Posts tagged with
Szung Szongs

Szung Szongs: In support of cassette tapes

ROBERT SZYPKO/The Dartmouth Staff

I’ve had my fair share of jarring experiences with Spotify audio ads — Aerosmith interrupting “David Comes to Life” was the first really bad one I can recall. But the worst is probably what I experienced last Wednesday when a clean, shiny automobile ad interrupted my maiden listen of “Hi, How Are You,” Daniel Johnston’s so-lo-fi-you’re-not-sure-whether-to-call-it-something-other-than-lo-fi 1983 cassette release…. Read more »

Szung Szongs: Szpring and szummer releases

When spring and summer roll around, its high time for some new tunes — too many car rides, outdoor parties and jogs outside to not have a great soundtrack of breezy, upbeat or epic music. Here is a list of confirmed release dates that I am looking forward to this spring and summer…. Read more »

Szung Szongs: Szitting Down with Bleached

ROBERT SZYPKO/The Dartmouth Senior Staff

Going to a festival like South by Southwest can be an intense experience, and I’ve found myself musically exhausted since then. So I’m more or less at a loss for what to talk about here this week. Therefore, I’m going to opt for some stuff I wished I had published during the festival.

In my posts over spring break, I talked a lot about the quality of music shows and the styles of music swirling around the summery Austin air during SXSW. But when I chatted briefly with Jennifer Clavin of Bleached after their set at the Hype Hotel, I talked more about the process of SXSW and how exposure and audience reception plays into their work…. Read more »

Szung Szongs Notes from SXSW: When audiences misbehave

AUSTIN, Texas — If there’s one thing that South by South­west has in boun­ti­ful sup­ply, it’s free stuff. Not free music, just free stuff: chips, tacos, drinks, koozies, bar­be­cue food, CDs, t-shirts. Their ap­par­ent logic: If you give fes­ti­val-go­ers enough free stuff, they will be­come hooked and start buy­ing prod­ucts in droves. So it’s a beau­ti­ful thing when the crowds turn the ta­bles on these com­pa­nies, and it’s a sight to be­hold when the crowds turn the ta­bles on the venues, too. That’s where A$AP Rocky came into the equa­tion yes­ter­day af­ter­noon at a venue called For­merly TOPS. The Harlem-based rap­per made the eager crowd wait nearly 45 min­utes after his set was sup­posed to start, and in the mean­time, some com­pany sell­ing water in milk car­ton-style paper con­tain­ers was toss­ing free boxed water into the crowd. A ques­tion­able de­ci­sion. After sev­eral “ASAP!” chants, the rap­per and his en­tourage fi­nally erupted onto the stage, jump­ing around to the hazy beats. The bass was thump­ing harder than any­thing I’ve ever ex­pe­ri­enced, and weed smoke con­tin­u­ously drifted into the rafters of the ware­house-style venue. Things then started to get a bit rowdy after a song or two, and A$AP Rocky egged the crowd on with… Read more »

Szung Szongs Notes from SXSW: Throwbacks and more

  AUSTIN, Texas — The band Pond would be re­ally hard to pin down if the seem­ingly clash­ing com­po­nents of their music and image weren’t in­di­vid­u­ally so fa­mil­iar. Dur­ing their per­for­mance last night at Buf­falo Bil­liards, the band would set­tle into psy­che­delic prog rock for a minute or two, only to smash that apart with thick, juicy gui­tar licks rem­i­nis­cent of ’70s glam rock that drowned out the odd­ball vo­cals of lead man Nick All­brook, who seemed to walk right out of the early ’90s. Throw­back was the order of the evening for the Aus­tralian band, which con­sists of two mem­bers of Tame Im­pala.     When he wasn’t singing, how­ever, All­brook would often grow im­pa­tient of stand­ing on stage, jump­ing into the au­di­ence to suc­cess­fully — or not-so-suc­cess­fully — crowd surf, or oth­er­wise to sim­ply flail around on the ground. It might have felt like a punk show, but the music sounded any­thing but.     The en­tire band seemed to adore the idea of being rock stars — it was some­what un­clear whether All­brook pre­ferred in­ter­act­ing with the crowd or the cam­era flashes that came with his unique an­tics — as they shoved each other into the crowd, ripped each oth­ers’… Read more »

Szung Szongs Notes from SXSW: Comparing live performances

  AUSTIN, Texas — What makes a live show a worth­while live show? Thurs­day af­ter­noon and evening, I caught sev­eral acts that make heavy use of pre­re­corded loops and sev­eral acts that didn’t, lead­ing me to won­der if it re­ally is the ma­nip­u­la­tion of in­stru­ments that makes a per­for­mance in­ter­est­ing, or if it is some­thing en­tirely dif­fer­ent. I al­ways find it in­ter­est­ing to see how an artist like Grimes has changed over the course of a year. In my very first South by South­west show ever last year, Grimes played an unas­sum­ing yet ethe­real (I hate using that word) set in a small bar to a de­cent-sized crowd. Since then, Grimes has gar­nered tons of buzz on­line and re­ceived crit­i­cal praise for her re­cently re­leased LP, “Vi­sions.” Last night, she found her­self on a much larger stage than in 2011, per­form­ing at Pitch­fork’s of­fi­cial SXSW show­case at the Cen­tral Pres­by­ter­ian Church.     Her dreamy elec­tro-pop filled the high-ceilinged nave of the church, which made for a pleas­ant lis­ten­ing ex­pe­ri­ence as a bunch of Pitch­fork-lov­ing hea­thens sat in the pews. Still, I couldn’t help but feel like her live per­for­mance was lack­ing — some­thing about watch­ing two peo­ple press but­tons and hit… Read more »