University of San Diego Radio

Broken Bells consists of James Mercer and Brian Burton (Danger Mouse).

If you haven’t heard of Broken Bells, chances are you’ve already heard their music. The musical duo consists of Shins’ front man James Mercer and artist/producer Brian Burton, better known as Danger Mouse. While Mercers’ acoustic folk and Burton’s predominantly hip-hop based work may seem unlikely ingredients of a succesful musical recipe, several years of collaborative effort between the two delivered a gem in the form of their self-titled LP released earlier this March.

Even better, the Berkeley-based west coasters The Morning Benders were opening. I’ve had the chance to see these guys several times in Diego over the past few semesters and have yakked with them on several occasions as well. They were excellent guys, but an even better band. Their Big Echo, released earlier this year, has been playing in our living room for several months now.

The Bells took the stage to a fully attended crowd. Though that crowd was sitting on a tiki-torch lit lawn outside Humphrey’s resort, which made my friend liken the atmosphere to his grandmother’s 60th wedding anniversary, the fans eagerly greeted the Bells and fueled them through the show. As for the gang on the stage, it was a definite showing of masterful musicianship.

Both Mercer and Burton showed creative bouts in genres previously untouched in their careers. Looking back on what they’ve both done independently, it shouldn’t have been a shocker, but I kept thinking about how incredibly talented musicians were at work. It warranted the classic “they make it look so easy” line. Overall, it was a night of excellent music both new and familiar, albeit the strange setting. I highly recommend seeing either the Bells or the Benders next time they roll your way.

“Excuses” |Morning Benders

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“The High Road” | Broken Bells

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Buy the Benders Big Echo

Buy the Bells’ LP

Seeing The Beatles perform is something any lover of music would like to cross off their bucket list. However, this is not possible.  One can see a Beatle perform today, via Paul McCartney or Ringo Starr, but the Fab Four will never again be united. There is something that might possibly suffice for one’s desire of Beatlemania. RAIN – A Tribute to The Beatles is the closest we can get to a reenactment of how it was to experience The Beatles on their journey to define rock and roll.

On May 14, RAIN made a stop at the San Diego Civic Theatre. The performance, being held in a theater, was not a concert. It was a theatrical show.  RAIN’s main focus is to deliver a note-for-note performance to Beatle fans. They attempted to embody the talents of Paul McCartney, John Lennon, George Harrison and Ringo Starr. This was an impossible task. The Beatles as a collective were the four most talented musicians of their time. Recreating their genius work is a task that is unachievable for the common man.

This being said, for the past two decades RAIN has been attempting to accomplish this ultimate goal. The show begins with a video screen showing The Beatles arriving to the United States for their first tour back in 1964. The screen goes dark and RAIN began playing the same set The Beatles once did on the Ed Sullivan Show in black and white suits, pre-LSD days. They then moved into a recreation of the famous Shea Stadium performance that drew a crowd of 56,000 people. These two sets were unimpressive. The songs were mediocre covers and lacked the boyish harmonies that made The Beatles a household name.

The third set was the Sgt. Pepper era, portraying the transformation of The Beatles, with the video screen showing hippies on LSD. The crowd got a huge kick out of this, since the majority of the crowd were over 50 years old and lived through the ‘flower power’ days. Musically, the songs were recreated substantially better than the previous sets, with “When I’m 64” being a highlight.

A quick intermission was taken after the Sgt. Pepper set, and the show started back up with RAIN imitating the long-haired hippie look of The Beatles. “I Am the Walrus” was performed better than any other cover band could have performed it. The John Lennon character’s voice was a dead on hit. This was his highlight song of the night.

Abbey Road was the final set that was performed, with RAIN playing “The End” to signify the show’s conclusion. Of course, there was an encore with “Let It Be,” and the crowd sing-along, “Hey Jude.”

