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(08/01/18 3:54pm)
My day started early that Sunday. Ravyn was the first performer I was eager to see amongst other big names like Noname and Smino. Once I got to Union Park, I waited at Red Stage hours before her performance. I just knew I had to be front row. As a fan, I couldn’t settle for being in the press pit because my heart would’ve broken the moment we were escorted out by security.
To my surprise, the front row was even better than the pit because I could photograph Ravyn from an audience member’s perspective during her set. Before long the music began and Ravyn became visible for everyone to see. She approached her bright red feathery microphone, the crowd produced a roar that could be heard all around Chicago. “Can I sing for you Chicago?” she asked. The crowd cheered once more in response. Her high energy seemed to directly translate to the audience.
As she sashayed across the stage in her silver luminescent wardrobe the crowd became electric neon. There were screaming fans all around belting the lyrics to “Venezuela Trains”, the first song of her set. Ravyn never seemed to tire, and the energy never seemed to die down. This was due in part to her rhythmic and soulful music but was also a result of Ravyn’s willingness to speak directly with her audience. She kept everyone engaged and excited. She started nearly every song with a question directed at the crowd. She’d ask about long distance relationships, and even addressed being in the friend zone. The mix of murmurs amongst crowd goers seemed to vibrate in my chest as each person spoke their own private response. They didn’t feel judged or burdened by their experiences, but they were instead freed for a moment in time. Even though we couldn’t hear one another, there was still a mutual sense of community with this crowd of strangers who’d most likely never cross paths again. This was the magic of Ravyn’s performance. Her ability to make everyone feel like part of something bigger than themselves, and her willingness to withhold nothing in her art.
By Autumn Smith
@strangefruiphotography
(07/31/18 3:55pm)
There couldn’t have been a more appropriate setting for Julien Baker’s performance at Pitchfork Music Festival 2018. Located at a private and rather hidden sector of Union Park, Blue Stage embodied Julien’s performance in its title and essence.
It was without a doubt the smallest stage at the festival, but the crowd was anything but. The stage seemed to swallow Julien as she approached armed with nothing but with her vocals and her guitar. After watching countless performances with several band members playing alongside, or behind a header, it provided a calming intimacy to see only Julien behind a microphone. Single-handedly bridging the gap between her and the crowd, Julien was a one-man band. She played lead over her own rhythms with the help of a synth board. It has become a signature part of her performances and her fans have learned to look for it during her shows.
The crowd seemed captivated by her haunting guitar riffs and passionate vocals. Even the most reserved individual would have to exert tremendous effort not to get lost in her spellbinding lyrics. The calming silence of the crowd only confirmed Julien’s gift for making music tangible. She was effortless in creating an atmosphere for her audience. Looking at the faces in the crowd, it was clear that they not only wanted to hear every lyric, but they wanted to feel them too.
Before long, Julien made the transition from guitar to keyboard. She began belting out songs from her latest album “Turn Out the Lights” for an eager and mesmerized crowd. The pained cracking in her voice a beautiful manifestation of the turmoil inside. Seeing this incredible artist live redefined the Pitchfork experience for me. After seeing individuals screaming, jumping and dancing erratically, it was nice to wind down and see many of those same individuals entranced by the artistry of the one and only Julien Baker.
By Autumn Smith
Photo: @strangefruitphotography
(07/31/18 5:44am)
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(04/19/18 9:25pm)
You may think he's ~Just Jacob~, but he's actually Jacob Hamill, a DJ who runs the Cabinet of Curiosities show every Tuesday from 2 - 4 PM. As a senior, he's stuck with WUSC throughout his time here at Carolina, and now you all can finally get a glimpse into his life outside of the station.
Name: Jacob Hamill
DJ Name: Just Jacob
Where are you from? Charleston, SC
What are you studying? History
When did you join WUSC? Freshman year
How would you describe your radio show? It’s a thematic free format show -- I try to do some sort of idea, or have an argument that links songs together.
