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Anna Rose Greenberg spoke with Russian band Arkhitektonika for WOBC! Listen to them talk about the mysteries of the band, the Russian darkwave scene, and more! Arkhitektonika is a dark electro-industrial band with philosophic texts & stylish band members. They combine numerous languages and ways of thinking to create their songs. Arkhitektonika is composed of Alexander Ishutin - vocals, lyrics; Stanislav Kalashnikov - composition, keyboards; Frau Ditter - guitar; and Anubis - dance. They can be found on YouTube, Instagram, or VK.Their music is available through iTunes, Apple Music, and Spotify.

[wobc-fm]

Anna Rose Greenberg interviewed Natasha of Siberian band Kiberspassk for WOBC! Listen to Natasha talk about Kiberspassk, fairy tales, the changing state of Siberia, and more! Kiberspassk is an industrial/dark electro project based on mixing aggressive sound with ethnic traditional vocal techniques including unique woman Mongolian throatsinging. Their songs cover a variety of topics, with a focus on fairy tales and folklore and how they apply to the modern world. They will be releasing their debut album, See Bear, through Out of Line Records on April 9th, 2021. Kiberspassk can be found on Facebook, or on Instagram.Their music is available on iTunes and Spotify.

Can you tell me a little bit about Kiberspassk?

Идея создать этот проект зародилась несколько лет назад.  У нас уже есть вполне успешный дарк фолк проект Нит Лэнд, в котором мы исполняем аутентичную музыку, эпос северных народов, мы много гастролируем. Но мне захотелось попробовать реализовать себя в более экспериментальных стилях. Я много экспериментировала со звучанием, продумывала концепцию, но у меня не было достаточно времени для работы с этим материалом.   В 2020м году, когда началась пандемия, у меня появилась возможность начать полноценную работу с этим проектом. Это были тяжелые времена самоизоляции – мы развлекались, как могли. )

В Киберспасске я сочетаю русский фольклор с современным электронным звучанием. Уменянетопределенныхрамок. ___________________________________ The idea to create this project was born several years ago. We already have a quite successful dark folk project Nytt Land, in which we perform most authentic music, the epic songs of the North, touring a lot. But I wanted to try to realize myself in more experimental styles. I experimented a lot with the sound, thought over the concept, but I didn't have enough time to work with this material. And in 2020, when the pandemic began, I had the time t   o start a full-fledged work with this project. These were difficult times of self-isolation - we had fun as best we could)) In my project Kiberspassk, I combine Russian folklore with modern electronic sound. I have no specific borders. Do you have any upcoming projects?

Да, мы готовимся к релизу нашего дебютного альбома «Сибирь». В преддверии его выхода мы вместе с нашим лэйблом OutofLineMusicготовим еще пару синглов и клипов. В общем, могу сказать, что в настоящий момент работа идет полным ходом. __________________________________________

Yes, now we are preparing for the release of our debut album "See Bear", which will take place already in April. Ahead of this release, together with our label Out of Line Music, we are preparing a couple more singles and videos. In general, I can say that at the moment the work is in full swing.Follow the news

You've recently released two singles - Derevna and Liho. What is the story behind these two songs?

Песня «Деревня» - это как раз песня об умирающих деревнях. Это такая песня-напоминание, о том, как было раньше, и что там происходит сейчас. Клип на эту песню снимался в нескольких таких деревнях, в том числе и в деревне Киберспасск, в честь которой я назвала свой новый проект. В наших детских воспоминаниях деревня – это такой уют,  свежеиспеченный хлеб, это то место, где все друг друга знают, такая большая семья, с большими праздниками. И сейчас это запустение. От некоторых деревень даже не осталось ничего: не осталось домов, даже стен, только холмы от фундаментов.

Лихо – по мотивом сказок и поверий о Лихо Одноглазом. Это мифический персонаж. Есть много разных его описаний, но в целом они сводятся к тому, что это сухой, костлявый монстр с одним глазом. У нас есть поговорка – не буди Лихо, пока оно тихо. Считалось, что людей страдающих депрессией и унынием, на самом деле Лихо поедает изнутри. Просто раньше никто не знал таких слов как депрессия, людям нужно было как-то объяснить это явление.

Клип был снят в одной из заброшенных советских больниц. _____________________________________________ The song "Derevna (Village)" is just a song about dying villages. It is such a song-a reminder of how it was before and what is happening there now. The video for this song was filmed in several such villages, including the Kiberspassk village, after which I named my new project. In our childhood memories, the village is such comfort, taste of freshly baked bread, fresh milk, this is the place where everyone knows each other, such a big family, with great holidays. And now it is desolation. Some of the villages did not even have anything left: there were no houses, not even walls, only hills from the foundations.

About Liho… The video was filmed in one of the abandoned Soviet psychiatric hospitals. In such places very depressing atmosphere. It was important for us because the song Liho - based on fairy tales and beliefs about Liho One-Eye. This is a mythical character. There are many different descriptions of it, but in general they boil down to the fact that it is a dry, bony monster with one eye. We have a saying in Russia - do not wake Liho while it is quiet. It was believed that people suffering from depression and despondency it is people are victims of Liho. Liho eats them from the inside out.

It's just that before no one knew such words as depression, people needed to somehow explain this phenomenon.

You have a very unique style - what inspired you?

Меня вдохновляет само место, в котором я родилась и живу. Сибирь  - она огромная. Ты выходишь из дома и можешь видеть небо от края до края. Это дает чувство свободы. Я не люблю большие города. Мне там тесно. В Сибири я могу дышать полной грудью. У нас прекрасная природа. У нас есть степи, есть горы, есть Тайга. Эти образы очень вдохновляют меня. Когда находишься ночью в диком лесу и слышишь все его звуки, то начинаешь понимать, откуда взялись сказки про леших и водяных.

Я пишу песни по мотивам русских сказок. Мистика русского фольклора завораживает. Сказки – они идут из древности и доходят до наших дней. Вы знаете, люди стали забывать свои корни. Сейчас многие русские дети уже и не знают таких сказочных персонажей, как Леший, Лихо Одноглазое, Домовой, Кащей (это мифические персонажи). Их больше интересуют персонажи Марвел.

Ну и, конечно, в этом проекте я хоч�� обратить внимание на проблемы вымирающих деревень. Все больше и больше люди стремятся в большие города, а сельская местность пустеет.  К слову, Киберспасск – это название вымирающей деревни, которая находится в 15 км от места, в котором я живу. __________________________________________

I am inspired by the place in which I was born and live. Siberia is huge. You leave the house and you can see the sky from edge to edge. It gives a sense of freedom. I don't like big cities. It's cramped for me there. In Siberia, I can breathe deeply. We have beautiful nature. We have steppes, mountains, taiga. These images inspire me a lot. When you are in a wild forest at night and hear all its sounds, you begin to understand where the tales, for example, about Leshiy  and Vodyanoy creatures came from. I write songs based on Russian fairy tales. The mysticism of Russian folklore is fascinating. These fairy tales - they come from ancient times and reach our days. I think you know it, people began to forget their roots. Now many Russian children no longer know such fairy-tale characters as Leshy, Liho One-eyed, Brownie, Kashchei (these are mythical characters). They are more interested in Marvel characters. And, of course, in this project I want to draw attention to the problems of endangered villages. More and more people flock to big cities and the countryside is dying out . By the way, Kiberspassk is just such an dying village, this village is located 15 km from the place where I live.

What is the Siberian music scene like?

В Сибири очень много разных групп. Это разные жанры, разные стили. Проблема в том, что часто сибирская группа остается локальной. Мы находимся в Азии, и это создает определенные трудности для музыкантов.Большие расстояния между городами создают проблему. Мы живем в 3 тыс. км от Москвы. Расстояние между ближайшими двумя городами 600 км. Поэтому гастроли в Сибири требуют больших затрат – время и деньги. Тем не менее, эта замкнутость очень сильно влияет на уникальность звучания и творчества в целом сибирских проектов. _______________________________________

       There are many different bands in Siberia. These are different genres, different styles. The problem is that often the Siberian bands remains local. We are located in Asia, and this creates certain difficulties for musicians. Long distances between cities pose a problem. We live 3 thousand km from Moscow. The nearest big city is located at a distance of 600 km. Therefore, touring in Siberia is costly - time and money. And therefore, many bands simply cannot afford it. But on the other hand, this isolation greatly affects the uniqueness of the sound and creativity of Siberian projects in general.

Is there anything else you'd like to add?

Большое спасибо за интересные вопросы! Будьте здоровы, берегите себя и своих близких в это сумасшедшее время, слушайте хорошую музыку и читайте сказки. ____________________________________

Thank you very much for your interesting questions! Be healthy, take care of yourself and your loved ones during this crazy time, listen to good music and read fairy tales.

[wobc-fm]

SleepWalker Freshman List 2020

Written By Amari Newman Quentin Zimbalist

We are SleepWalker Entertainment. Starting off as a radio show on Oberlin College’s WOBC 91.5fm in 2018 dedicated to highlighting underground Hip-Hop and the community that surrounds it, we have expanded into the journalistic side of music, publishing various reviews, lists, and articles related to music. These have ranged from album of the year lists to interviews with different musicians who have performed at Oberlin including Suzi Analogue, VRITRA, Ethereal, NappyNappa, and SIR E.U. Right around this time last year we published our very first “Freshman List,” built off of XXL magazine’s idea of  highlighting artists relatively new to the rap game who gained a lot of attention in the most recent year. Seeing how XXL’s list seemed to increasingly lose touch with the current wave of genuine Hip-Hop, SleepWalker looked to create our own list of new(ish) artists who we believe are making important impacts on the direction of the genre. The following list will highlight the breakthrough rappers, producers and visual artists of this past year, who we believe people are listening to and want to experience.  