The trick of this performance as an audience member is to throw out all preconceived notions of what you expect to see. You are not seeing The Beatles and will never experience that luxury. You can see Paul McCartney on his solo tour, which, by the way, is life changing. But this performance by RAIN has to be taken for what it is: a theatrical show. If you are able to let go of your desires to see a Beatles concert, and settle for a reenactment, submitting to this fake spiritual journey, then the overall experience is quite enjoyable. Although they are not The Beatles, RAIN reminds us of the music we all grew up on and hold dear to our hearts.

Talib Kweli and DJ Hi-Tek have reunited as Reflection Eternal.

The last time Brooklyn MC Talib Kweli and Cincinnati DJ Hi-Tek partnered under the Reflection Eternal moniker, it was back in 2000 with their critically acclaimed album, Train of Thought. It captured the essence of hip hop as Kweli and Tek sketched their lives as artists and young men. Train of Thought combined Kweli’s high-caliber rhymes and poetical intuition with Tek’s deeply layered beats to create a classic.

Kweli and Tek have done fairly well outside of their affliation as Reflection Eternal, with Kweli releasing three LPs since 2002 (Quality, The Beautiful Struggle and Eardrum) and Tek with his Hi-Teknology trilogy. However, both of them have reconnected on various projects, including Tek producing “More or Less” on Eardum and Kweli making numerous appearances on the Hi-Teknology series. It was only a matter of time before Kweli and Tek collaborated again as Reflection Eternal.

Ta-Da! Without further ado, Talib Kweli and Hi-Tek present: Revolutions Per Minute. Although Reflection Eternal became the oldest sophomores in hip-hop history with their latest release, the chemistry between Kweli and Tek has not wavered and has steadily become stronger. While Train of Thought enlisted beat production that incorporated pulsating drums and blaring horns, the beginning of “City Playgrounds” reverses that approach with a much more low-key sound, allowing Kweli to be heard loud and clear. In “Back Again” (featuring RES), the pace increases dramatically and focuses on their triumphant return to music. With “Strangers (Paranoid)” (featuring Bun B), capitalism, the health care system and government spying are issues fired upon by Kweli and former UGK member, Bun B.

There are several standout tracks on the album, such as “In This World,” “Ballad of Black Gold” and “Just Begun.” With “In This World,” Tek concocts a marching beat for Kweli, who rhymes about the effect poverty has had on black people as well as shedding light on how hard work and diligence led him to a successful career in hip-hop. In “Ballad of Black Gold,” Kweli sounds off on the oil industry and the effect it has had on the Middle East and Nigeria. Then there is “Just Begun”, a track that encompasses three incredible lyricists: Jay Electronica, J Cole and Mos Def. An intermittent generational gap is forged between Talib Kweli and Mos Def with Jay Electronica and J Cole.

Even though Revolutions Per Minute integrates more hip hop and pop together to appeal to a larger demographic more so than Train of Thought, Kweli and Tek showcase their fortitude and virtuosity by delivering another record imbued with social and political overtones.

Although the hip-hop industry has evolved immensely over the last decade, Reflection Eternal has maintained the fundamentals of hip-hop with their consistency and devoutness to musical integrity. Talib Kweli and DJ Hi-Tek have proven that even a lengthy hiatus will not deter their spirits nor infatuation with music.

In This World

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Ballad of Black Gold

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Just Begun

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Mountain Jam represents the epitome gathering of rock, folk and jam bands in the Northeast. Performed in the beautiful setting of upstate New York’s Hunter Mountain (approximately one hour north of Albany) on June 4-6, it brings a great mix of classic and new artists alike to the stage. Though there are some obvious performers to look forward to this year (Gov’t Mule, The Avett Brothers, Michael Franti & Spearhead and Matisyahu to name a few) I would like to turn your attention to some of my favorite bands that are playing at this festival  who you may not have heard of, but who you will absolutely love and enjoy at Mountain Jam.

