We Are the Catalyst and Crash Symbols in partnership with WOBC present:
“Dope Mountain Sound” –a mix tape featuring a cross section of old, new, and unreleased music from the Crash Symbols catalog.
Crash Symbols is a casette label with headquarters in West Virginia and North Carolina. Founders Jheri Evans and Dwight and Liz Pavlovic efforts have gained the attention of publications such as WIRED Magazine, NBC, Altered Zones, Rebel Magazine and many more. Their extensive catalog features recording artists such as Blackbird Blackbird, Beggars in a New Land, SPORTS, Born Gold, Honeydrum, and MillionYoung.
We Are the Catalyst is an emerging network and publication with content generated entirely by and about young artists. The We Are the Catalyst website launches December 5th. Until then catch Catalyst Radio on the air, Thursdays 11am-12pm on WOBC 91.5 FM and check out the We Are the Catalyst Facebook page for media and information about these rising artists.
The 2nd WOBC showcase is coming up! It’s November 2nd, this Friday!
Cover bands rule, and you can make one with just a few easy steps. First, corral your friends, give them instruments and some wigs (optional), then think of a band name. This part is the most fun. Next, you’ll (probably) want to practice a few times, so you’ll make a big splash on the big stage. WOBC has some big shoes to fill after last year’s event, but this one should be a load of fun!
The showcase will start at 8PM, Friday @ Above Subway and will see 20 student cover bands including:
Creed Paradise II: Studio on the Park
and many more!
And here are some sample ideas for inspiration:
Cockblock Twins (Cocteau Twins)
Crosby, Pills, and Cash (Crosby, Stills, and Nash)
Juggalo Wrestling (Insane Clown Posse)
Smells Like American Spirits (Nirvana)
Steve Chiller Band (Steve Miller Band)
Email firstname.lastname@example.org for more info and be sure to come out this Friday to the 2nd Annual Cover Band Showcase!
The Top 30 is a weekly section of the WOBC blog where we highlight the 30 most-played new albums each week. Check out what our DJs are spinning!
1 MARK FELL Sentinel Objectif Actualite 2 DANIEL BACHMAN Seven Pines 3 WILLIAM HOOKER STRINGS 3 A Postcard From The Road 4 DEERHOOF Breakup Song 5 DINOSAUR JR. I Bet On Sky 6 ARIEL PINK’S HAUNTED GRAFFITI Mature Themes 7 SIC ALPS Sic Alps 8 SANTIGOLD Master Of My Make Believe 9 DAN MELCHIOR The Backward Path 10 CULT OF YOUTH Love Will Prevail 11 FUSHITSUSHA Hikari To Nazukeyo 12 SPIRES THAT IN THE SUNSET RISE Ancient Patience Wills It Again Part II 13 BRETT NAUCKE Home By Now 14 CAN The Lost Tapes 15 ROBERT TURMAN Flux 16 THE ORB The Orbserver In The Star House The End 17 DJ RASHAD TEKLIFE Vol. 1: Welcome To The Chi 18 TAME IMPALA Lonerism 19 TRAXMAN Da Mind Of Traxman 20 GODSPEED YOU BLACK EMPEROR Allelujah! Don’t Bend! Ascend! 21 LIGHT ASYLUM Light Asylum 22 MOUNT EERIE Ocean Roar 23 HOW TO DRESS WELL Total Loss 24 DUM DUM GIRLS End Of Daze 25 CAT POWER Sun 26 DAVID BYRNE AND ST. VINCENT Love This Giant 27 C S YEH Transitions 28 LA SERA Sees The Light 29 KAKI KING Glow 30 HOLY OTHER Held
Hey, it’s midterms, you’re stressed, I’m stressed, we’re stressed. But it’s okay, because we’ll get through it. De-stress with a little dance party, maybe, do some air guitar and then sit back down and triumph over those midterms like the rock star you are!
School is great, Oberlin is fun, but it’s easy to get sick of everything. I spent about two weeks in a hazy, caffeinated state in a corner of Mudd preparing for finals and writing papers, effectively listening solely to either Girls’ Father, Son, Holy Ghost, James Blake, or Ariel Pink’s Before Today. After finals ended, I started summer with a tired, college-sucks mentality, and above all, I was completely sick of my music library. In trying to relax and de-stress, I went to a lot of movies, laughed a lot, and heard some intriguing soundtracks. Moonrise Kingdom, Wes Anderson’s latest film, particularly helped me in my search for new music, by essentially delving into music of old.
Although Hank Williams is considered the “father of country,” I had never heard his music. As I finished watching Moonrise Kingdom, the two Hank William songs featured in the film, sparked my curiosity; I essentially spent my entire summer listening to 1950’s and 1960’s country. The songs are simple, stripped down, but have meaning and purpose, whether it be the insatiable urge to “hit the road,” or the cliché of finding lost love. This music seems so natural, so pure, and there wasn’t a synthesizer or drum machine to be found, which I found too appealing. I got so enveloped in 1950’s and 1960’s country that I now have a radio show on WOBC solely dedicated to this genre. It’s on at 6am on Wednesday. Below is some good music from the time period, somethings you might hear on my show.
The Apollo is now open. It has spent a long year in remodeling, but now students in Oberlin can go to the movies without needing a car. Although small, the theatre, in my opinion, has succeeded in its selection of films. Last week it was Looper and Hotel Transylvania, this week it is The Master and Arbitrage. As I found solace knowing that Taken 2 was not showing, I entered the Apollo for the first time last week. Looper and Hotel Transylvania were screening, allowing me the choice between a time- travel, action movie starring Joseph Gordon- Levitt and Bruce Willis, or a child- friendly animation headed by Adam Sandler as Dracula. I decided upon Looper, primarily because of its intriguing premise and the general positive reception surrounding the film. In its enveloping storyline, efficiently developed plot, and general excitability, Looper was all the success it was proclaimed to be. Looper primarily focuses on the dichotomy between present and future, with time travel serving as a bridge. Joe, played by Gordon- Levitt, is a present-day Looper, responsible for killing those sent back to his time to be “erased” by futuristic criminal organizations. The profession has its perks, with good pay and a lavish lifestyle, yet ultimately proves problematic for Joe upon his realization that his latest target is actually his older self. As Bruce Willis enters the fold, playing “Old Joe,” the film evolves from time- travel action movie, to an actual pure, emotionally driven film. In this sense, the movies sole means of success no longer clings on appealing action sequences or the fluidity in its occasionally convoluted plot; it hinges on its characters and the length they are willing to carry Looper.
Throughout the films progression, Gordon-Levitt and Willis are able to convey a profound humaneness upon Looper, juxtaposed to the bleakness of the distant utopia that now resembles the world. While neither character truly personifies moral integrity, each character has his own redeemable cause, allowing the viewer to sympathize with “the Joe’s” motives. In particular, “Young Joe” dominates the film upon encountering Sara, played by Emily Blunt, and her son Cid. The scenes when these three are together provide hope to the film, effectively depicting “Young Joe’s” growth from Looper to person. As Looper reaches climax, “Young Joe’s” newfound selflessness manifests, and it is in his sacrifice that vague promise concludes the film.
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