Rappers:                            Producers:                   Visual Artists:

Pop Smoke (RIP)                Evil Giane                    Nitetive Visuals

Baby Smoove                    Adé Hakim                       Revenxnt

Hook                                   Axl Beats                         DVD CITY

Baby Fifty                             JWords          The Realest Photographer Ever

Babyxsosa                             Hi-C                          Brick Productions

Camden Malik                 DamnJonBoi                         1Drince

BKTHERULA                        GAWD                             She Skin

Pop Smoke:

Sleepwalker wanted to write a tribute post to the late young superstar, Pop Smoke. The young Brooklyn-born prodigy emerged in the public eye in January with his hit record, FLEXIN, and followed that up with the song of the summer, Welcome to the Party. Pop Smoke’s 2019 was one of the greatest breakout years of all time within the hip-hop music industry, and it was apparent that he would remain a star for years to come. His death was a tremendous tragedy for not only those within the Hip Hop community, but millions of his fans across the world.

Rest in Peace, Pop Smoke.

Baby Smoove:

Baby Smoove, one of Detroit’s newest household names has actually been dropping music for quite some time now. The oldest song of his I could find was Supersonic, a track he dropped in 2012 under the name “Bandcrew Smoove”, he used a few different aliases before finding his current stage name. Smoove holds onto instrumentals in an incredibly natural way. Sliding in and out of rhythm, on and off of the beat, he always finds his place when the downbeat comes back around. His quiet, inflectionless delivery is a stark contrast to his lyrical content. Smoove raps about his lavish lifestyle, he enjoys splurging on the indulgences he lived without as a child. Other Detroit artists recognize Smoove’s prowess and collaborate with him when allowed. Recently he has worked with big name artists and producers from all over the city like Veeze, Icewear Vezzo, Rocaine, Michigan Meech, and Topside. Needless to say, Baby Smoove definitely earned his position in life, and on this list.

Songs to listen to: Palm Angels, Hellcat, Free Game

Hook

From Riverside, California (Inland Empire /IE) the 21 year old has been gaining steady recognition for her unorthodox flow and distinct style. Hook has been making music since she was 9 years old, travelling and performing in an R&B/Rap group with her step-sisters. As Hook got older, she shifted her focus onto her solo career, garnering a lot of attention throughout the underground with the release of her mixtape “Bully” in early 2019. Hook has made a name for herself for her deliberate flows that incorporate elaborate mid-verse pauses, laughs, gasps, and signature ad libs emanating an unparalleled energy that makes a listener's body uncontrollably convulse from pure pleasure. In the latter half of 2019 and early 2020, Hook put out a few more mixtapes alongside her debut album Crashed My Car, which displayed her steady evolution in sound and abilities to make great music. A frequent collaborator of legendary underground producer nedarb, Hook has also worked with Bootychaaain, WorkingOnDying, RCB and even comedian/rapper Zack Fox. More and more people are becoming aware of the greatness that is Hook, making the rest of 2020 even more exciting for herself and supporters.

Songs to listen to: I’m Shinnin, HEEM, Stand It

Baby Fifty

From Southeast, Washington D.C., the 19 year old’s nonchalant delivery of bars describing rampant death and destruction over any type of beat has quickly solidified himself as one of the most exciting rappers in the city. Fifty’s spaced out delivery accompanied with lyrics packed with punchlines, lingo, double entendres and signature ad libs allows each one of his sinister bars to imprint itself on any listener’s mind. There are very few rappers who can make you feel like everything they say is true, and Baby Fifty is one of them. Every song feels like he is having a calm conversation about the lethal activities he partakes in on a casual Monday. Fifty remains pretty individual in his output with his last few projects being featureless, but he has worked with frequent collaborator Hu$tle, MoneyMarr, and Cheecho. Fifty is one of the youngest and most respected artists from the DC area, and will continue to raise the bar for the remainder of the year.

Songs to listen to: sunniD, Walkout, Roll Out

Babyxsosa

The 19 year old Richmond, VA native grabbed attention from the whole underground with the release of the GAWD produced single “EVERYWHEREIGO” in the middle of 2019. She then joined the New York-based collective Surf Gang and continued to pump out amazing music, including her newest EP BABYXOBAMA. Even though her recognition is relatively recent, Babyxsosa has been releasing musical content since 2015 making waves in the Richmond area as a DJ and producer. Her musical experience is clear in her diverse selection of beats, and complex structures of harmonies and verses. Babyxsosa’s high pitched voice allows her to casually hit octaves that sound perfect in your eardrums, and her mastery of switching between rapping and singing mid-verse creates a distinct flow that only sosa can achieve. She has collaborated with fellow Surf Gang members Evil Giane, Polo Perks and Pasto Flocco, and has a notable catalogue of collaborations with fellow Richmond artist and freshman GAWD. Babyxsosa has undeniable potential, which she fulfills with every new release, making the rest of her 2020 an exciting sight to see.

Songs to listen to: UBERXL feat Polo Perks, PUSSY FREESTYLE, DOWN

Camden Malik

From New York City by way of Sacramento, California; Camden Malik has proved time and time again that he is beyond worthy of his place on this list. I was made aware of Camden when I saw him perform Live this past summer. I attended a Show Me the Body show in Ridgewood, Queens because of the opener, MIKE. During MIKE’s set, he allowed some friends of his to perform their music as well. Among these friends were big names such as Pink Siifu and King Carter, as well as Camden Malik, whom I was unaware of at the time. He performed his track “Dreams”, and it was easily the best performance of the set. Malik seemed to hit every word of the song, captivating the entire crowd as he spit circles around the mic in his gold-rimmed glasses. After the performance, I began researching him, only to find his stockpile of music on the internet, recently working with artists like ZelooperZ and Darryl 10k. He finds ways to pack all of his rhymes with meaning, while placing them into pockets of the beats that most artists would not even know existed. I truly think this guy could rap over anything and I can’t wait to see what he brings to 2020.

Songs to listen to: Lie Detector, Hear da Same Thang, World Different (ft ZelooperZ)

BKTheRula

From Atlanta, Georgia, BKTHERULA is proving to be one of the most exciting female rappers coming from the area. She started putting out music in 2017, but gained attention at the beginning of 2019 for her underground hit “Faygo.” BK continued to pump out hits throughout 2019 including her biggest hit “Tweakin Together.” BK’s punch-in delivery mixed with her high vocal octave is entrancing, and is combined with a myriad of futuristic melodies and next level 808s, making her music impossible to not bob your head to. She has enhanced her singing capabilities over the year dropping her debut project Love Santana where more than half of the songs explore her melodic capabilities that hit a sonic sweet spot, giving a soothing massage to a listener’s heart and mind. But BK can follow up any ballad with an intense barrage of strictly bars, that automatically gives you the stank face. This past year, BK has worked with Atlanta producers Digital Nas and Rxlvnd, and has been a frequent collaborator of Autumn! and fellow freshman Hook. In fact, the two artists are rumored to have a collaborative mixtape that could be released at any moment. BK already stands apart from the flood of artists who gained attention in 2019, and her willingness to explore her capabilities on more experimental releases gives her the potential to truly skyrocket to another level.

Songs to listen to: LEFT RIGHT, UH HUH, DAMN

Producers:

Evil Giane

Surf Gang CEO evilgiane is probably at the forefront of the New York City underground right now, and moving upward at an astounding speed. Giane has been producing for a few years now, using other monikers such as YUNALOE and aloevine before adopting his current alias. Originally, Aloevine dropped mostly house music tracks, but he began releasing hip-hop beats a few years ago and has not slowed down since. Giane’s trademark sound these days consists of clean and punchy drums, and uplifting melodies, though through his leaks and posts online, it is clear that this producer’s talent extends way beyond his sound, as his drill and even experimental punk beats rival some of the greats. Recently, Evilgiane has placements with a plethora of up and coming stars; HOOK, Babyxsosa, and Pasto Flocco, as well as songs with established underground heroes like Black Kray and BootyChaaain. I’ve already called 2020 as the year of Surf Gang so it only makes sense that Giane will continue to fly as the CEO. Expect big things.

Songs produced by Evil Giane:  MOH BARETTA - ALL4U IV,  POLO PERKS - RICH GIRL/starpower, Hi-C - tr3nd1ng t0p1c juiced

Adé Hakim

From the Bronx, NYC, the 21 year old rapper and producer has been putting out music as far back as 2014 under the name Sixpress. Adé is a member of the [sLUms] collective, and has helped curate the next phase of New York’s sound that gained a lot of mainstream popularity this past year. Hakim incorporates a wide range of sonic layers in his production including violins, horns, cries and moans from blues songs, piano riffs, and video game effects. These are all stretched, reversed and changed in pitch, creating a brand new authentic melody. This is accompanied by snares, claps, kicks and 808s that are also adjusted, giving them a mechanized sound that allows the expansive nature of his production to fully form. Listening to an Adé Hakim beat sounds like you are strolling through a busy robotic construction site with headphones on that is playing Miles Davis at half the normal speed in one ear, and the Sonic The Hedgehog videogame score in the other. Hakim has worked with a large number of New York legends in the making including MIKE, King Carter, Medhane and Navy Blue, and has expanded his sound past the city working with NAPPYNAPPA, Pink Siifu and Earl Sweatshirt. Adé Hakim is one of the most positive artists in the game and his constant output of good will continue to come back to him for the rest of the year.