Toots and the Maytals
The inventors of the word “reggae” (seriously, their first hit song is called “Do the Reggay”), Toots and the Maytals are legends in the world of reggae. Performing since the 1960s, Toots and the Maytals still retain many of its founding members, including now- 65-year-old front man Frederick “Toots” Hibbert. Authentic Jamaican reggae at its absolute finest.
Tracks to try:
“Pressure Drop”
“Do the Reggay”

Grace Potter and the Nocturnals
I first saw this soulful band open for Brett Dennen this past December and was simply blown away. Get ready for Grace’s spectacularly powerful voice and some upbeat funky blues meshed with rock that will make you want to dance. The band as a whole, especially Grace, has excellent stage presence and is fun to experience live.
Tracks to try:
“Nothing But the Water, Pt. 2″
“Treat Me Right”

Dr. Dog
Best described as slightly psychedelic indie rock, the band Dr. Dog has quite an extensive and eclectic discography spanning the past 10 years. I can only hope that they will feature many tracks from their new, excellent album Shame, Shame, released earlier this year.
Tracks to try:
“Later”
“Hang On”

Animal Liberation Orchestra
Featured earlier this year in an interview on USD Radio, Animal Liberation Orchestra (ALO) is one of the newest additions to Jack Johnson’s Brushfire Records label, and they fit right in with the label’s focus on rock jam bands. Expect and enjoy fun, happy music that will embody the summery atmosphere of the festival perfectly.
Tracks to try:
“Shapeshifter”
“Spectrum”

Tickets (single and three-day packages offered) and camping passes are still available at mountainjam.frontgatetickets.com, and more information is available at mountainjam.com.

With great power, comes great responsibility.

The state of hip hop in 2006 was in complete disarray, especially when Nas professed that “Hip Hop Is Dead.” The phrase became a musical SOS for a new generation of emcees to arrive and make their own mark in the hip hop industry. The golden age of the late ‘80s and early to mid-‘90s was long forgotten as artists entered the new millennium with a mindset focused on wealth and materialism as opposed to lyricism and content. The artistry and creativity of those who placed their heart and soul into their craft were becoming a dime a dozen as hip hop shifted its priorities. It became quite transparent that the demand for club bangers were in vogue while everything else seemed insignificant.

Bang! Enter 2010. The industry has undergone an incredible makeover over the past four years. It started off with Lupe Fiasco, and the pool of talented yet grounded rappers have continued to alter the landscape for the betterment of hip hop. The newest emcee that has captured the recognition and adulation from the entire hip hop community is B.o.B. B.o.B. is regarded as one of the most adroit and versatile artists with an ability to perform numerous instruments such as piano, guitar and drums, along with his signature rapping and singing. He has amassed comparisons to Andre 3000 of Outkast, considered one of the most prolific rappers to ever bless the microphone.

B.o.B first gained notoriety when he was featured on T.I.’s 2008 Grammy Award-Winning album Paper Trails on the track “On Top of the World.” As a result of the success and attention that was garnered, B.o.B began releasing several mixtapes and singles, which included “I’ll Be In The Sky.” This spurred widespread anticipation for B.o.B to release his debut album with all the buzz and accolades that Kid Cudi and Asher Roth had accumulated with their respective albums.

The Adventures of Bobby Ray cannot be solely examined as a hip hop album, as B.o.B has fused together the genres of hip hop, pop and alternative. His guest appearances range from the most respected rappers in the game (Eminem, T.I. and Lupe Fiasco) to the leading men and women of alternative rock (Rivers Cuomo, lead singer of Weezer, and Hayley Williams, lead singer of Paramore). The entire album is produced by B.o.B and every track is fitted accordingly to each individual artist, with B.o.B having the proclivity to adapt to practically any style.

