This semester we’re doing it. Bringing it back, I suppose. No matter, here we go:
For the first of this semester’s Show of the Week, Program Director Arielle Edelman selected Jamie Yelland’s great gamelan show, Metallophonie (Tuesdays @ noon).
Here’s what Jamie had to say:
1. How would you describe yourself? That’s a hard question. In a few words? How about, “multifaceted”, or “overcaffeinated”. I hate describing myself; I prefer to slowly divulge secrets and let people form their own opinions…
2. How would you describe the show? Metallophonie showcases gong music from around the world. In reality it’s mostly classical gamelan from Java and Bali, or contemporary American pieces that incorporate gamelan, because those are what I know and like best. But sometimes I play gong music from Sumatra, Vietnam, Laos, Thailand. Lately I’ve been finding some cool minimalist music that borrows from gamelan sounds without using any of the instruments (e.g. Steve Reich).
People often seem surprised that there’s enough gong music in the world to play on a radio show, and that it’s often part of refined classical traditions. Metallophonie aims to bring some amazing, complex music from another part of the world into the Oberlin community. I always hope that what I’m playing is a pleasant surprise for listeners.
3. What inspires you to do your show?
I started getting really into gamelan when I took the Intro to Javanese Gamelan EXCO two years ago. Then I went to Java over winter term last year to study music intensively, thanks to a Shansi grant, and now I teach that same EXCO. I would say that I have a moderate obsession with Javanese gamelan music, and I have to share it with the community somehow. Some people at Oberlin know what gamelan is, but most don’t know that we have opportunities to hear and play gamelan at Oberlin. I try to announce that every once in a while on the radio, hoping that people will like the music enough to check it out in person.
4. What are you listening to RIGHT NOW?
Currently, I am listening to Ensemble Modern’s rendition of Frank Zappa’s “Night School”. If I had to pick an all-time favorite musical figure, Zappa would probably be the one.
5. What is your favorite show on WOBC? Mundo Mixto, which is on right before mine, is awesome. Caroline plays great music.
6. Favorite foods?
Undoubtedly the durian, which is a fruit from southeast Asia. It looks like a weapon of mass destruction, smells like “onion socks” according to one of my friends, and tastes like an incredible marriage of banana, almond, and caramelized onion. People either love it or hate it, but it’s the kind of thing you have to eat at least once just to say you’ve done it.
7. Favorite holidays?
Election Day, duh. When else do you feel so good about partying on Tuesday night?
8. Final thoughts?
Are you looking for something fun to do next semester? Take the Intro to Javanese Gamelan EXCO!!
Party at the end of the world! Everyone’s invited! Prince Rama’s greatest hits album got tarred and glittered and then electrocuted itself during a bubble bath. Huge, glamorous production — so obsessed with itself…deprived of oxygen from too much hair gel. A+++
Surprise! Chillwave is still not over. And I am totally OK with it, and all of that funky/fuzzy synthy bouncy poppy-pop that this CD brings to the party.
FYI: pronounced “on you in you,” which makes sense, sort of.
“Headboggle is the manifestation of Derek Gedalecia’s acoustic/electronic research utilizing the “kitchen sink” in every sense of the idiom: Moogs, Harmonica, Banjo, Harpsichord, Irish Harp, EMS Synthi, Violin, Drums, Clavinet, Serge Modular, field recordings and more! What makes “Headboggle” so special is the careful arrangement of sound, with painstaking attention to composition and sound direction. Disorienting magic is a key trait of the Head Boggle sound, one which captivates and commands repeated inspection.” – Editions Mego
Don’t miss out on this one. Headboggle plays at Fairchild Chapel tonight, November 6, at 8 PM with Collapsed Arc and local sillyboys Schweinmacht. Gonna get weird. See clip below of Headboggle live…
I’m really into rap right now, probably a little too much. After last month’s A$AP Rocky concert, I can’t stop listening. It got to the point that my friends had to sit me down and remind me there is more music to be heard than solely Danny Brown. I realized I had to broaden my pallet; there is such a thing as overplaying an artist. But while staying within the confines of my beloved rap genre, I began to expand, listening to various other artists. In my expansion, I began listening to Kendrick Lamar. As his 2010 album, Section 80, was critically acclaimed, immense hype surrounded his latest release, good kid, m.A.A.d. city. I had to give it a listen. And though I can’t call it groundbreaking, “good kid, m.A.A.d. city” is nonetheless a great album.
Although I don’t agree that “good kid, m.A.A.d. city” is the instant classic it has been deemed by various music publications, it still is ultimately a success. The production is varied, encompassing pseudo- electronica and hard guttural beats, with Lamar effectively
navigating his way lyrically through each song. The lyrical content on the album is varied, and while contained mostly in today’s usual rap themes of women, money, poverty, there is creativity in all he says. The sole problem I have with “good Kid, m.A.A.d. city” is that it forces the listener to ask, is Kendrick Lamar really that good or is hip-hop today just that bad? Rappers are often given too much credit; if an artist manages to say something mildly creative or original they are excessively praised. Kendrick Lamar embodies this to an extent. Although in “good kid, m.A.A.d. city,” Kendrick is able to avoid the Lil Wayne pitfall of rhyming “hoes” with “hoes”, overall he struggles to say something new. His lyrics are indeed good, but occasionally formulaic: while Kendrick strives for so-called “intellectual hip-hop,” lines like “I pray my dick get big as the Eiffel tower/so I can f*ck the world for 72 hours” don’t help his cause.
With my “Lil Wayne is killing hip-hop” rant aside, I need to emphasize that, while I don’t view “good kid, m.A.A.d. city” as wildly original, it still is to me the best rap album of the year.
I have no clue what that says about the hip-hop genre as a whole, but regardless, “good kid, m.A.A.d. city” is definitely worth a listen.
Think radio programming should be more diverse?
Want to hear more local DJs across the country on the airwaves?
Want to see more local acts on the air?
Want to PROTECT PUBLIC RADIO?
Well so we do.
And so does the podcast group Soundtrack of the Week, who have initiated what they are calling Radio Diversity Day.
The idea was inspired by the movie Corporate FM as a way for radio listeners to demand more diversity in radio broadcasting, both freeform and commercial. Essentially, SOTW proposes that on December 5th, 2012 radio listeners call into their local radio station to demand improvements to public radio, including broader programming, increased local participation in the form of “live, local DJs and local programing to serve the public interest”. Listeners should also call their local congressmen and elected officials to demand legislative action to defend and improve public radio. The radio is public property! Don’t let it slip away!
For more information on this event and how to get involved, check out this page. And be sure to get involved and call your local radio stations and legislators this December 5th!