Songs produced by Adé Hakim: LIKE ME, MIKE - PLANET, Sticking to My Roots

Axl Beats

If this list was based sheerly on streaming numbers, Axlbeats would be at the top. Axl found himself in 2019 getting placements with world renowned superstars such as Travis Scott and Drake. Luckily, Here at Sleepwalker we believe in more than numbers on the screen below the song, but we wanted to acknowledge AxlBeats’ accomplishments nonetheless. The London Based Producer’s career began in 2016, where he became locally popular for flipping Chicago style drill beats into more modern, new sounds. Axl then rode the drill wave all the way to Brooklyn, producing for artists like Sheff G, Fivio Foreign, and Pop Smoke, as well as A-List Celebrities Rich the Kid, and Jay Critch.  Axl ended his 2019 incredibly strong, by producing Drake's drill inspired track “War”.  If you haven’t heard Axl beats by now you may need to check and see if your radio is still working, but you will definitely hear him in 2020.

Songs produced by Axl Beats: Drake -War, Fivio Foreign - Wetty, Travis Scott feat Pop Smoke - GATTI

JWords

From Union City, New Jersey, JWords is rapidly making waves across the Hip-Hop and Electronic community. Releasing music as far back as 2015, JWords produces intricately structured soundscapes that incorporate digital synths with complex progressions, and old soul samples. The jazzy layout of her bass patterns, and mystical sounds that accompany them, reminds one of a chandelier of chimes flowing in a slight breeze. JWords can also switch it up, creating fast paced and unique sound structures that sound like futuristic versions of Salsa and Bachata, which she notes are heavy influences on her musical output. Her preference of hardware in music creation gives it a more genuine feel, and contributes to her next-level live performances. Listening to JWords feels like traveling through the ocean in an underwater spacecraft at 1000 mph, but the speed isn’t overwhelming, it's actually very soothing. Now a member of the NeverNormal Collective, JWords has been garnering attention throughout the past year. She’s worked with MIKE, Suzi Analogue, King Carter, and Nappy Nina, while also performing with other contemporary greats at live shows throughout New York City. She released her debut EP Sin Senal earlier this year and recently led an Ableton-sponsored beat making workshop. The momentum is only building for JWords, and 2020 seems like it will be her breakout year.

Songs produced by JWords: Stay Away, Shine <3, Numb feat MIKE

Hi-C

A member of the infamous Reptilian Club Boyz (RCB), Hi-C has been making waves in the underground as far back as 2013. Adopting various monikers like HighCee and C Boogie, the Richmond-based artist has always stood apart for his futuristic and majestic melodies, reminiscent of the soundtrack to a final boss battle in Ninja Gaiden, that are combined with hard-hitting 808s and kick patterns. This sound is leveled up by an insane assortment of sound effects that range from soundbites from Super Smash Brothers, SoulCaliber, Dragon Ball Z, Nascar races, thunderstorms, gun shots, applause and evil laughs. This past year, Hi-C’s talents seem to have been collectively noticed by the underground, landing him features and placements with fellow RCB members Diamnodsonmydick and Cartier’GOD, along with Surf Gang, Hook, Marcy Mane,and NolanBeRollin. Everything is lining up for Hi-C and RCB to reach massive heights in their musical content and impact on the general rap culture this year.

Songs produced by Hi-C: No Emotionzzz, DOMD feat Hook - BRATZ, DOMD feat SickBoyRari - King Lamagra

DamJonBoi

The Detroit Hip-hop scene saw a flourishing 2019. Reaping many of the benefits of this newfound popularity was the incredibly versatile and talented DamJonBoi. 2019 gave Jon placements on underground smash hits with talent like Teejayx6, Sada Baby, Kasher Quon, FMB DZ, Drego Baby, and Lil Beno. On top of all of his 2019 placements, he had a strong end of 2018 producing Drego & Beno’s “Recipe 2”, which has amassed over 5 million views on Youtube and a plethora more streams. Aside from producing, DamJonBoi has been laying down vocals of his own. His smooth voice and classic Detroit style inflection work amazingly in his songs, many of which showcase his lavish rockstar lifestyle. Needless to say, JonBoi is up now for 2020.

Songs produced by DamJonBoi - Super saiyan, Brainstorm Feat. Babyface Ray, Teejayx6 - Dark Web

GAWD

The 20 year old Richmond, Virginia native is one of the most hardworking artists in the game. Holding the largest discography of released songs on our list, GAWD has nearly 1,200 tracks just on his SoundCloud. With a vast amount of monikers including 65 Cent, Black John Stockton, DJ Lil Stank, and Lil Coochie Burp, GAWD has consistently been dropping great music since 2014. His production consists of Pharrel-like synths and chord progressions matched with  signature distorted 808s that often fall in a simple 4/4 pattern. His addition of piano runs, harps, and video game effects to this formula elevates his sound to another level. Every GAWD beat is pleasing to the ear and always has a bounce, no matter how different they are from each other. Even though he has been on the scene for years, GAWD has gained a lot of attention this past year as his collaborations with fellow Richmond artist Babyxsosa have grown in popularity. On top of collaborations with Karmah and RCB, GAWD did a DJ session with Noble Spell in New York for Corpus Radio this past summer. It seems like he is finally getting the necessary recognition for years of hard work, and it's exciting to see what the rest of 2020 holds for him.

Songs produced by GAWD: 65 Cent - CHANGE TALK, Babyxsosa - EVERYWHERIGO, RCB - #bloodthisrsty #711

Visual Artists:

Nitetive Visuals

The 20 year old videographer based out of France has stood apart from the surge of artists producing intricate edits for the current output of music videos. Nitetive has been releasing video content since 2017, often consisting of minute long edits of rappers like A$AP Rocky, Playboi Carti and Lil Uzi Vert being put in alternate dimensions, video games or outer space. In 2019, Nitetive began to focus on producing full fledged music videos. Although he has shot and directed a good amount of videos, Nitetive has gained a reputation for his ability to edit footage. Collaborating with other visual artists including MarkoVisuals and fellow freshman Brick Productions, Nitetive has gotten to edit some of the most mind bending music videos of 2019 and 2020. Nitetive’s visuals consist of a fast paced barrage of glitches, rainbow styled effects, shattering glass and datamosh transitions, and 3D animations that place the viewer in an alternate reality. With footage that is often reversed, layered on top of one another, and switched between crystal clear and VHS quality, Nitetive’s videos are truly mind bending. The quick flashing of logos and important lyrics throughout his videos make the viewer feel like they’re watching a sped up hypnotization reel that’s subconsciously tricking them into becoming cool. In the past 6 months, he has worked with the likes of Pi’erre Bourne, SickBoyRari (Black Kray), Bladee, Cyrax and K$upreme. Nitetive seems to get better with every release, making 2020 exciting for what else he has in store.

Videos edited by Nitetive: SickBoyRari (Black Kray) feat Bladee - Blue, Pi’erre Bourne - Try Again, Cyrax - Breeze

Revenxnt

If 2019 gives any indication as to how someone’s 2020 will go, then we should all keep our eyes peeled for Revenxnt this year. This Newark, NJ based visionary had a high point in 2019 of producing a Pusha T video for Vogue. Besides being a video artist, Rev also produces music (with placements like Sha Hef, Grimm Doza, and DA$H), is a prolific painter, and even dabbles in clothing design. A typical Revenxnt video consists of interesting colors, often double exposure shots and ambiguous angles, lots of adjusting focuses, and quick transitions. All these elements come together to create glitchy looking masterpieces that will undoubtedly stand the test of time. Recently he has made some masterful instant classic visuals with the likes of Medhane, Mavi, and Moh Baretta. Rev has an amazing internet presence, always tweeting his mind and uplifting his followers. A staple post of his will be a photo wad of money with the caption “IF YOU READING THIS YOU’RE GETTING MONEY TODAY” One thing that is for sure about is he will never stop hustling and never move backwards. I have no questions about 2020 being as big a year for Revenxnt as ever.

Videos directed by Revenxnt: Medhane - Allegedly, Moh Baretta - Phew,  Mavi - Sense

DVD CITY

Based out of Detroit, Michigan, the collective of visual artists have been putting out content since 2015. Originating as VHS Country, the group has stayed true to its roots putting out visual mixes that incorporate off-coloring VHS-like effects. Various clips are layered on top of one another and fast forwarded, reversed or flipped sideways with frequent freeze frame trails filling the screen. These clips include viral youtube videos, infomercials, orchestra concerts, anime, hockey fights, animals, Mandelbrot sets, Tekken, WWE clips, and Kung Fu movies. Those watching a DVD CITY exclusive may believe their youtube webpage has gone haywire with effects that make the viewer feel as if they are watching 20 VHS films at once that are being fast forwarded and rewinded at the same time, but at different speeds. In the past year, the collective has produced music videos and snippets for Akai Solo, Pink Siifu, GAWD, MIKE and JWords. They also did the visuals for Never Normal Records’ most recent annual 4/20 live stream. The collective is pushing audio/visual boundaries to a new length with their consistent output and in-tune video references that are bound to entrance any viewer.

