The show was extremely lively, filled with build-ups and guitar solos throughout, as well as a few of the more quiet moments in the show. Eric Johnson had a great live voice, as well as the background vocals of Sam Wagster whom plays the slide and lead guitar, and Ron Lewis who backs up the band on keys. The harmonies throughout the show and guitar riffs brought up some hints of Band of Horses, so after the show I asked the group what they thought it. “We have been told in the past that we sound like Band of Horses, and are also friends with them.” So it is no coincidence that the group has similar sounds, also due to the fact that both bands influences come from older country rock singers such as Neil Young.

Another noticeable point of the show was the grooving that took place behind the scenes with drummer Graeme Gibson and bassist Chris Sherman. The drumming was impeccable, with great fills and a nice blend with the music, and the same goes to say with the bass. It was obvious that the band had been playing together for years, since 1999, because they had every song and transition down to the second.

Fruit Bats also seemed to be a curious name, so I asked Eric Johnson after the show how the name originated, “I made it up as a joke a long time ago to put it on a 4 track sample, and the name just stuck, so we have kept it ever since.” The band just recently released a studio album titled The Ruminant Band and if it is half as good as the songs from it which were played live, then I would highly recommend going out and grabbing a copy. This show was my first at the square room, and definitely will not be my last, and hopefully we will be seeing the The Fruit Bats around here again soon.

The first track on the album “Hurt Feelings” immediately brings back the not-so-distant past of the musical duo with a pounding electronic beat, pointless talking, and a rap of hilarity. The first four songs of the album are along these lines, even sounding similar to the hit single “Business Time” off of the first album with the song “I Told You I Was Freaky”. But if the hip-hoppopotamus  route isn’t quite your style have no worries, track number five(“Demon Woman”) brings back in the relentless and catchy melodies of their rhythm guitar.

The rest of the album doesn’t really stray too far from the original track that the duo was headed down on its first album, but it is still a refreshing and always laughable experience most likely to be better enjoyed with groups of friends. Song after song, you can be sure to expect masterful arrangements to evoke laughter from the way they sing them, to the lyrics which they are comprised of.

A perfect example is the beautiful acoustic song which finishes off the album, called “Angels”. From the first seconds of the song, one could almost expect a love ballad, but the lyrics instantly turn into, “there are angels in the clouds doin’ it doin’ it doin’ it doin’ it” and continue throughout the rest of the song to finish off the album. All-in-all I Told You I Was Freaky holds true to what is the Flight of the Conchords and will surely be enjoyed by anyone looking for a quick laugh.

Click here to check out the first single from the album.

‘I grew up playing in a band called Nickel Creek’, Sara Watkins stated drawing applause immediately. The California bluegrass singer seemed at home in Nashville playing tracks from her latest self titled album to the Vanderbilt crowd. Sara broke up the set with stories of recording sessions in Nashville and California which ultimately became her new album. Finishing off her set with ‘Long Hot Country Day’, the crowd joined in on the chorus, clearly infatuated with Sara Watkins.

Black Joe Lewis took the stage furiously ripping into his set before the DJ even had a chance to turn off the between set playlist, letting the crowd know they were in for an intense performance. Taking cues from the godfathers of soul, Joe lit up the stage in a way that paid tribute to his influences but maintained the fact that he is a new era of soul artist. Backed by a five piece band, Joe pulled out all the stops, even breaking out the harmonica for his song ‘Big Booty Woman’. Black Joe Lewis continued to build the energy all the way to the end of his set before closing with ‘Bitch I love You’, leaving the college crowd in shock and aww of a performance worthy of a future godfather of soul.














As the sun set behind the brick buildings of the beautiful Vanderbilt campus, Grand Ole Party took the stage ready to rock the Alumni Lawn. Outfitted with a headset microphone lead singer Kristen Gundred took a standing position behind the drums banging though songs from a new yet to be release LP. Grand Ole Party sounded cleaner than ever with Kristen’s hypnotic vocals translating well over the great Rites of Spring sound system. Pleasing the crowd for almost an hour, Grand Ole Party showed that they are destined to be more than an opening act.











From an unlit stage a familiar voice sent out for a response from ‘VANDERBILT!’. A roar of whoots erupted as the distorted bass of ‘Anti-Matter’ boomed from the speakers. Commanding people to ‘Jump around like your ADHD’, Pharrell, Shay and up and coming rapper Wale pumped the crowd criss-crossing the stage as Chad played the background. Turning up the energy with cuts from their album ‘Seeing Sounds’, Pharrell paused between sets to ask the security guards if the restriction on crowd surfing could be lifted just for their set. When unable to get a decisive response Pharell let everyone know that if he were a concert goer he would surf ‘Away from security’. Midway through the single ‘Everybody Nose’ the beat broke down before coming back as a remix of The White Stripes ‘Seven Nation Army’ with Pharell continuing to rap ‘All the girls standing in line for the bathroom’ without missing a beat. Treating the capacity Vanderbilt crowd as if it were a house party N.E.R.D. showed that the group is more than a side project for the multi-platinum production group.

