What hobbies do you have outside of WUSC? I think I’m an okay chef and I like to cook (especially shakshuka). I also like films (particularly westerns) and video games
What’s your favorite artist found from rotation? US Girls now, but all-time, Viet Kong, because they were one of the first post punk albums I listened to and were very influential
What’s the first album you bought on vinyl? Children of Sanchez by Chuck Mangione
What guilty pleasure do you listen to? Ghost, a Swedish heavy metal group with a gimmick going that they’re part of a Satanic cult
What’s your favorite music venue? The Jazz Café in London. The venue is two tiers, with a standing audience close to the band and an upstairs with small tables and chairs.
What song would you delete from the world? Bohemian Rhapsody
What’s your favorite board game? Monopoly
Zodiac sign? Capricorn
How do you feel about pineapple on pizza? I respect it, but it’s not for me
What’s your favorite place in Columbia? El Burrito (rip)
What’s your favorite conspiracy theory? Either the frozen Walt Disney head, or the rumor that Marilyn Manson removed his own ribs so that he could give himself a bl**j*b.
(04/19/18 3:56pm)
Based in Athens, Greece, singer-songwriter and visual artist Σtella (Stella Chronopoulou) fuses the sounds of 80’s pop, disco and modern indie rock to create a unique sound that could dominate the underground indie scene as easily as it could top the Billboard 200. While singles “Detox” and “Picking Words” gained enough airplay to make her debut self-titled album an indie hit in Greece, her streamlined pop has yet to attract the attention of American listeners.
In 2017 she released her sophomore album Works For You – a collection of 11 polished synthpop earworms, perfected with funky bass lines and silky vocals. Available now on Inner Ear, Works For You shines through the ever-diluted (and often times unimpressive) collection of modern indie pop acts today.
Her most recent single is a collaboration with electronic artist and frequent songwriting partner, NTEIBINT. "A sci-fi disco ballad, full of heartbreaks and mellow synth lines. Between states, where we meet and where we part" - “A State Nearby” is out now on Eskimo Recordings.
By Jordan Smith
(04/17/18 7:04pm)
Ah, yes. Another great week for college radio. More specifically, another a great week for shoegaze fans. Turn off that Loveless pandora station and tune into WUSC because boy do we have some albums for you. This week we are excited to add the new APTBS album into rotation!! Additionally, The Amazing has released their new album, In Transit, and it's an A+. For those who prefer the more traditional indie rock/pop that college radio is known (and loved) for, then High Sunn and Peach Kelli Pop are the artists for you!
Top Add: A Place to Bury Strangers - Pinned (Dead Oceans)
Three years after the release of Transfixiation, the noise rock band is back with Pinned: a fusion of noise rock and shoegaze with ernest lyrics and a punk ethos. The WUSC team saw them perform (twice) at SXSW and were blown away.
2: The Amazing - In Transit (Partisan)
3: High Sunn - Missed Connections (PNKSLM)
4: Peach Kelli Pop - Which Witch [EP] (Mint)
5: Fiddlehead - Springtime and Blind (Run for Cover)
6: Prof - Pookie Baby (Rhymesayers)
7: The Damned - Evil Spirits (Search and Destroy)
8: Josh T Pearson - The Straight Hits (Mute)
9: The New Up - Tiny Mirrors (Self-Released)
10: Earth Dad - Townies (Self-Released)
Top 30:
1
WYE OAK
The Louder I Call, The Faster It Runs
Merge
2
AMEN DUNES
Freedom
Sacred Bones
3
PREOCCUPATIONS
New Material
Jagjaguwar
4
CAMP COPE
How To Socialise & Make Friends
Run For Cover
5
YOUNG FATHERS
Cocoa Sugar
Ninja Tune
6
GUIDED BY VOICES
Space Gun
GBV Inc.
7
HOP ALONG
Bark Your Head Off, Dog
Saddle Creek
8
NIHILIST CHEERLEADER
Riot, Right?