Videos directed by DVD CITY: DVD CITY 24//5GHOTSPOT, Black Sand - 2K4ev, DVD CITY 22//JWORDS

Brick Productions:

The Richmond-based videographer has been releasing content since 2017, and immediately started gaining notoriety throughout the underground for his diverse capabilities in making any type of music video. Brick’s ability to incorporate close zooms, still frames, and 3D animations into footage that can be of the highest or lowest of qualities is practically unrivaled. This is enhanced by transitions that take advantage of intentionally shaky camera footage that is often at a high frame rate, making some of the cleanest videography out there. These quick and clever transitions engage the viewer, but at a pace that is perfect, giving them a moment to fully enjoy the beauty of each shot before it is followed by another. That being said, Brick can also flood the screen with a flurry of effects including colored trails following body movements, crows flying in the background, Dragon Ball Z characters quickly appearing, snow falling, and flames engulfing the screen. This past year, Brick Production’s diverse visual output has landed him collaborations with SickBoyRari (Black Kray), Hunned Mill, A$AP ANT, Trippie Redd, Cyrax and Bootychaaain. He has also worked with Utmost, a Richmond-based skating company, in their recent collaborations with DC Shoes and Round Two. Brick Production is steadily evolving, learning how to merge creative and off the wall editing with smooth and straightforward shots that find happy balances with every new release. The rest of 2020 is his for the taking.

Videos directed by Brick Productions: Black Kray - PERIODT, Sunny2point0 feat Trippie Redd - Man Down, BOOTYCHAAAIN - MESSROUND

Realest Photographer Ever

Being the most secretive artist on our entire list, it’s hard to pinpoint when exactly the Realest Photographer Ever started dishing out creative content. The artist made their debut under this name with frequent collaborator Zelooperz for his video “Bootleg” in mid 2019. Their use of footage that looks like it's been shot off an iphone, shows a minimalist yet effective approach to making videos. Clips of people doing regular activities, such as chilling on a couch, hanging out by a river, or walking through a city, is manipulated and arranged in a way that creates a brand new reality that is incredibly engaging. An entire screen can be full of different scenes from different places at different times, allowing one to find something new every time they watch a video. The Realest’s perfectly timed transitions, reverse playbacks and freeze frame layers eliminates any need for fancy visual effects. Their straight forward visual production has landed them collaborations with Earl Sweatshirt, Zelooperz and Caleb Stone this past year. Since the Realest has no accessible social media, other than a Youtube page with 3 videos on it, it is hard to tell what they have in store for the future, but whatever it is, it will be great.

Videos directed by The Realest: Earl Sweatshirt - EAST, ZelooperZ - Going on a Date, Zelooperz feat Earl Sweatshirt

1Drince

One of the members of the ClockWork Productions collective, 1Drince has been delivering top tier videography to DMV based artists since 2018. The Washington D.C. native has gained a lot of attention the past year for his frequent collaborations with fellow freshman Baby Fifty, directing 10+ videos for the rapper over the past 9 months. His use of menacing shots and close zooms will send chills up your spine. Drince’s smooth transitions and high quality footage perfectly captures the chaotic and deadly energy of the people he shoots often flashing drugs, money and weapons of all shapes and sizes at the camera. He is able to perfectly capture the feel of every song he does a video for, thoroughly enhancing it. Every time one hears a song, they automatically think of the Drince video that accompanies it. In addition to Baby Fifty, he’s worked with MoneyMarr, Baby 9eno, Q Da Fool, Big Flock, YungManny, and RXPeso this past year. Drince and the ClockWork Productions team continue to solidify themselves as the go to videographers for DMV artists, making it exciting to see what they have in store for the rest of the year.

Videos directed by 1Drince: Baby Fifty- One On One, MoneyMarr - Cable Box, YungManny & Big Flock - TPA

She Skin

From Salem, Virginia, She Skin is the most versatile visual artist on our list. He started his visual output as far back as 2012, releasing creative and distinct skate videos. He soon transitioned into making music videos during the 2014/2015 SoundCloud Golden Era, providing music videos, visualizations, cover art, production and audio mixes for Divine Council and other Richmond-based artists. On top of videos, She Skin also established his own line of merchandiseincluding acrylic pieces, figurines and t-shirts.

Clearly, She Skin’s extensive catalogue sets him apart from the typical definition of a freshman, but he is on this list because it seems like he is finally gaining the recognition and praise that has been years past due. In addition, he seems to have found a signature look for his videos. His high frame rates and frequent zoom-ins are meshed with intentionally shaky camera work that cuts the artists in and out of frame at perfect moments. This is accompanied by sped up, slowed down, and chopped footage that creates a feeling in his videos that is unsettlingly soothing. She Skin has recently done videos for SickBoyRari (Black Kray) and hernbean5150, while releasing a series of minute long snippets from other Richmond artists including FHN Mook, Karmah, and Hunned Mill. He has also collaborated with Utmost throughout the years, providing pictures for the company’s most recent collaborations with Round Two and DC Shoes alongside fellow freshman Brick Productions. Even though She Skin has been a present and respected force in the underground for years, it seems like 2020 is shaping up to be the year his capabilities become known across the country and world.

Videos directed by She Skin: Herbean5150 - Felons, SickBoyRari (Black Kray) - Feel My Pain, FHN Mook - Undaground Sluggroad

[wobc-fm]

Tiny Ref Desk Concerts bring good vibes to Conservatory Library

Written by Megan McLaughlin

Name a venue that regularly presents performances by jazz trios, early music choirs, flute ensembles, acapella groups, and other seemingly random and disparate musical acts. An unexpected venue that might not have made your list for such an assortment of offerings is the Oberlin Conservatory Library. “The more outside of the box, the more fun it becomes,” Reference Librarian Kathy Abromeit said during a Zoom interview about the monthly Tiny Ref Desk concert series.

Inspired by National Public Radio’s popular Tiny Desk Concerts, the Conservatory Library series is outside the norm of what one typically might expect from their everyday library experience. In October of 2018, the Library began hosting twenty-minute noontime concerts performed by a variety of groups — the first was a jazz ensemble — as a way to promote student library workers, give instrumental studios a new venue at which to perform, and change the relationship patrons feel toward the space.

An early installment was “Swoon Over the Bassoon,” a collaboration between Student Reference Assistant Philip Swigon and former Student Reference Assistant, now Professor of Bassoon, Drew Pattison — a fun way to include new and old student workers and give them a creative outlet in what is traditionally a somber atmosphere. “It’s about saying ‘this is my library, this is my space. I get to perform right over there.’ It’s their library. It’s your library,” Abromeit said. The Tiny Ref Desk concerts give students the unique opportunity to perform in the same place where they work and study. In fact, it is not uncommon for audience members to move furniture around, sit on the floor, and come and go as they please.

Performances have included “Hear my Prayer” with the Oberlin College Black Musicians Guild, “Horn Hanukkah” with the Oberlin Horn Studio, “Suffrage Through Song” to celebrate Women’s History Month, and the “Hispanic Heritage Month Concert” with the Latinx Music Union. Abromeit said that the range in instrumentation and mission of the groups encourages a diverse audience, and “if we can keep diversifying the audience, I think we’ll keep getting people to come in for the concerts.”

When asked about the future, Abromeit said she wanted to integrate more college musicians into the conservatory setting. After the successful performance from the college acapella group The Obertones during Parents’ Weekend in October of 2019, Abromeit looked into bringing more college musicians and community members into the library to perform a Tiny Ref Desk concert. Although canceled due to the pandemic, the May performance was supposed to be “Tiny Instruments,” followed in September by a “Tiny People” concert with elementary-school aged guests from the Oberlin Community Music School. Hopefully it will still take place in the Fall — as long as it can be scheduled around nap time.

Abromeit said that she is also hoping to bring in college faculty members to participate, including a fiddle and guitar duo from Oberlin’s biology department. Regarding non-conservatory musicians in general, the librarian said “I can totally appreciate how intimidating it would be to come into the Conservatory, and I want to make sure it feels safe and fun. I can most certainly work on that more.”

Winding down our conversation, Abromeit thanked her supervisor, Deborah Campana, for her enthusiasm toward the idea of bringing live music into the music library. She also thanked everyone who has participated in the Tiny Ref Desk concerts, either as an audience member or performer. “This can only be as successful as the people who agree to perform — it couldn’t succeed if they weren’t willing to share their talents and participate in this series.” She let me know that every month she Tweets a clip from the concert to NPR. Although they have never replied, she vows to keep trying in the hopes that someday, they will.

[wobc-fm]

Beating the Blues with Broadway on “Oberlin Stage Left”

Written by Megan McLaughlin

One of my favorite things I’ve watched online since the beginning of social distancing has been the playful banter between Opera Theatre Professor Chris Mirto and Musicology Professor Jamie O’Leary in their “Oberlin Stage Left” stream, Beat the Blues with Broadway.

Started by Oberlin Conservatory in mid-April, the new series of livestreams hosted by Conservatory faculty ranges in format from documentary viewings to question and answer sessions with guests. Beat the Blues with Broadway is a carefree discussion about some of the hosts’ favorite choreographers and singers, complete with interactive audience participation and clips from different musicals.

As the duo welcomed their viewers and explained the chronology of what was to come, I couldn’t help but chuckle at Mirto’s purple-sequined blazer and dark sunglasses. Both hosts employed fun, virtual backgrounds to further set the Broadway mood — O’Leary’s a marquee with neon lettering reading “Broadway” and Mirto’s a scene of Times Square lit up at night, with a prominent billboard reading “Stay home when you are sick.”

