Top 5 Adds is a weekly section of the WOBC Blog that displays the Top 5 most played new albums at the station. Each album links to the band’s myspace, Last.fm, or other music player so you can check them out for yourself!
1. Dum Dum Girls – He Gets Me High EP – I’d been waiting for this record for a while … those of you who saw them play with Girls in Oberlin can attest that this band is the real deal. The layer of fuzz on the DDG’s earlier releases is gone, but the clarity of this album showcases just how talented this band is. Includes a cover of The Smiths’ “There is a Light That Never Goes Out” that’s pretty faithful to the original.
2. Jad Fair – Beautiful Music: The Best of Jad Fair – This album was my introduction to Fair’s music. Never knew how much I had missed. This album is a three-disc set that runs about a hundred songs (and some change). Idiosyncratic without being cutesy, pop-y without being saccharine. Though a hundred songs is a bit much for a best-of comp, odds are you’ll find something in this bunch to grab onto.
Every Friday at 12:15 pm, the Oberlin jazz community gathers for Jazz Forum at the Cat in the Cream, where audience members are treated to short sets from 2 or 3 of Oberlin’s small jazz ensembles. At the second forum of the semester, Jazz Studies upperclassmen Tim Bennet and Peter Manheim each led his own quartet in a fine display of musicianship and improvisation. -Adam Hirsch
Welcome to the Top 30 section of the WOBC Blog! A big part of my job is reporting to CMJ what exactly WOBC plays every week. This chart shows the 30 most played albums, while the Adds chart (posted yesterday) tells CMJ what of the most recent batch of albums we’ve been spinning most. So this post, like the Top 5 Adds, will come at you weekly. So here’s what we’ve been spinning:
Welcome to the first installment of “Top 5 Adds!” A big part of the Music Director’s job here at WOBC is reporting to CMJ what we’re playing, and a big part of the reporting is the Adds Chart. More so than the Top 200 Chart, this one highlights new records that we’ve added to the station this week. This chart is a really good place for up-and-coming bands (or bands that have already been established) to get their due. I’ll be posting the adds every week as long as I’m the MD here (for the rest of the semester). I’ll be coming at you weekly with these, and I’ll do the same with the general top 30 chart. So, without further ado, THE ADDS:
1. Radiohead – The King of Limbs. Real shocker here. Biggest band in the world gets the number one slot on this chart. Since its Friday release, this album has had 20 plays on WOBC. This is tops for the Top 200 Chart as well. If you prefer Radiohead’s Headphone Records (Kid A, Amnesiac, Hail to the Theif) to ones that sound more like people with electric guitars (The Bends, OK Computer), you’ll love this one.
3. Air Waves – Dungeon Dots. (Album cover pictured above). This band came to Oberlin three semesters ago and crashed on my floor. They’re all great (underwater) people. They’ve re-recorded a lot of stuff from earlier releases for this album, so it sounds cleaner than their first EP. Another strong showing of sparsely produced indie-pop from the Underwater Peoples community.
4. Shad – TSOL (Bonus Version). I always freak out a little bit when I see Shad’s name in my inbox, because I always misread it as “Shaq.” But I’m glad it’s indeed Shad. This record is just an EP, but it’s characteristically strong. RIYL: K-OS, Dam Funk, Dilla, Ant, etc.
Digging around in WOBC’s vault of folk vinyl for my country show last summer, I came across a compilation called Country and Eastern. I didn’t think I would like it because the part of country that is western and not eastern is what usually appeals to me. But on that record is a track by Nanci Griffith (“I Wish It Would Rain”) that got me thinking beyond the parameters of raspy old man country music.
It turns out that we’ve got a whole lot of Nanci Griffith in the vault here, including her 1986 album Lone Star State of Mind. The record does well what country music does best: songs about really sad things that don’t make you sad, and songs about getting out of town. My favorite is “Ford Econoline,” because I love songs about ladies pursuing happiness by taking to the open road, and “Cold Hearts/Closed Minds” is a really sweet contribution to the I’m-gonna-leave-you-in-the-morning classification of sad songs. -Stella
On paper, pop music is in a kind of dismal state. It’s tough to find true innovators, and imitators are a dime a dozen. I don’t see it as a problem, though; instead, it presents a challenge. In order to make their marks, bands and artists need to find innovative ways of mimicry. Pop music has a lexicon, one out of which people can define their own voices. A lot of current bands start off by showing you that they’ve done their listening homework, then showing you they can run with the lessons they learned from their favorite records. Best-case scenario, it’s a lot of fun to see where they land.
Cleveland’s own Cloud Nothings is one of those fun bands. In the last year or so, they’ve put out a slew of records that are as catchy as they are difficult to pin down. At the station, we’ve gotten the Didn’t You 7,” and the full-lengths Turning On and Cloud Nothings. Didn’t You consists solely of a pair of songs: the title track, and “Even if it Worked Out” on the flip side. The most striking thing here-–and on the albums as well-–is CN mastermind Dylan Baldi’s serious songwriting chops. These two songs are dripping with the same kind of effortless cool and combination of earnestness and devil-may-care panache that made both The Strokes and The Cars household names. Oh, and they’re catchy. Really, really catchy.
Didn’t You sets a high bar for the Cloud Nothings, and its one that Turning On matches. In particular, songs like “Another Man,” “Morgan,” and the title track have the shambolic, analog charm that’s quickly becoming a staple of the Cloud Nothings’ sound. It’s a consistently strong album, and that’s what’s so impressive for such a young band (sorry guys, it was going to come up sooner or later). There are songs that you’ll like better than others, but none of the songs could be taken as filler. Turning On shows Baldi’s range in a way that Didn’t You simply can’t (by virtue of its brevity). Both songs on the 7” come and go pretty quick (and merit repeating), but songs like “Hey Cool Kid” go by slowly enough to sink in.
The band’s most recent full-length — self-titled – picks up right where Turning On left off. I’m hesitant to hurl an epithet like “mature” at this record, but for lack of anything better it’ll have to do. Powerpop gems like “Nothing’s Wrong” and “All The Time” have the same breathless urgency that made the 7″ and Turning On so charming, but songs like “Forget You All the Time” have a kind of elegiac, shimmering quality that offsets Baldi’s snottier moments. Sometimes Baldi pits these two styles against each other: “Understand it All,” would be another furious romp if it weren’t for Baldi’s nod to the Beach Boys’ textbook heartbreaker “You Still Believe in Me” seconds in. That Baldi uses the sour-to-sweet trick sparingly reveals a kind of poise rarely found in this line of work.
Whether or not Baldi’s breaking new ground is irrelevant. I could name-drop bands that sound like the Cloud Nothings for a while, and some of you could go on even longer, but it’s a pointless exercise. This early on in his career, Baldi seems primed to vault to the front of the powerpop pack on the strength of his innate knack for hooks, and his grasp of this sound. What’s scary is that he’s just getting started. (Matt Orenstein)