Perfect Attendance
9
NO THANK YOU
All It Takes To Ruin It All
Lame-O
10
DR OCTAGON
Moosebumps
Bulk/Caroline
11
GUM
The Underdog
Spinning Top
12
ADRIAN YOUNGE
Voices Of Gemma
Linear Labs
13
GARDEN, THE
Mirror Might Steal Your Charm
Epitaph
14
TRACE MOUNTAINS
A Partner To Lean On
Figure 2RC
15
SUPERORGANISM
Superorganism
Domino
16
SUUNS
Felt
Secretly Canadian
17
GEORGE FITZGERALD
All That Must Be
Double Six/Domino
18
GUNDELACH
Baltus
Terrible
19
SOCCER MOMMY
Clean
Fat Possum
20
TURNSTILE
Time & Space
Roadrunner
21
CHAI
Pink
Burger
22
IDLES
Brutalism
Partisan
23
UNKNOWN MORTAL ORCHESTRA
Sex & Food
Jagjaguwar
24
SALINE
You Did It To Yourself
Perfect Attendance
25
TOM MISCH
Geography
Beyond The Groove
26
TRACEY THORN
Record
Merge
27
HIGH DIVERS, THE
Chicora
True Blue/Beverly Martel
28
FKJ
French Kiwi Juice
Roche
29
SWAMPMEAT FAMILY BAND
Too Many Things to Hide
PNKSLM
30
LIZA ANNE
Fine But Dying
Arts and Crafts
(04/11/18 12:23pm)
The time has come and Kali Uchis has finally released her debut album, Isolation. This album comes 3 years after her self released EP, Por Vida. Kali Uchis is a grammy nominated artist gaining notoriety for her unique sound, combining elements of early 2000’s R&B, jazz, funk and reggaeton into a more modern sound.
Since her release of Por Vida Kali has released multiple singles and features with notable artists, such as Tyler, The Creator, Daniel Caesar, Boosty Collins, Jorja Smith, and Steve Lacy. By working with/being recognized by these larger artists, there was a high expectation for her debut album, and Kali does not disappoint.
Isolation is a carefully crafted experience, bringing together the best of the past and present. Her modernization of vintage sounds makes listening to the album a refreshing oasis from the standard, overused pop samples of today.
The album’s title, Isolation, is the exact overarching theme of the album, but not in the way you may first expect. Isolation is about the isolation that is the human experience. No matter who you are or where you come from, everyone, ultimately, must experience and navigate through life on their own. Finding out who you are and what you believe truly is an isolating experience, and that isolation isn’t always a bad thing. That isolation is what allows a person to grow and adapt to the world around them.
In Isolation, Kali Uchis give us insight into her own journey in life and how it has come to define her. Whether it be a exploring a new, unknown city on her own in the hazy, atmospheric “Miami (feat.BIA)”, the ups and downs of love in “Flight 22”, “Nuestro Planeta (feat. Reykon)”, “Dead To Me”, or a funky groove about appropriation like “Your Teeth In My Neck”, Kali creates a magnificent and unique way to tell each of these stories.
TL;DR - Isolation is as amazing and unique as Kali Uchis herself. If you haven’t yet listened to her yet, stop what you’re doing right now and lose yourself in the magnificence of Isolation.
By Luis Rodriguez // Speaker of the House
(04/04/18 7:30pm)
When she was 17, Brittany Parks started going by the name Sudan. 6 years later, she is known as Sudan Archives: singer/songwriter, violinist and producer. Blending R&B, experimental electronic and Sudanese fiddling, she shows a range and ability that is hard to find in pop music.
Using nothing but a loop station, a violin and her voice, Sudan Archives creates textured and dynamic songs that showcase sophisticated inspirations without sacrificing the essential pop hook. Experimental electronic elements weave in and out of a traditional song structure, fused to the African music that she changed her name for. Her distinct personality and refusal to conform are evident in all of her works, from her striking music videos to her reimagined cover of Kendrick Lamar’s “King Kunta.”
