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UNC Chapel Hill's Mipso Trio, who came to Duke earlier this year for a live set, are putting on a release show for their debut EP this Thursday at Local 506 on Franklin Street. Tickets are $7 and the doors open at 8:30. Come out to support undergraduate music and enjoy a night of folk and bluegrass. Their first show in Morgantown drew over 500 attendees, so get tickets while they're still available!
Matthew Morgan and Jose Villenueva are one half of Chapel Hill's Divided By Friday. They attended UNC-Chapel Hill for a year, but dropped out to pursue the band full-time when they signed with Hopeless Records. In November they released a new EP, "The Constant," and are currently on tour. Recently, Morgan and Villenueva came by the Small Town Records studio for a stripped-down acoustic set. And though their music is a no-nonsense affair, the guys weren't afraid to cut up during the shoot.
In today’s musical landscape that prizes slick production and worships at the altar of all things electronic, Monotonix proudly bears the torch of rock and roll, unfiltered. The band’s three guys from Tel Aviv, Israel, and their live show consists of nothing but drums, a guitar, a microphone, and lots of amps. No pedals; no effects; this is rock at its most minimal and primal, the stuff of a Lester Bangs fever dream.
UNC-Chapel Hill's Mipso Trio dropped in to the Small Town Records studio for a live acoustic set. The group plays a lively blend of folk, bluegrass and Americana, and are currently recording their debut EP.
Priscilla Townsend, a freshman at UNC-Chapel Hill, came by Small Town Records for a live acoustic set. She just signed a 3-year contract with The Bench Studios and is working on her first album. Check out these stripped-down originals, and be sure to catch the interview to learn more about her record deal, her idols, and her Peruvian roots.
In Recess' first-ever "Small Town Sessions," Duke's own Point Break stopped by Small Town Studios for an exclusive live acoustic set. Point Break features Alex Starr on vocals and rhythm guitar, Justin Budlow on lead guitar, Zach Starr on bass, Tyler Matte on drums, and Julian Jacobson on saxophone.
Bassnectar – Bass Head
Ridley Scott’s oeuvre, while far from perfect, contains flashes of brilliance. I don’t mean the brilliance of an auteur—his personal style is too varied and often too commercial to merit that title. I mean brilliance in the sense of delivering Hollywood genre films that transcend the limitations of their forms. Alien at its core is a run-of-the-mill sci-fi horror flick, but its ferociously original delivery made it a classic; similarly, Gladiator relies on many of the tropes of the standard historical epic but the package itself is ingenious and unforgettable. The artistry here is in masterful entertainment.
In a Catholic reformatory in New York City in 1914, four young women adopt birth control pioneer Margaret Sanger as their patron saint and construct an elaborate, violent fantasy world in which they reign supreme. Oh, and it’s all set to Jane’s Addiction.
Let me acknowledge at the outset that I run the risk of coming off as a curmudgeon, or a Republican housewife, or Dave Grohl at this year’s Grammys, but I’m compelled to level a complaint against hip-hop.
Nicki Minaj should be ashamed of herself.
The song “Red Horse (Judges II)” off of Colin Stetson’s 2011 album New History Warfare, Vol. 2 sounds like a brooding hip-hop beat, its propulsive bass line and rim tap percussion chugging along with ominous ferocity. But wait: it’s not a hip-hop beat at all, nor did a bass or drum kit have any part in the production. The force behind all of those sounds is Stetson alone, armed with nothing more than a gargantuan bass saxophone and a series of well-placed mics. It’s a feat that approaches miraculous, and this Friday Stetson will bring that technical wizardry to Motorco Music Hall in a double bill with guitarist/composer Tyondai Braxton.
You’d be right to call Die Antwoord an oddity, but you probably wouldn’t be doing it for the right reasons. What truly sets Die Antwoord apart is the fact that the whole act is a ruse.
I’m tempted to forego a review of Red Tails and just publish the screenplay.
David Fincher doesn’t make thrillers.
I normally enjoy doing background research for Recess stories. Reviewing an album gives you a chance to engage meaningfully with a band’s catalog. The same goes for film reviews—in order to contextualize your opinion, you familiarize yourself with the work of the director and the actors. It’s at these times, when I’m discovering a new artist for the sake of a story, that I relish my work. Researching The Twilight Saga: Breaking Dawn, Pt. I was not one of these times.
I decided to take a break on Tuesday night and see Aziz Ansari’s sold out performance in Page Auditorium. It would be a welcome relief, I told myself, from the mounting pressures of homework and applying fruitlessly for jobs and taking on real-world responsibilities and searching for direction and meaning in my life and realizing with horror that I’m too old for section parties.
I can’t help but wonder how the executives at Universal agreed to greenlight The Thing:
On its website, Duke Performances writes of its current season: “Tradition keeps us rooted, but in art and individuals alike, change is a sign of life.” One would be hard-pressed to find an artist more indicative of this ethos than Lizz Wright.
The problem with putting out a towering album like Tha Carter III is that every subsequent release is measured against it. The failure of Lil Wayne’s last two records, 2010’s Rebirth and I Am Not a Human Being, to equal their predecessor can in large part be excused due to the nature of their content—Rebirth was a laughably misguided foray into rock, and Human Being consisted essentially of unreleased session material. There’s no excuse, though, for the disappointing quality of III’s rightful and hotly anticipated successor, Tha Carter IV.
