebration to cold rain and solemn remembrances, fall’s got it all. What better way to get into the spirit of it all by taking another musical journey into the Unknown with Over the Garden Wall.
Interview by Isa Mojares ’20
DJ: Amy Sheahan ‘17
Show Title: Sounds from the Burrow with DJ Amy
Time: Saturdays, 5-6 pm
Follow the jump to read the interview!
By Charlotte Freccia ’19
It’s hard to overstate my love for a little band from Wisconsin that turned big: anyone reading this who knows me knows that I am certifiably obsessed with Justin Vernon’s nom-de-band, Bon Iver. Anyone reading this who does not know me and for any reason doubts my certifiable obsession, I lead you to the love letter to the band I published on this platform last semester. As further proof that my devotion to Bon Iver has become almost religious in nature, I’ll let you in on the little secret that I am not only constantly designing and re-designing plans for one Bon Iver-inspired tattoo, but three (1). I know that I am not even yet 20 years old, but given how important music has been in my life thus far, I can only imagine that it will continue to remain a life-giving force for the rest of my time on earth. I will discover countless new musicians to which I will feel inextricably connected. If I am lucky, I will see those artists live, will own their discographies on vinyl, will meet them in bars or in the backstages of famous venues at sold-out shows. But in all my life, I can confidently say, I will never love a band like I love Bon Iver. I just won’t. I’m not sure how I know this. But I do.
So imagine my distress when, in September of 2013, Vernon made remarks in an Australian talk radio interview that hinted at Bon Iver’s demise. It had been two years, at that point, since the release of the band’s self-titled sophomore album, and about the same amount of time since I had fallen head-over-heals-irreversibly in love with Bon Iver. It was simply unbearable––thinking about the dissolution of my favorite band at a particularly vulnerable time in my life, when I considered them standing on a mountaintop, preparing to take the proverbial leap into what would surely be a dazzling, durable musical career. In the meantime, though, Vernon launched several exciting new projects––significant collaborations with Kanye West, James Blake, and Frank Ocean! the curation of his own music festival in his beloved hometown of Eau Claire, Wisconsin! two excellent experimental LPs with another band, Volcano Choir! the discovery and production of some promising young musicians on his label, Jagjaguwar! a super-goofy appearance in the video for Francis and the Lights’s “Friends!” Then, in February of this year, my heart stood still, when I saw this Pitchfork headline: “Bon Iver ‘No Longer Winding Down.’” It was only a matter of time before singles from 22, A Million, Bon Iver’s third LP and their first in five years, gradually made their way to release, as did the typographically cryptic and puzzling track list. And then, only a few weeks ago, a release date was announced. Me, I was putting the album’s first single (and opening track) “22 (OVER S∞∞N)” on all my playlists and trying very, very hard not to literally shit my sad-girl pants.