(04/04/18 4:13pm)
Behold the first Biweekly Bio! In this new portion of the WUSC Blog, we interview a member of the DJ body and give you guys a sneaky peek of the people behind the voices you hear on air. This week, the spotlight is on Rosie James. A DJ and valued volunteer with the WUSC News Team, Rosie runs the Faith, Trust, & Pixie Dust Soundtrack Specialty show with her co-host, Chloe.
Name: Rosie James
DJ Name: (Princess) Rosie
Where are you from? Rock Hill, SC
What are you studying? Broadcast Journalism
When did you join WUSC? Freshman Year
How would you describe your radio show? Very different week to week / throw-back-y / Friday from 12 - 2
What hobbies do you have outside of WUSC? Sleeping, Toddlers & Tiaras, and (fried) food
CD or vinyl? vinyl
What’s your favorite artist found from rotation? Jaymay
What’s the best WUSC call you’ve gotten? One person called and said the beginning of the song scared him so much, he almost got in a wreck. Also had someone call in when we were playing tv music, and he said that us playing Fairly Odd Parents music made his day.
What guilty pleasure do you listen to? Spongebob the Musical
What have you been listening to lately? School of Rock the Musical (may be my new favorite, it’s very inspirational)
Hannah Montana or Miley Cyrus? Hannah Montana
What shampoo do you use? Johnsons & Johnsons Kids Coconut Shampoo & Conditioner in One
Is a hotdog a sandwich? A hotdog is not a sandwich because you can eat a hotdog by itself and it is still a hot dog. If you eat ham without bread you’re just eating ham. Also, hotdog buns consist of only one piece of bread.
(04/03/18 8:30pm)
Hockey Dad was founded in 2013 in New South Wales, Australia and have been on the climb to success ever since. The duo, Zach Stephenson and Billy Fleming, have know each other since 1999 and thank goodness for that because these guys are absolutely incredible. They have previously released an EP, Dreamin’, in 2014 and an album, Boronia, in 2016.
But we’re not here to talk about those releases. We’re here to talk about their latest release, Blend Inn - this album is an absolute banger. Blend Inn has already broken the top 10 on the Australian Recording Industry Association’s Australian Top 50 Albums, which is a feat in itself. But cracking the charts this high with only their second studio album is a testament to Hockey Dad’s ability.
Hockey Dad seems to hone in on their own specific sound, diverging from straight surf rock by adding in a heavier, more aggressive style by mixing it with post-punk elements. According to Fleming, the title of the album is supposed to represent the mental one goes to when they want to be comfortable and zone out. This is well represented within the lyricism as it developed into a serious, introspective and philosophical entity, in contrast to their lighthearted lyricism in their preceding projects.
Blend Inn welcomes us with “My Stride”, an introspective piece with a warm, fuzzy guitar introduction that immediately opens up the door to another dimension, allowing you to lose yourself in that headspace mentioned by Fleming. As soon as your step through the doorway, the door slams right behind you, and it’s too late to turn back as you WILL get lost in Blend Inn. The album will take you through heavy hitting, gritty adventures, like “Homely Feeling”, “Join The Club”, and “Running”, as well as hazy, disorienting wandering trips, like “Danny”, “Whatever”, and “Eggshells”, in a perfectly crafted journey that makes it an incredible record to put on whenever you need to just escape the shackles of everyday life.
TL;DR - Blend Inn is an exceptionally crafted album, tailored to take you on a unique, compelling journey into the unknown and completely remove you from this plane of existence for its’ entirety. 10/10 definitely check into Blend Inn.
Blend Inn is out now on Kanine Records
Blend Inn by Hockey DadBy Luis Rodriguez // Speaker of the House
(03/31/18 4:00pm)
The interplay of music and location are something essential to Krautbeat pioneers Sea Moya. The three-piece of German natives crafts their unique genre from a mixture of Krautrock, Afrobeat, Psychedelic, and Hip-Hop. And holding true to their international stylings, the group has recently uprooted themselves from Germany to Quebec. But despite how drastic this transatlantic move may seem, it was only natural for the three members of Sea Moya, who have made a habit of leaving home to draw inspiration.
