Like many others [I presume], I was very excited for dead prez’s new album. Eight years waiting; the anticipation was at an apex. Over fall break, a like-minded friend and I eagerly gave it a listen, and were absolutely baffled. ”Could this really be dead prez?” we asked each other.
If there was a music award purely for the element of surprise, dead prez would get my unequivocal vote.
Though they still retain their socio-political messaging, M-1 and stic.man have chosen to rap their wisdom over dance-pop Top 40 beats –> an interesting artistic choice, but one that is quite astonishing and potentially alienating to their fan base. Shock value aside, it ultimately detracts from their profound poetics. True to their reputation, they created another thought-provoking album, but instead of pondering the school-to-prison pipeline, it is equally tempting to ask: “is that a sample from Ke$ha’s new single?”
I should note: not every track is synth-heavy and reminiscent of strobe lights, but even so, the sharp and eloquent lyrics so signifying of dead prez have lost their edge. M-1 and stic.man seemed to have stepped back from unabashed radicalism to embody a slightly more passive sage-like role. Instead of encouraging their listeners to rob pizza delivery boys, they instead advise love, patience, spiritual renewal, and perseverant education.
“Through the course of life, you gon taste some humble pie”
Definintely a message worth sending, but still an intriguing twist of tongue for M-1 and stic.man.
If you consider yourself a fan of dead prez, I would give this album a listen [or two]. The first time may be difficult and awkward, but I have found that Information Age is slowly growing on me. Once over the initial shock of the pseudo-rave beats, one can easily find the provocative politik that endears, engages, and excites dead prez’s audience. The vegan diet, the climate crisis, and the capitalist commercialization of Western religion all make an appearance. Though the question remains: are dead prez still Revolutionary But Gangsta? It is up to you to decide.
It might be hard to visualize, but our station wasn’t always located on the 3rd floor of Wilder. In the mid-1950s, WOBC was broadcast from a garage behind a structure called Grey Gables, which stood where Mudd currently is today. When the construction of our beloved Brutalist library began, Grey Gables was demolished and WOBC moved to its current location. Here’s a peek into the station you never knew!
My favorite band, Girls, broke up this summer. I wasn’t too distraught, because I held the hope that the two guys in the band would continue making music, but it was still upsetting; I had no idea what was next for Girls, so as a fan, I was in limbo. I was mainly focused on news from Christopher Owens, the lead singer and primary force behind Girls’ success. Aside from a few twitter posts from his account “Cri55yBaby,” there was no real news. It wasn’t until October that Owens resurfaced, announcing his intent to release his solo debut Lysandre in January 2013.
The only tracks from Lysandre released to this point have been “Lysandre’s Theme” and “Here We Go.” In my opinion, both tracks are successful, yet it’s necessary to acknowledge that musically, Christopher Owens solo project isn’t really similar Girls. Sure, the singer is the same, but the instrumentation is very different, with Owens citing classical guitar as one of his inspirations. It shows. “Lysandre’s Theme” is an instrumental, consisting of Owens on guitar, with a flute laced through the track. It provides an effective transition to “Here We Go,” in which the flute serves as continuation. Owens opens with guitar, largely similar to Girls’ “Just a Song,” before providing vocals, about 20 seconds into the new track. Hearing Owens’ voice for the first time provides relief and familiarity, and for a moment, it’s like Girls are back again. This nostalgia primarily was at the 2 minute mark, in which Owens solos on electric guitar, but it’s only for about 10 seconds.
Although there is only a glimmer of Girls in Christopher Owens’ solo project, fans should still find solace lyrically. The themes of heartbreak and love, focuses central to Girls’ prior success, are still present, and Owens still is able to convey the multitude of emotions he encompassed while still part of Girls. “Lysandre’s Theme” and “Here We Go” are both definitely work checking out, they’ll get you through until the album’s release.
There are no “minor leagues” and “major leagues” here, no contractual obligations to corporations, and no advertising dollars anywhere. New and interesting music is played 24/7, rather than being shoved into the middle of the night. We are completely independent and freeform from now until infinity.
Plus…Sean Price on the come-up??? Sean Price has been out here for more than a decade. He also has been reporting on hurricanes as of late.
But in all seriousness, his 2005 classic Monkey Barz is well-worth a listen.
Will Gautier, host of Pre-Post-Regional on WOBC, doesn’t like Drake. Although that alone may be enough to dismiss his musical tastes, Will does indeed know good music. I hear it often coming out of his quad in South, and if that is any indication, Pre-Post-Regional is probably an enjoyable hour of freeform.
Will Gautier, right, Age 5, 1997
I caught up with Will to talk about his show:
What is your show?
My show is called Pre-Post-Regional. It’s on Wednesday at 3 AM. Basically, each week I choose a different city and play some of its music. It’s mostly pre-2K, underground music, because the regional scene had definitely declined by that time with the advent of the internet. Typically, I’ll include some commentary and talk about the city and its musicians–I go for a little bit of coherence at least. I guess the point is to recreate a city’s music scene, as a musically-aware citizen would have experienced it.
How did you decide to focus on this particular genre/type of show?
Well WOBC has always impressed me with its commitment to freeform radio, so I wanted to do a show that would reflect that. I also like to know where a band comes from and how they fit in so I wanted to integrate that somehow. There’s no grand plan behind it, I just thought I would be fun to focus on the regional music scene. I guess it allowed me to take my own interest a little bit further, too.
How did the name come about?
I finished the WOBC application about five minutes before the deadline, so I just slapped a name on it. I like to think it makes pretty good sense, though.
How has the experience been?
It’s been a lot of fun. The show’s late, but I get some people out west, and I know I have some European listeners. I’ve had some interesting callers, including this drunk graduate from Madison, which was refreshing. I’ve also learned a lot about the music scenes in the cities I’ve profiled.
What can we expect to hear this week?
Louisville is next for me. I usually start with some pretty well-known musicians, so I’ll play some Slint and Will Oldham, although which of his many projects I’ll choose, I don’t know. You’ll definitely hear Soul, Inc.’s “Ultra Blue,” Four Fifty Six’s “The Mystery of Our Underpants”, Circle X’s “Tender”, and Poor Girls’ “(I Just Wanna Go) Pelvic”, but beyond that I haven’t really decided. In the meantime, everyone should hear the songs I just mentioned, so either tune in or look them up on YouTube, whatever is best.