The discussion began with a big-ticket question: is Bob Fosse or Michael Bennett a better choreographer? Mirto gave a short preface, including a word of advice to pay special attention to the dancers’ wrists, before showing a clip of “Steam Heat” from the movie musical, The Pajama Game. Fosse’s choreography included three dancers in spiffy suits and shiny shoes doing neat tricks with their bowler hats as they shuffled and grape-vined around the stage.

O’Leary followed by giving a rousing defense of Bennett’s choreography, introducing a clip of the Montage from A Chorus Line, where dancers recount stories from their younger days. O’Leary marked the number as distinct because “Some of us may never have left our teenage awkward years.” As O’Leary pointed out, the clip included a much larger group of dancers than the Fosse, performing moves reminiscent of cheerleaders at a pep rally.

The number of dancers seemed to double when, partway through the scene, mirrors appeared onstage, reflecting the dancers from behind and expanding the crowd. The small floating panel of Mirto and O’Leary on the side of my screen made my viewing experience even more pleasurable. The two brought a smile to my face as they danced, reacted, and gave appreciative snaps to the performers.

Following the videos, the hosts asked their audience to participate in a poll to decide which choreographer was better, with O’Leary warning the audience, “don’t vote for the sparkly purple jacket,” referring to his colleague’s distracting attire. Fosse won by a twelve-vote margin, and Mirto jokingly declared the poll a waste of time.

Just when you thought the stream couldn’t get any better, a surprise guest popped onto the screen. Oberlin College President Carmen Ambar joined just in time to let everyone know that she voted for Fosse, much to the shock of O’Leary. Ambar shared her experience growing up with a musical mother, which even entailed having done a Fosse choreography workshop.

The next topic was favorite singers, with three videos being shown in quick succession. Ambar led with a video of Patti LuPone performing “Don’t Cry For Me Argentina” from Evita, remarking on the artistry and interpretation LuPone brings to everything she sings. Mirto followed with a performance of Jessie Mueller singing “She Used to be Mine” from Waitress. He conceded that, while it may not be the best musical, the raw power and emotion Mueller shares with her audience shines above all else. O’Leary turned to something a bit less emotionally charged: Kelli O’Hara singing “A Cockeyed Optimist” from South Pacific. Albeit short and quirky, O’Leary said that there was just something about it that brought him to tears the first time he saw it live.

Wrapping up the session, O’Leary cheerily said, “We look forward to seeing you when we can all be together again, but until then, Zoom will have to do.” Beat the Blues with Broadway was recorded and can now be accessed on the website for “Oberlin Stage Left.” Lighthearted and upbeat, the video is absolutely worth 43 minutes of your day, and proved exactly what the event description stated: “it’s a good day to be fabulous,” especially when it’s in the company of Mirto and O’Leary.

[wobc-fm]

Album Review: Ma Quele Idea

Written by Lilyanna D’Amato

Everyday, somewhere around four in the afternoon, I have the same conversation with my Mom. I wander into her office to tell her that I’m bored, she scolds me because she hates the word “bored” (it is “forbidden” in this house) and says that if I’m so unimaginative she will certainly dream up something for me to do. After five weeks of my nonsense, she finally did.

Much to my dismay, I was sent to unpack the boxes in the basement, the contents of which haven’t seen the light of day since 1998. So, that’s how I spent my Saturday, up to my neck in junk. Or so I thought. On my sixth box, I uncovered my Dad’s collection of 80s CDs. At first I saw some familiar, albeit dusty, favorites — Prince’s Sign “O” The Times, Bowie’s Tonight, Marvin Gaye’s Midnight Love — but as I sifted through the piles, I found a few I had never seen before. Among them was a four-track EP from Italo disco artist Pino D’Angiò called Ma Quale Idea, the vivacious tech-pop album I never knew I needed.

Released in 1981, the titular track, Ma Quale Idea, opens with a series of extraterrestrial electronic tremolos, ushering in D’Angiò’s sultry spoken vocal and a resonant bass line sampled from McFadden and Whitehead’s Ain’t No Stoppin’ Us Now. His native Neapolitan inflection rings throughout the song — seductively,and somewhat sardonically — mocking Italian dandies who look down upon the poor and “uncultured” people of the region. In his most popular performance of the song, on a popular Italian television show, the debonair singer, clad in a very 80s all-white ensemble, strides across the stage, unfastening the first few buttons of his dress shirt. Flirtatiously taking a drag from a very large cigar, he begins whisking beautiful women away from posh-looking men, whispering an ultra-smooth “oh yeah” all the while. Translated, the the chorus reads:

I had a great thought, I brought her in my den

I poured an orange juice and she burst into a laughter

She clung to my whiskey, she gulped down five litres

She seemed to be out of her wits

She kissed me, I kissed her

I stopped her, I caressed her fairy face

But she looked like a potato

Undoubtedly, the sentiment is sexier in Italian. Nonetheless, the simple piano melody perfectly punctuates his wonderfully dizzying lyricism, his gruff timbre laid over multiple tiers of 70s jangly guitar riffs and an ever-present propulsive bass line.

On the funkier, more soulful, Okay Okay, D’Angio picks up the tempo. His signature rasp is extraordinary, but the song’s subtle groove and wildly catchy techno-R&B melody seal the deal. His enunciation is impeccable as he flies through the first verse, rapidly and sleazily marveling at the fun of wooing:

Wow, what a woman! I don't trust women

Courtship is a ritual

Too often all ends up with a woman betraying you

And I don't care whether they're blonde or brunette

I just need them to be curvy and willing to make love

His flirtations echo the bounce of the disco-dance keys line, almost begging the listener to get on their feet.

And I gotta say, it’s hard not to. Ma Quale Idea is the quintessential disco album: boisterous, a little cheesy, and, unfortunately, lost in someone else’s long untouched 80s CDs box.

[wobc-fm]

A Zoom Call With Auto-Lola

Written by Amari Newman

On April 17th, I conducted an interview with aspiring Hip-Hop and Experimental artist Auto-Lola. This was the inaugural installment of a weekly series of Zoom interviews that SleepWalker Radio, a show on Oberlin College’s WOBC-FM radio station, will be conducting over the next month. We were also joined by fellow SleepWalker members/affiliates Musa, Quentin, and Sara.

I Zoomed into our meeting room and encountered a smiling Auto eager to discuss. This was the first time either of us had done a virtual interview, and this had been planned since January. The interview was originally scheduled for Mid-March to follow his performance at Oberlin’s Dionysus Disco. Unfortunately, two days before his Friday night show, the College announced that all large gatherings would be canceled and students would have to leave campus by the end of the weekend due to the novel coronavirus outbreak.

Despite this unprecedented setback, we were still able to virtually link up and discuss some of the issues we’re all facing. When asked about growing up in Washington, D.C., Auto explained how his upbringing gave him the tools to deal with situations such as the current one stating “That shit keeps me equipped for times like these, know what I'm saying. Just being disciplined, but still having fun, staying sharp. It’s city shit yo! Being an independent artist, people not having jobs right now bruh, I’ve been lowkey, with the help of blessings, supporting myself as an artist.”

Now 21, Auto-Lola has steadily matured in his artistic output since he began to make music in 2014. When asked how he would describe his sound, Auto states “Timeless. Experimental but rooted from something precise. Not experiment as in I don’t know what I’m doing. It's an experience, and I’m doing everything intentionally, like I don't not know what I'm doing.”

He also noted the positive impact his friends had in accelerating his musical development, shouting out fellow D.C. artists The Khan for getting him into rapping, and NappyNappa and Pat Cain (Model Home) for encouraging him to explore his sonic boundaries. Auto mentioned the importance of digital communication in his collaborative processes. “My method on finding creatives, period, is finding people that are interested in the same shit I'm interested in. I still be on SoundCloud, talking to people, like whatever they be on. Even the IMVU joint,” referencing his recent collaboration with yungcyberprincess, creator of the virtual social media app IMVU, on his music video LEGOVER.

Auto has not only progressed musically during this period, releasing his 3-track project A Love Letter Does(n’t) Make Sense a few weeks ago, but has also made strides in his visual output. During the interview, he showed us designs he planned to use for a t-shirt collaboration with WOBC-FM while he was in Oberlin.

          Auto also touched on an art installation he did this past January, explaining “I was just tryna put together a bunch of shit in my life that I fuck with.” As we scrolled through photos from the collection, he pointed out “I have barb wire tattoos. I love those pants. I love those shoes.”

When showing off a pants piece, Auto said “I got this brand with my homie Mahi, All Dawgs Matter, so that print on the pants is a screen print of an image that we have.” He went on to explain “that's not like an official All Dawgs Matter piece, like I wouldn’t just sell the pants, I would sell the whole mannequin.” Auto continued on his personal attachments to the installation, noting his urge to include his “silhouette, shit that I wear, and broken phones,” into future pieces. He also spoke about the role his friends play. “I look at all the friends coming through. They’re the installation. I install my friends into the event and we have a good time.”

Our conversation with Auto gave us a peek into his creative processes and his ever-expanding imagination. Even though, like many, Auto’s plans have been completely rearranged during the current pandemic, he has been able to embrace those changes because that's what he has been doing his whole musical career. When asked what to expect from him in the near future he confidently bodes, “Videos, jewelry and more art for you to see without going outside, you can just be on your phone.” Clearly this is a man with a plan and a vision that seems essential during these peculiar times.