I had the opportunity to sit down with Elias and David of the band while in Austin, where we discussed what nationality and location means when it comes to making music.
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How did you all form Sea Moya?
Elias: We met back in Germany in Mannheim, you [David] were playing guitar, some synth guitar thing and you changed to the drums, I was playing guitar as well. Eventually the band split up because the head guy didn’t want to do that and anymore. Then it was us two and another guy finding ourselves in a situation like “What do we do now?” And we’d just started writing songs and it felt really good and then it became Sea Moya. It was just really natural, we were doing music anyway and just wanted to do something new.
What has been your favorite part about SXSW this year?
Elias: Camping, tacos are amazing. Everyday. What are we going to do when we leave Texas? Back to baguettes & croissants… Dammit
I understand y’all played a string of shows on the way down here, how did the tour go?
Elias: The preparations for the whole tour were kind of hard because with the election and with the administration right now it got harder for foreign people to enter the country and also the cultural support of music kind of faded away a little I guess, so the visa situation was hard to deal with. But then, we had this one situation in Houston, our drummer did this exchange program and that just showed us just kind of how wonderful people can still be here.
What spurred the decision to get out of Germany and get into Canada?
Elias: We had kind of a very comfortable situation in Mannheim where we had our studio and we always did stuff like packing up our studio in the van and driving through the Baltic states and that is why the last EP was called “Baltic States” and we wrote the songs in the van with our studio gear, and it just felt right to be out of our daily surroundings to write songs. And we kind of wanted to take the next step and just throw ourselves in a new situation, a new surrounding, and wanted to go somewhere English speaking because we also wanted to improve our English and Canada is kind of easy in terms of visa applications, and that was kind of a door opener
David: And at the same time it was kind of an intuitive decision, cause at the same time we were sitting at my room back in cologne starting to think about it and after 30 minutes we were like “eh lets go to Montreal Canada” and we applied for the visa and it worked out, and here we are.
Elias: I mean Montreal has such a cool music scene and I knew a lot of bands there I really liked before and that was really awesome, and it definitely lead us to the idea of moving to Montreal
David: Moving to a different place kind of uses you out of your comfort zone, that kind of set some energy free. Back home you have your studio and that stays the same but sometimes you need a change and the different people and surrounding, even though hard sometimes, is energizing.
Despite being based in Canada, you seem to hold your German roots tightly, especially with your fusion genre Kraut-Beat, obviously based heavily in German styles. Is keeping that German identity of your music and as a band important to you all as artists?
Elias: It feels really like we have this German thing going on anyways cause we’re from Germany. But it feels like, we always did this kind of worldwide international sound because we mix all that stuff from Africa like afrobeat and from the us like hip hop like J Dilla stuff all of this world wide stuff, and now it feels like we’ve translated that into our personal lives. It feels more naturally international even if we’re still l3 dudes from southwestern Germany living in the same city now but in Montreal.
David: I think we can relate to the history of German music and we kind of dig it but I wouldn’t consider myself as a German band. I don’t think our music is German branded. But there is lots of German music going on we can relate to like from the 70s.
Elias: A friend of ours came over the bassist Michael from Mt. Joy he was like “Germany is such an amazing country” and we were like “Eh… I don’t know” and I think this brings us to think about that, if we want people to identify us as a German band, or if we want be a Canadian band. It’s weird.
David: And in general the concept of nationalities if it needs to be like that.
Your sound is so unique bringing in everything from krautrock to psych to electronica to some Afrobeat all wrapped up so seamlessly.
We did and get inspired by all different kinds of music, instruments we want to try. Its just about messing around with sounds and messing around with instruments and trying new things.