With a 90% of rain scheduled for Saturday evening the crowd was guaranteed to get wet, but as the rain began to sprinkle the crowd packed closer to the stage for the festivals main attraction. The screen that served as a back drop for the second day’s concert finally came to life displaying a blue image before switching to a view from a portable camera displaying a close up of Wayne. The excitement was palatable with most of the crowd aware of the fabled stage antics of Oklahoma’s favorite rock band.


Before the first song was over a clear ballon began to rise from the stage. Living up to his reputation as the ultimate showman, Wayne climbed inside and began to traverse the crowd, who struggled to support the bubble in the way required for him to stand up right. Undeterred Wayne crawled on all fours before making his way back to the stage to continue the concert. By the time The Lips activated their four full size confetti cannons many people in the crowd seemed to forget about the liquid rain, instead focusing on the rainbow colored paper downpour.


Half way though the set Wayne announced that it was Stardeath’s last night on tour. Having written a song together in the past, Wayne Coyne invited the whole Stardeath band onstage to perform with The Lips. ‘This may be the only time you’ll see two groups play together’ Wayne announced before strumming the chords to a Madonna song. After a slight pause for technical difficulty Wayne assured the crowd that if they had to stop for the rain ‘We’ll take this party somewhere else’, generating a round of applause from the crowd.


Dawning a double necked guitar, of which one side was a guitar hero controller, Wayne kicked off the greatest hits portion of The Lips set with an acoustic version of Fight Test. For the many fans of Yoshimi this was the concert that they had waited two days to see. With the screen alternating images of car crashes and rainbows the familiar hand claps of ‘W.A.N.D.’ began to crank from the speakers giving the crowd time to join in. Using a bullhorn with a flare attached Wayne to conducted the crowd into a frenzy. Pausing between songs Wayne reluctantly coaxed a girl dressed in a teletubby outfit to the center of the stage. ‘We have a special event we do at some shows’ he said before inviting a fellow teletubby to the stage. Getting down on one knee the two teletubbies proceeded to get engaged in front of the packed Alumni Lawn. With the hour reaching midnight Wayne announced that they would play one more song. ’1 2 3 4′ came over the loud speaker as the crowd lost it’s collective mind. With a majority of people singing in unison The Lips extended an acapella version of ‘Do You Realize’ out for 5 minutes before bringing in the rest of the band at which point they activated the confetti cannons for a second time. ‘Do you realize? I know you do’ he told the crowd before exiting the stage.


In it’s 27th year the Rites of Spring Festival out did it’s self, exceeding all expectations. Selling out for the first time, it seems as if the Vanderbilt hosted event has solidified itself as a festival to be seen not only by Nashville natives but from out of state travelers as well. Setting the bar high this year with multiple seasoned acts and acclaimed newcomers, this is a festival that is well worth the money, costing only $60 for both days. Dated early in the summer festival season, this concert serves as the perfect kick off for a summer festival tour. If you are within driving distance of Nashville, you can’t afford to miss next years festival which is guaranteed not to disappoint.



































Check out our coverage of the 1st day of Rites of Spring

Cathy over at Suburban Roads posted a great interview with Blue Sky Reality.

Check out a video of T.I.’s performance at Blender.

For concert footage go over to you tell cocerts and check out Chrystal‘s video from the concert.

All Photos courtesy of Buzzafied.com. Taken by Alex Person

Matt and Kim have said they like to write songs that you can have fun to. The evidence can be found on their latest release Grand, a sonic party that sounds as if it was as fun to record as it is to listen to. On their newest release the Brooklyn duo have expanded the sound of the songs on their myspace for a full length party record that is guaranteed to have people clapping and singing along.

The album starts off with ‘Daylight’, an anthem built around Kim’s rim clicks and synthesizers, over which Matt sings “In the daylight I don’t pick up my phone/Cause in the daylight anywhere feels like home.” Grand continues the winning combination of catchy piano melody and airy kicks on “Good Ol’ Fashioned Nightmare” before breaking into “Spare Change”, a short track composed of hand claps and foot stomps. “Cinders” is a vocal less seizure inducing track that acts as an interlude between the albums two most heartfelt tracks. “Turn this boat around” is a vocal driven track backed by plodding organs, feeling like a pop version of shoegaze. The albums closer “I’ll take you home” is also one of the strongest cuts on the album. The ode to New York states, “Here we stand with a wolf like shadow/Here we stand in the end” will certainly be a fan favorite.

Upcoming artists Matt and Kim have grown beyond a local New York pop band through use of myspace, but they have yet to infiltrate gold popularity status. Grand will be a diamond in the rough for most people, but for those who have found it Grand will be a breath of fresh air allowing them to breathe in an optimistic party vibe that is often absent in today’s music.

Check out Matt and Kim’s Myspace and their website

The infinite space that is the internet is over run with stars doing their best to shine brightly. With each one begging for your attention, it’s easy to ignore the ones that truly deserve it. With ‘Foremost Sentinel’ How I Became the Bomb sets off a cosmic explosion that seperates them from the rest.