Check out the full interview stream HERE.

[wobc-fm]

A Virtual Night at the MET: Performance Review

Written by Lilyanna D’Amato

On this twentieth day of quarantine, I have grown weary of watching. I spent the first few days happily catching up on Succession, the next few binge-watching every episode of Tiger King, and now, a week and a half later, I’ve resorted to fruitless channel surfing. On Sunday, I spent a whopping six hours on my phone. So, at 7:30 last night, when I propped my laptop on the edge of my bed and nestled myself under the covers to watch The Metropolitan Opera’s March 24th, 2007 stream of Rossini’s Il Barbiere di Siviglia, I was anticipating another few hours of mind-numbing screen time. But, fortunately, the performance far exceeded my watch-weary skepticism.

Abounding in youthful ardor and delightful impishness, the opera, directed by Bartlett Sher and conducted by Maurizio Benini, opens in Seville as the young Count Almalviva, disguised as a penniless student, vainly serenades the beautiful Rosina from below her balcony. As Almalviva, tenor Juan Diego Flórez exudes his signature boyish charm, brazenly tackling Rossini’s virtuosic melismas with exuberance and grace. He leaps and bounds across the stage, lamenting his lost love, who is kept under lock and key by her guardian, Dr. Bartolo, played by John Del Carlo. Flórez even gallantly struts onto the lip of the orchestra pit to include the audience in his soulful lamentation.

Enter the swashbuckling Figaro, played by debonair Swedish baritone Peter Mattei. Masterfully bellowing the famous “Largo al factotum” with astounding alacrity, Mattei’s Figaro is endearingly pompous, constantly boasting of his popularity. Together, buoyantly weaving their way through set director Michael Yeargan’s matrix of movable doors, stairwells, and orange trees, the two carry out a plot to trick the wicked Bartolo and unite the two lovers.

Here, soprano Joyce DiDonato dazzles as the feisty, effervescent Rosina. Her flirtatious rendition of the seminal aria “una voce poca fa,” left the audience stunned, her sizable voice soaring through rapid coloratura runs with ease. Wearing a disheveled, curly red wig and a sexy, period dress, the aria proves Rosina is no ingénue. In his New York Times review, Anthony Tommasini writes that while “for the most part she is a docile and obedient thing, when crossed in love she becomes a viper.”

Amalviva and Figaro put their plan into action, swindling Bartolo into giving up Rosina, lured by the orchestra’s luxuriant strings. Following a series of comical mishaps and tongue-twisting patter, the young lovers are married and the confusion finally ends.

After the bows, the MET’s chandeliers floated back down to their resting positions and audience members reached for their coats. I watch intently as each person made their way towards the doors, an audience of almost four thousand braving a brisk spring night.

Not to sound dramatic, but twenty days into a quarantine that sight feels pretty unfamiliar.

In my imagination, all of those people put on their fanciest clothes, got babysitters for their kids, sat on musty, leathery taxi seats, put their elbows on wooden bars as they ordered extravagantly priced pre-show drinks, got impatient as they waited in line to use the restroom during intermission, awkwardly touched the hand of the person sitting next to them, maybe got blisters on their heels from their too-tight shoes, or partook in a bevy of other inconsequential moments, all to spend a night at the opera. Doesn’t all that seem a little bit fantastical now?

It’s true, I have grown weary of watching. But, I don’t consider streaming Rossini’s Il Barbiere di Siviglia, or any opera for that matter, to be “watching” at all. For a few hours, I was dropped right in the middle of a whole bunch of small unimportant happenings. I witnessed an amazing performance, yes, but I also gained a newfound reverence for moments, which, prior to this crisis, I would have glazed over and forgotten almost immediately. So, as someone who was incredibly dubious of the “concert streaming” experience, I can confidently say this opera was worth the watch.

[wobc-fm]

Playlist and words by Charles Ryals

Hi everyone! I am hunkered down here in Old Brooklyn with my two dogs Coco and Maggie, missing WOBC very much.  One day, dying of boredom, I wrote out a setlist for a future show once we get back on air. These songs fit the mood and vibe of this scary time that has been thrust upon us. Please stay safe and more importantly, stay positive, Things will get better!

[wobc-fm]

WOBC at home

Hello everyone: WOBC listeners, WOBC blog readers, staff, DJs, family, and friends! Co-promo director Bridget here. I write to you from day 17?? 18? of my personal quarantine, where I have been hiding out, hiking, reading, and listening to music. While I miss Oberlin and WOBC, I am trying to stay busy, healthy, and hopeful about a quick return to normalcy. 

In reality, this is more than a brief interruption to our usual programming, both at WOBC and in all of our lives. I miss being on air more than anything, but we do have the WOBC blog, and now is the time to use it! I wanted to share some songs with you all that have been making the passage of time feel a bit more normal. Many of these songs come at the recommendations of my friends and community at Oberlin--songs a friend put on while driving or making dinner, songs I heard on WOBC, hell, even songs I heard at Splitchers. In this vein, I’ve made it collaborative. Please throw on a song or two that you’d put on your show! Find it here! 

The blog is a resource for all of us, and I’m sure I can’t be the only one who misses being on air. If you’d like to share a playlist with all your usual commentary, write a little something about how you’re coping with this crisis, or anything else you can think of, please reach out to Lily, the blog director, at ldamato@oberlin.edu! 

Love, 

Bridget

[wobc-fm]

Artist Profile: Oberlin’s Boxed Whine

Written by Lilyanna D’Amato

Every year around the last week of May, over seven-hundred starry eyed, nervous graduates leave Oberlin College for the big bad world. Unfortunately, this past graduation, they took some amazing student bands along with them. Julia and Julian, The Booyah Kids, Blankat, and myriad other Oberlin-famous groups left campus to pursue adulthood, leaving a void in the concert scene and rising student musicians floundering for consistent venues. But, naturally, new bands have stepped in to fill the gap, hoping to sustain a quintessential Oberlin institution: the house show. Boxed Whine, a four-piece indie-pop project, is among those leading the charge.

Founded by Oberlin second years Jeanne Hill, Eamon Mckeon, and Tim Husemoller, the group first performed as a Red Hot Chili Peppers cover band at the 2019 Coverband Showcase. Following the addition of drummer Ben Jordan later in the spring, the band began arranging and expanding Hill’s original guitar and vocal tracks, adding Mckeon on guitar, Husemoller on bass, and Jordan on drums. After a few months of intense rehearsal and songwriting, the band’s first performance as “Boxed Whine,” a nod to “Franzia Boxed Wine” (a favorite of dorm room parties everywhere), took place at the 2019 GearFest Showcase.

As I sit with the band in Azariah’s cafe, Jordan explains that “the band’s setlist is an amalgam of jazzy, sometimes funky, sometimes folky, rock songs.” On “Poison,” Hill’s sultry vibrato stands afront a gregarious, animated instrumental, shaping a dynamic soundscape heavily inspired by the Strokes, John Frusciante, and Amy Winehouse. At their Wobie Fest House Show performance on February 29th, Hill sang “no trace of your eyes/hidden by the regrets,” her silky croon floating over Mckeon’s highly polished guitar playing and Jordan’s decisive drumline. One of Hill’s personal originals, the addition of bass and drums electrifies the track, cultivating an intangible excitement that accentuates her vivid lyricism.

While Hill does most of the writing, the songs “always change during our creative process. When you work in isolation, everything comes out of one head, one set of influences.” Mckeon added that “what’s really cool about writing with a band is the collaboration—nothing sounds derivative, it's all its own unique thing. There’s never a direct line from influence to product because it’s coming from all of us.” Husemoller agreed, citing the group’s stylistically varied rock tastes and performance styles, “Jeanne and Eamon are both into newer rock, while Ben and I are 60s/70s rock guys. We like that sloppier sound while they like things polished. Ben also plays in the Brazilian Ensemble so we bring all kinds of styles to the table and we like what we get!”

Boxed Whine has played the Sco a few times (where Hill works for Concert Sound), the Cat in the Cream once, and numerous house shows, but they’ve noticed a dip in house shows this past year. Mckeon explained that “there was a really big scene last year but there’s just a shortage of bands right now. And because there aren’t as many bands there aren’t as many people who are willing to host shows.” They aren’t worried, though. “The house shows will come back,” Hill says, “That’s how it goes.  New bands will take the reins and new people will get houses and it’ll be right back to normal.”

A jazzy take on indie pop-rock, Boxed Whine is proving to be an amazing addition to Oberlin music. Talented and dedicated, the band is working alongside other campus acts like Horsegirl, Walldogs, Snakey Boys, Fleens, and Wo Nelly to preserve one of the College’s most vital traditions.

[wobc-fm]

Album Review: Hoops' Routines

Written by Lilyanna D’Amato

A summer record if there ever was one, Routines, the 2017 debut album from Indianapolis outfit Hoops, shimmers with sunny psych-pop jams. The foursome, made up of longtime friends Drew Auscherman, Kevin Krauter, James Harris, and Keagan Beresford, effortlessly weds 70s jangly guitar to relaxed, lo-fi reverb, crafting an album bubbling with buoyancy and, every so often, a lick of wistful introspection. Reminiscent of early Twin Peaks, the eleven-song project is the sonic equivalent of a hungover Sunday cruise down the coast.