Y’all have been around a few ears now but stuck primarily to EPS and singles. When can we expect an album from you all, and what are your upcoming plans for the band
Elias: We actually have been in the Italian Alps, northern Italy and we wrote and recorded an album there, in a mountain hut in the middle of the Alps it was beautiful
David: It was super chill, we actually one time i spent 2 weeks not going down to the city and didn’t get to speak to anyone aside from the band
Elias: It was intense, but we have an album in our backpacks actually, we’re not quite done with it but we plan to release it this summer maybe
Outside of the band what other pursuits do each of you have? Whether musical or otherwise?
Elias: I do a lot of video stuff as well. Our music videos are mostly shot and directed by me, I love them. I always have visuals in my head when playing the songs. And to translate that to video is amazing, it feels really good. I think arts in general is the overall language we’re using. It doesn’t matter if you do abstract paintings or music, I think we’re all in the same boat kind of.
David: We were in New York a few weeks ago and we had a couple of days off, and we went t the Guggenheim museum, and it was a f***ing blast.
Elias: We had these audio guides, and there was this one guy talking about what is art for him and how he sees art and how he likes to be creative, and i thought its the same thing about doing music. It doesn’t matter if you output is music or painting something or taking a photo or doing a video the creative process can be quite similar
It’s cool to see that if you want to see stuff you just can do it.
Will you stay in Montreal?
We just moved to Montreal and it feels really good. I do not think about leaving. So we have this visa thing going on for one year and we have to see what to do next, but we’ve already decided that going back to Germany is not an option.
While still being finalized, the trio has a forthcoming album due some time this year. Check out the video for “Nothing is Real” below!
https://youtu.be/2HAWbC0Myhc
by Jackson Tucker
Photos by Christian Senf
(03/30/18 12:55pm)
In it’s eighth year, Savannah Stopover still advantageously uses it’s location right off I-95 to catch artists on their way to SXSW. Past artists have included Vagabon, Porches, DIIV, and Mac DeMarco. This year was no different with Stopover’s expansive and diverse line-up. Here are a few of the artist who caught our ear at Stopover this year and you should keep an eye out for:
Vundabar
The last three shows Vundabar played before arriving in Savannah were sold out, and their show in Savannah was no different with Barrel House quickly reaching capacity leading up to their set. Vundabar’s self-described “sludgy, jangly pop” sound, as heard on their third album Smell Smoke, was boosted by their live performance. Frontman Brandon Hagen nebulously moved around the stage, once gathering his energy for the next song with a routine of martial arts moves. The crowd fervently moved in front of the stage feeding off the band’s energy. A group of bros chanted “VUN-DA-BAR, VUN-DA-BAR, VUN-DA-BAR” in between songs as if at a sporting event.
Shopping
The energy in El-Rocko Lounge was dwindling leading up to last time slot of the night as Shopping was set to play. But, as soon as they took the stage the room jolted back to life. The post-punk trio's live show amplifies the hints of dance music heard in their most recent album The Official Body. During each song a curious passerby could be seen peaking through El Rocks Lounge logo on the window directly behind drummer, Andrew Milk, entranced.
Ratboys
When listening to Chicago’s Ratboy’s discography their music brings a sense of nostalgia. This nostalgia comes across in their live show as well as their post-country sound or the vintage Garfield pin on frontwoman Julia Steiner’s guitar strap. During the set, Steiner helpfully clarified that the dead cat referenced in the song “Elvis in the Freezer,” off their album GN, was in a garage freezer not a kitchen freezer.
Caroline Rose
Prior to their set at the Ships of the Sea stage during the New West label showcase, Caroline Rose and her band could be seen side-stage sporting a mixture of tube socks, sweatbands, and Adidas tracksuits stretching as you would prior to running a race. Sandwiched in-between country acts Lilly Hiatt and Nikki Lane, Rose’s new album Loner isn’t quite country, but filled with comedic ruminations and satirical songs. Rose’s goofy DIY aesthetic can be seen in her live show from the felt lettering spelling out “Key Bored” on her keyboard to the festive chili pepper strung microphones.