Foremost Sentinel continues along the path HIBB started with the November release of ‘Vol. 1: Who Dares Win.’ ‘Blood Will Tell’ opens the album with strumming guitars before being built up by piano and toms while Jon Burr’s pipes “I did my best to carry on/I did my best to do my best”. The E.P. keeps the bar high with ‘Mothership’, a synth infused track backed by Big Spo’s pounding drums. The pop engulfed album comes to a close with ‘Stella, Dear’. A story driven track composed of synths and drums moving up and down allowing for Jon’s vocals to take center stage.

‘Foremost Sentinel’ is a great addition to the growing series of E.P.s. Each track is strong leaving the E.P. with no filler material. Containing only three tracks, this selection leaves the listening audience wanting more. With two more entries left in the series How I Became the Bomb is a star to keep in your scope.

Download the Foremost Sentinel E.P. for free at
How I Became The Bomb’s Website

Check your favorite music blog today, tomorrow, or yesterday and chances are you’ll get word of a upcoming artist trying to make it in the industry. Every DJ is co-signing a rapper in hopes of showcasing their A&R skills, furthering his career and potentially securing that illusive record executive spot. With a stream of mixtapes large enough to drown in, finding an act that peaks interest like Stan Ipcus is rare. Upon the initial listening of ‘Bachelor Party’ Stan seems like another one dimensional rapper whose material will never move past the shallow pool of drugs, sex, and the ever popular ‘swagger’. Multiple listens reveals that while he never moves onto any deeper subjects he can make a listen-able mixtape.

Mixtapes give artists a venue to explore every avenue of their musical abilities without catering to a label or outside party that may object to their material. Stanley uses this freedom liberally, building upon tracks from artists as diverse as Amy Winehouse, Fergie, and the Arctic Monkeys. The standard issue remixes are supported by the appearance of Stan rapping over live bands and live performances that translate surprisingly well. With ample time to spotlight his lyrics and flow Stan fails to take full advantage of the opportunities. The amount of topics Stan covers in his lyrics is limited, but the style of his flow is even more limited. He rarely breaks away from the comfort zone of his flow, which is a direct decedent of the New York rap scene. Although he outlines a stencil on most of his tracks with his flow, his beat selection is great moving the mixtape along smoothly. Even with 25 tracks clocking in at just over an hour the mixtape never feels bloated. The songs are sequenced in a way that feels more cohesive than most rappers albums.

Stan deserves props for not following trends for the sake of appeal. Although props are due for not recording the obligatory southern track, their taken away for including the obligatory beef track. The final bonus song titled ‘The Great White Hope’ is directed at Asher Roth, one of the only other up and coming white rappers. It’s hard to believe Stan would choose to go ahead with an attack on Asher after considering the risk to reward ratio. If he succeeds he’s moved his career one rung ahead of another artist whose career isn’t even a couple of steps ahead of his on the ladder. Even if he succeeds, he still fails with the fact that the beef immediately comes off as corny.

With southern rappers having a stranglehold on rap right now the East Coast and Underground rap scene need a new voice to represent them more than ever. Stan Ipcus could be the next big thing for this minority. ‘Bachelor Party’ shows that there is someone who still cares to make a type of music that most record labels won’t recognize as viable. Today fans of this music could care less if their great hope is white or not.

Stan Ipcus Mixtape Download

Animal Collective is not satisfied staying in the boundaries of a single genre. Instead they would rather create their own. On their new release, ‘Merriweather Post Pavilion’ they have stretched the experimentalism of their previous releases to encompass a sound that is progressive but also more accessible.

On Panda Bear’s solo album ‘Person Pitch’ you could feel nostalgia that he wanted to reach with his music. The album had the feeling of watching dusty home movies. The same emotion is contained in this collection of songs. Each one feeling as though it was constructed while sitting around a campfire.

The album starts of with drifting vocals on ‘In the fire’ which quickly turn into a collection of arpeggiated guitar driven by deep bass lines meshing together to create a head nodding introduction. On ‘My Girls’ the bouncing synth is supported by equally pounding drums as Avey Tare belts ‘I don’t mean/to seem like i care about material things/like a social status’. ‘Taste’ is a marching anthem of kicks and synths reminiscent of old video games before breaking into a chanting chorus of ‘Am i really all things that are outside of me?’. Each song gives way to the next effortlessly, so that by the time ‘Summertime Clothes’ is cued your anticipation for the next song will hold you until the end of the album.

The star that shines the brightest are the vocals. Animal Collective has always had an eclectic view of how vocals fit into their arrangements, but this time they take center stage rather than a supporting role to the experimentation of the music. The lyrics are heart felt, posing questions to the world as viewed through the lens of a person in their 20′s. Panda and Avey’s vocals compliment each other while sounding tightly woven into each track. Avey makes the each song sing-a-long worthy before sending it to anthem status with soaring layered vocal choruses.

Considering the journey Animal Collective has taken over the course of their career this release could be considered their pop album. Though it’s far from an album that will get regular rotation on the radio, every blogger, mp3 websiter and downloader should have this in their Ipod until at least the end of the year.