The album’s highest flyer, “On Top,” bounces with a nostalgic optimism, encouraging the listener to keep your head up, you're doing fine/I know it's hard, but you'll be alright/Don't think twice when it all goes wrong/But in time you'll come out on top.

Recorded on a Hoop’s favorite audio format, a cassette tape, the track whirs and fuzzes alongside Krauter’s hazy vocals, calling the ear to the twang of Auscherman’s guitar harmony and creating a languid pulse that flows through the remainder of the album.

That pulse finds its footing in the slightly more lively “Rules.” A two-minute long track, the song boasts the catchiest guitar riff on the album, quickly leading directly into the even more addictive chorus. Beresford repeats “I know I'm breaking all the rules this time,” ending the phrase with an unhurried crooning “oh” that seems to float, and fly away as gently as it came.  Overlaid with Auscherman’s dynamic riff, the sleepy vocals perfectly syncopate the instrumental, evoking that beachy ennui once again.

“Management” sweeps into the room in a lulling head bobbing frenzy, perfectly showcasing the group’s versatile melodic and rhythmic talents, followed by the fast-paced and quippy “All My Life.”

But, “The Way Luv Is,” though, is a tried and true personal favorite. Auscherman’s knowing lyrics aptly describe the quintessentially awkward post-breakup run-in, he sings:

Cuz that’s the way that love is/Yeah, that’s the way that love is/And if I saw you now/I’d probably keep my eyes to the ground/And if you saw me too/I bet you wouldn’t know what to do

His deep baritone starkly contrasts with the track’s high pitched, heat-warped guitar and dreamy jangle-pop production, accentuating Harris’ propulsive drum line and vocal harmony.

While “Benjals” and “On Letting Go” begin to blur together around the third listen, Routines perfectly captures the summer blues: warm and fun with a little melancholy mixed in there somewhere.

[wobc-fm]

Sleepwalker Top Projects of 2019

We are SleepWalker Radio, broadcasting on Thursday nights at midnight on WOBC. We listen to a lot of music on our show. Since it's the end of the year we decided to put out a list of our personal favorites for the past year.

Sleepwalker Best Projects of 2019:

Lucki - Freewave 3: This project elevates your mind to the highest plane and numbs all of your unwanted emotions with each track operating as a different form of spiritual novacane. Favorite song: “Glory Boy” / “More Than Ever”

MIKE - Tears of Joy: Listening to this album all the way through feels like giving your soul a deep tissue massage. The kaleidoscopic production accompanied by extremely genuine and direct bars makes it impossible not to be moved by this album. Favorite song: “It’s Like Basketball”

Toro y Moi - Outer Peace: Play this album anywhere at anytime from start to back and anyone touched by its futuristic sound waves will experience true euphoria. Favorite song: “Freelance”

Future - The WZRD: Only Future can drop a 20 song album where every song thoroughly cranks. Favorite song: “Servin Killa Kam”

Lucki - Days B4 III: Top tier soundscapes from the best producers out, mesmerizing bars, and auto tune Lucki. If you listen to any part of this project and close your eyes you will automatically smile from pure joy.Favorite song: “Left 4 Dead” / “Beverly Hills to 35th”

Steve Lacy - Apollo XXI: This album feels like floating through a bright orange maze with a lot of twists and turns, but you subconsciously know exactly where to turn and it leads to your own bed that has sheets and covers that are fresh out the dryer. Favorite song: “Basement Jack”

Baby Smoove - Flawless: Smoove delivers an account of his daily routines over beats provided by Detroit's most quintessential producers. Giving you a peek into his city that levels up your inner finesser with every listen. Favorite song: “Mr. Perfect”

Earl Sweatshirt - Feet Of Clay: 15 minutes of strictly the best bars of 2k19 over mind-bending sounds. It’s physically impossible to listen to this project and not immediately run it back. Favorite song: “Tsk Tsk / Cookies”

Zelooperz and Black Noise - Dy-No-Mite - Every track on here is very different from the next and it serves as a clear reminder that these Detroit legends can make any type of song and have that shit hit in every type of way. Favorite song: “Bootleg”

Diamondsonmydick and Hi-C - Reptilian Club Boys Bizzare Adveture: This sounds like you got sucked into a GTA and Smash video game collab and your going against 3 Captain Falcons with AKs while on molly. It’s an insane experience. Favorite song: “Pentagram”

Honorable Mentions:

HOOK and nedarb - Bully

Xanman - Xan Servin 2

Pi’erre Bourne - The Life Of Pi’erre 4

Larry June and CardoGotWings - Mr. Midnight

Young Nudy and Pi’erre Bourne - Sli’merre

Blink 182 - NINE

Bladee - Icedancer

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The Year’s Best Black Metal

Words by Solomon Rinn

Funereal Presence (US) “Achatius” from Sepulchral Voice Records

“Achatius” is the second album from this New York-based side-project of Negative Plane. Funereal Presence’s real strength is in their composition - the album consists of four 10+ minute tracks which form a concept about the Greek martyr, Achatius. Despite the intimidating song length, the tracks feel varied and engaging. There is a noticeable traditional heavy metal influence here, which can be heard clearly in the catchy guitar leads. The drummer uses a lot of rhythms you don’t typically hear in black metal, alternating between blasts and more intricate, mid-paced rhythms. The synths create a magical and dark atmosphere, and the production and prominent bass solidify this as one of the best releases this year.

Kostnatění (US) “Hrůza Zvítězí,” Independently released

“Hrůza Zvítězí” is an atonal, groovy, psychedelic mess, in the best possible way. It overloads the senses with its odd rhythms, angular hooks, and hypnotic bends, but is always listenable and catchy. The solos and technical lead guitar work really shine here, cutting through the pummeling low-end. The songwriting and production is a huge jump from Kostnatění’s demo from last year, which while still technical had a more conventional black metal sound, and I’m excited to see where this project goes next. 

Arnaut Pavle (Finland) “Arnaut Pavle” from Mystískaos

The much-anticipated full-length debut from Arnaut Pavle is their first release in six years. Their 2013 demo on Fallen Empire made a surprising splash with its raw, punk-influenced sound, and the follow-up does not disappoint. What makes this album work so well is that Arnaut Pavle knows exactly what they are - fun, thrashy, grimey black n’ roll. The album doesn’t overstay its welcome, being only 30 minutes, and delivers an unrelenting array of riffs, but it’s certainly not monolithic. The speed metal-influenced tracks like “Unholy Black Balsam” complement the more mid-paced songs like “Poison Grail,” one of my favorites on the album, with its plodding pace, haunting synths, and piercing solo.

Oppression (Canada) “Le Coeur Plein De Rage” from Productions Haineuses

Oppression’s brand of black metal-influenced punk is entirely different to Arnaut Pavle’s approach, more influenced by oi! and street punk, a lot of tracks having hooks with clean vocals to contrast the growls. This is a staple of Oppression’s sound and the Quebec blackened punk “scene” of bands like Akitsa. The tracks on this album are anthemic and misanthropic, and above all, catchy. Some are re-recorded from demos, such as “Je Serai Ton Pire Ennemi,” one of my favorite Oppression songs that first appeared on the fantastic split with Sanguine Eagle. Here, it’s faster and more aggressive. The production is perfectly lo-fi and maintains Oppression’s signature punchy bass. Every track smoothly connects to the next and, like Arnaut Pavle’s album, is a tight 30 minutes. 

Imha Tarikat (Germany) “Kara Ihlas” from Vendetta Records

“Kara Ihlas,” Imha Tarikat’s first full length album, is divided into four chapters, and all of the titles are in Turkish despite the band being German. Imha Tarikat’s vocalist has a very unique style, often closer to howling or shouting than growls. They feel emotional and intense and are the most captivating part of the album, second to the drumming which is surprisingly technical and off-kilter. The pace is often unrelenting but it still leaves room for solos, more melodic sections, and slower, more atmospheric parts. This album is a more than worthy follow-up to their EP from 2017, as the band has continued to grow, their compositions and concepts becoming more elaborate. There is a fiery passion that underlies everything this band touches which is brought out through the pretty clean production and sophisticated songwriting. 

Misþyrming (Iceland) “Algleymi” from Norma Evangelium Diaboli

The Icelandic scene put out a number of impressive albums this year - Andavald and Sinmara both had great albums, but the one that stuck out the most was Misþyrming’s release. Whereas a lot of the veterans of the Icelandic scene seem to be becoming quite comfortable with their sound and sticking to it, Misþyrming had a huge stylistic shift from their last release. “Söngvar elds og óreiðu” was bleak and murky, but “Algleymi” is melodic and triumphant. The production and approach to songwriting feels totally different, brighter and more melodic, as opposed to their previous album. The vocal performance is fantastic, the wall of guitars is hypnotic, and the melodic leads are gorgeous. What more can one ask for in a black metal album?

Yellow Eyes (US) “Rare Field Ceiling” from Gilead Media

Like most Yellow Eyes albums, “Rare Field Ceiling” begins with a short ambient section and wind chimes before hurtling you head-first into a pit of despair. This is Yellow Eyes’ fifth album and they have their sound pinned down. The dissonant riffs, piercing shrieks, and the incredible melodic leads contribute to Yellow Eyes’ melancholic yet energetic sound. What separates “Rare Field Ceiling” from their previous efforts is the warmer, less abrasive production. There’s more low end than on “Immersion Trench Reverie” or “Sick With Bloom,” their last two albums. The sound is massive, especially the drums, which bring such an intensity to the title track, for example, giving the intro a frantic pulse. This might be the most accessible release from Yellow Eyes but they have not sacrificed their songwriting. 