By Leslie Leonard
Photos by Leslie Leonard
(03/28/18 9:08pm)
(03/28/18 4:00pm)
DYGL (pronounced Day Glow) are founded around the boundary breaking power music can have. Founded at their university several years ago, the four-piece Japanese indie rock group would sound more at home in London than Tokyo. And while the influence of groups like The Strokes sand The Libertines is immediately clear, lead singer Nobuki Akiyama has fully embraced these roots as they not only influenced the musicians, but helped form each of the members personalities. They released their first full length album in 2017 Say Goodbye to Memory Den, produced by guitarist for The Strokes, Albert Hammond Jr. and released a single "Bad Kicks" earlier this year. The group played several shows during the 2018 SXSW festival in Austin, where we had the opportunity to speak with Nobuki about the DYGL, Austin, and his time working with Albert Hammond Jr.
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So you’ve had a week in Austin, how’s it been?
It was really cool, this was the second time for us as a band to come to Austin. We played four shows, and we were able to catch lots of performances from some of our favorite bands, which we didn’t get to do last time. Shopping and Idles have been the best ones so far.
When you were recording your album last year I know that you all spent some time living in New York to record it. What was that experience like?
It was nice, we had been really into British music and American music, kind of Indie rock stuff. And we don’t have a lot of the same vibes in Tokyo. We have either super pop, or super underground. There’s no real in between. So we knew we wanted to work with some guys that understood our tastes and understood our vibes, and we’d been looking for some engineers and producers. And we found that and that the city didn’t matter as much as the engineer, and that [New York] is just where the engineer was. But with the engineer and being in the city it was all just really good for us. These guys, Albert and Gus are great at judging everything and knowing, like they would always guide us.
S0 how did you get hooked up with Albert?
We had mutual friends with Albert and Gus, a Japanese guy who worked at the label distributing The Strokes first 3 albums, and while we were looking for some good engineers it was coincidence that Gus was on that list we wanted. But before we even contacted him, Gus contacted us, and we sent him some demos and ended up working together.
Going back to how you said there’s not really your style of music in Japan, how has it been then being that artist stuck in the middle ground of pop and the underground, both in Japan and worldwide?
In Japan, it’s really changing little by little. Twenty years ago there were no kind of indie rock music scenes, it was just like pop and there were only a few bands singing in English, and not a lot of them were good ones. Well, some were but not a lot. But they were still not ready for, the market and audiences were not ready [in Japan]. But gradually because of the Internet, these things have changed a lot. And there’s a few bands trying to do what we’re doing, inspired by the Americans or British and the French. So it’s not terrible, but it’s still hard. Markets are gradually growing.
What made you decide to sing in English?
I was just into the Libertines, the Strokes, and I just thought I wanted to sing in English like that. I actually learned English by listening to Oasis.
Going back to your record you bring in lots of political things in line with your punk influence. Do you take most of these issues as centered to Japan or more internationally?
It depends really; we like to think about the world as international. So singing about Japan’s politics is really connected to the world. I mean also we do a bit of politics but try and sing about everything.
Looking at your most recent single Bad Kicks it gets a lot more punk than last year’s album. Is this a direction you want to take the band in, or just something you’d played with?
This one is a lot more rough and energetic, where I feel like the album is a lot more clean. So now it’s become seeing which way we should go. I feel pretty comfortable with the new single; it’s a lot like what I have in my mind when I write a song. I’d like to make an album with that sound.
How do you feel about moving into the future wit DYGL?
We’re trying to move out from Japan and settle in London or somewhere in the UK.
The world is really changing fast. Politics, markets, people, but good music is always good. In each city and each country. I want to connect with more country’s music scenes and bands and more individuals. And spread more good Japanese bands as well. Sometimes there are so many good local bands and not enough opportunities, especially in Japan. That’s why coming to South by Southwest is so good, to know what’s in the world. You know you’ve got legendary bands playing in a tiny bar and suddenly brand new bands playing side by side, which is cool.
We’re just trying to make timeless music.
Check out the music video for "Bad Kicks" below
https://youtu.be/DdbQhNr2hgU
by Jackson Tucker
Photos by Christian Senf