False (US) “Portent” from Gilead Media

False is another Gilead band and will likely appeal to fans of Yellow Eyes. Their sound is huge, with ferocious growls and warm synth tones that compliment the frantic riffs. “Portent” is composed of three lengthy tracks and an outro. Each one is explosive and aggressive with jaw-dropping musicianship and songwriting. This album is filled with intricate melodies hidden in the bombastic guitarwork and is one of the most energetic black metal releases this year.

Departure Chandelier (US/Canada) “Antichrist Rise To Power” from Nuclear War Now! Productions

“Antichrist Rise To Power” is the first full length from Departure Chandelier, and was actually recorded in 2010 but went unreleased until this year. It features members of New York’s Prurient/Ash Pool and Quebec’s Akitsa, and delivers a raw, synth-heavy sound. The lyrical/aesthetic content somehow draws a connection between satanism and French history, which is certainly a unique approach, but the riffs feel a lot like Akitsa’s - simple and sort of punky, often gallopy. The synths are often at the forefront, magical and cheesy, effective in creating a triumphant, fantasy atmosphere. 

Ringarë (US) “Under Pale Moon” from Iron Bonehead Productions

Ringarë is a project from Alex Poole, better known for bands like Chaos Moon and Krieg. “Under Pale Moon” is similar to the Departure Chandelier release in certain ways. It’s a synth-black metal side-project of a prolific artist, written about 10 years ago and unreleased until now. The approach here is closer to most atmospheric black metal, however. The tracks are quite lengthy and murky and create a dream-like, fantasy atmosphere. The composition is impressive and varied and the bass is surprisingly audible for an atmospheric black metal album. The synth tones fit the music perfectly, creating rich textures and beautiful melodies, channeling the spirit of the symphonic black metal of the 90s or early 2000s.

[wobc-fm]

Review: End of Life, End of Time

Words by Lilyanna D’Amato

While the name End of Life, End of Time, may seem a bit daunting, the performance itself, on September 3rd, 2019, offered a curative and thorough rumination on the self, time, and death. The third concert in a four-part festival of the same name, the matinee featured an array of enigmatic compositions, curated in an effort to uncover what each composer was thinking in the years before they died. Marked by themes of introspection, nostalgia, and melancholy, each performance embraced a dynamic dialogue surrounding the end of life, ultimately arriving at the notion of resignation without bitterness.  

The concert, held in the Oberlin Conservatory’s Warner Concert Hall, opened with Dmitri Shostakovich’s Viola Sonata Op. 147, an austere musical discourse paired down to the essential notes. Violinist Peter Slowik’s masterful pizzicato, which reappears throughout the piece, served to chart the passage of time, punctuating the sonata’s anticipatory melody. The last notes of the piece, however, a C major triad that would become the final notes of Shostakovich’s career, echo “like a gentle sigh...neither sad nor ironic but welcoming peace,” according to the pre-concert lecturer, Andrew Pau. Following these culminating moments, which seemed to remedy the audience’s angst, loud cheers arose from Slowik’s students at the Oberlin Conservatory, who smiled proudly at their professor as he left the stage. 

Shorter in length, Claude Debussy’s Syrinx, performed by flutist Alexa Still, also elicited a loud reaction from the audience. The piece retells the myth of the Greek god Pan, as he falls in love with Srinyx, a nymph. In her performance, Still beautifully emphasizes the nymph’s ecstasy at first hearing Pan’s flute, weaving a dreamlike depiction of time turning in on itself, or, perhaps, time reaching beyond itself. 

Similarly, Marilyn McDonald and James Howsmon’s interpretation of Lili Boulanger’s Nocturne transformed the concert hall into a fleeting dreamscape, one laced with innocence and tragedy. Although Nocturne was written when Boulanger was eighteen, her poor health and early death contextualize each one of her works as end-of-time pieces. McDonald’s wistful performance excellently captured the brevity of life and youth, painting a surreal portrait of young womanhood.

The last performance of the concert, Brahms’ Sonata No. 1 in F Minor, Op. 120, found its artistic height in its second movement. Autumnal and serene, Richard Hawkins’ clarinet and Angela Chang’s piano languidly swept through the audience as if they were conducting a conversation between old friends, crafting an intangible warmth tinged with sorrow.  

The performances at the 2019 End of Life, End of Time Festival imaginatively unraveled the composer’s perceptions of time and death, ultimately revealing important emotional truths that inform our understandings of both their lives and music. 

[wobc-fm]

Review: The Innocents

Words by Lilyanna D’Amato

Self-proclaimedly uncomfortable and confusing, experimental soundscape installation, The Innocents, performed on September 9th, 2019, did not disappoint. Created by percussionists Allen Otte and John Lane, the piece endeavors to explore wrongful imprisonment, mistaken identity, and resilience through seventeen individual tableaus, designed as an immersive sonic experience. In an interview with Clevelandclassical.com, Lane described the aim of the project as a want to uncover “the emotional core of the issue”. Unfortunately, the performance failed to communicate a meaningful message. While there were brief moments of emotional resonance, they were few, sporadic, and often precipitated by a comically performative activism. 

One such moment occurred in the ninth movement, undoubtedly the installation’s most successful, which saw Otte and Lane sitting opposite each other, hammering on large rocks as they read aloud the names of wrongfully convicted prisoners. The abrasive sound of the hammers striking the hard stones elicited a painfully visceral reaction, while the names seemed to blur together, deadening any emotional response as the piece went on.  This juxtaposition effectively exposed the audience’s apathy and passivity towards injustice.  

In another flash of poignancy, the fourth tableau featured the percussionists sitting diagonally across from one another at a table as they opened, closed, ripped, and scraped on the covers of the books at random.  While the artists improvised, a voice in the background depicted a police interrogation, asking questions like “is too hot? Are you uncomfortable?” followed by “tell us everything you remember.” The one-sided interview and manipulation of the books symbolized the exploitation of law, and, more broadly, knowledge regarding legal rights, in an effort to portray discriminatory judicial practices.

Regrettably, though, these blips of efficacy were short lived, each capitulating to the far more self-indulgent advocacy that characterized most of the concert.  The performance never explicitly discussed race. Although it was alluded to at times, the omission left the program mildly appropriative and almost pointless.  Had there been additional contextual discussion of the piece and more acknowledgment of the privileged involvement of the performers in the conversation, due both to their racial and economic advantage, their activism would have come off as more genuine. For instance, in the thirteenth section, Lane began to read a poem from the perspective of a female inmate, which, without any knowledge of its true author, felt performative and egocentric.  However, if the poem and the poet had been introduced beforehand, the work could have been more impactful.  

While the artist’s intentions in their creation of The Innocents are not in doubt, the performance itself lacked a discussion of privilege, allyship, and effective activism. 

[wobc-fm]

Music Director Benjamin Stevens’s Favorite 50 Albums of the 2010s

Hello everybody! Here are my top fifty albums of the 2010s according to my flawed experience of the decade. It is surreal to see these summations of the decade of my adolescence laid bare into a quantitative measure of quality and influence. Nevertheless, making these lists is a nice exercise for ruminating on what current music made this apocalypse decade what it was. You may very well find that this list is flawed and the product of a peculiarly pitchforkian indoctrination that I continue to be a victim of. That is fair! In that case, please pitch your personal list of whatever number to Bridget or I for the blog! We want it all. Contact music@wobc.edu or promo@wobc.edu to do so.

Blonde-Frank Ocean

Channel Orange-Frank Ocean

A Seat at the Table-Solange

When I Get Home-Solange

Star Wars-Wilco

Trading Basics-Palm

Cliffhanger-Grimm Grimm

Mono No Aware

Life of Pablo-Kanye West

Kids See Ghosts-Kids See Ghosts

Psychopomp-Japanese Breakfast

Hermits on Holiday-DRINKS

Hippo Lite-DRINKS

Mug Museum-Cate Le Bon

Crab Day-Cate Le Bon

Reward-Cate Le bon

Lost in the Dream-War on Drugs

Cassette-Preoccupations

Relatives in Descent-Protomartyr

Boo Boo-Toro y Moi

I Have to Feed Larry’s Hawk-White Fence

The Wink-Tim Presley

For the Recently Found Innocent-White Fence

Hair-Ty Segall & White Fence

Hypnic Jerks-Spirit of the Beehive

Beyondless-Iceage

Serf’s Up!-Fat White Family

Turbulent Indigo-Circuit Des Yeux

Titanic-Weyes Blood

Blackstar-David Bowie

L’Rain-L’Rain

Why Hasn’t Everything Already Disappeared?-Deerhunter

Fading Frontier-Deerhunter

Monomania-Deerhunter

Daytona-Pusha T

Kaputt-Destroyer

Crack-Up-Fleet Foxes

Are We There-Sharon Van Etten

Ivy Tripp-Waxahatchee

Everybody Works-Jay Som

All Mirrors-Angel Olsen

MY WOMAN-Angel Olsen

Year of the Snitch-Death grips

Forced Witness-Alex Cameron

Natalie Prass-Natalie Prass

I Had A Dream That You Were Mine-Hamilton Leithauser + Rostam

The Practice of Love-Jenny Hval

American Interior-Gruff Rhys

Happy Together-Mega Bog