With “Nothin On You” (featuring Bruno Mars) bellowing from radio stations across the country and abroad, B.o.B has already established himself as a household name early in his career. The standout tracks on the album include “Airplanes, Pt. II,” “Ghost In the Machine,” and “The Kids”. In “Airplanes, Pt. II” (featuring Hayley Williams & Eminem), B.o.B and Eminem lay verses imagining what their lives would entail if they never decided to choose rap as a profession. On “Ghost In The Machine,” B.o.B harmonizes as someone lost in the crowd without any sense of direction and, in the end, embarks on a journey to escape the reality that has contributed to his inner struggles. “The Kids” (featuring Janelle Monae) is a rendition of Vampire Weekend’s “The Kids Don’t Stand A Chance,” a social commentary centered around kids falling into the cracks of society that does not evoke a feeling of preachiness.

The superhero persona that B.o.B has seemingly embraced has enabled the one-time Subway employee to reach for the stars and chase his dreams.

Airplanes, Pt. II

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Ghost In The Machine

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The Kids

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Hello everyone and thank you so much for tuning in to this weeks episode of Late Night Trance.  This week we have a very special episode, featuring only artists playing at this year’s Electric Daisy Carnival.  Electric Daisy Carnival is June 25th and June 26th at the L.A. Coliseum and Exposition Park.  Check out http://www.electricdaisycarnival.com/ for more info.

This is also the last episode of Late Night Trance live on USD Radio, as I will be graduating. Thanks to everyone for listening over the past year and thanks to everyone who has made this possible! Have a great summer!

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Win a copy of Muse’s The Resistance on vinyl

Still can’’t get Muse out of your head after Coachella?  Can’’t wait to see them in San Diego in the fall?  A vinyl copy of “The Resistance” might be just what you need!

Enter to win by leaving a comment with your name below.
A winner will be selected on June 1st!

Muse vinyl courtesy of Because Sound Matters, a new vinyl-only online music store.

Visit the store here.

The official release date of "Brothers" is May 18th.

Can’t wait to hear Brothers? Neither could I. Stream the entire album on NPR’s website.

(It’s truly amazing.)

How did you get your start DJing?

I didn’t really take DJing very seriously until I moved to Utah. Before that I had just messed around making music and didn’t see DJing as something to do for a living.  But once I moved to Utah was when I began to do shows. I remember the first time I played an actual show a club manager offered me to play. I asked him, “Hey man give me a crack at Monday night” and that was in 1995. So yeah ,that was my first legitimate paying gig. I mean, I had done lots of house parties and parties for friends before that but my first well-paying gig was in Salt Lake City on a Monday night. I think moving to Utah was cool because up until that point in my life I just assumed the entire world was listening to house music. I didn’t realize that it was some weird and freaky phenomenon that was only happening in Chicago, Detroit and London. I didn’t realize that it was still such a small world; so leaving Chicago and all that was going on there inspired me to do my own thing. I think if I had stayed in Chicago I would have just been another guy who went out to clubs every week and bought vinyls at record stores on the weekends. I would have been very casual about it.

Seeing as how you saw house music back then only really existing in places like Chicago, how do you feel now that electronic music has gotten so popular these last couple years?

It’s just wild to see it explode onto the mainstream. It’s cool because I always knew it was going to have its time, but its amazing to see it actually happen.

Did you expect it to get as big as it has, what with events like the Electric Daisy Carnival, Nocturnal and HARD?

I didn’t see it happening over here in America. I didn’t think it would ever get this big here in the U.S., and it’s because of a lack of support. We don’t have any press or any radio coverage or anything really. I mean, this whole movement is completely grassroots.  It goes against everything that Clear Channel stands for. These guys own the airwaves and the touring venues so it’s really interesting to see the music do as well as it’s done. I expected it to get big because so many people have a passion for it and it’s been successful in other countries around the world, but I didn’t see it getting this big. I mean, standing in front of that crowd at EDC last year, I think there was something like 80,000 or 90,000 people on Saturday night.  The main field was basically at capacity and playing in front of that crowd was truly amazing.

So, a few years ago [2008ish] you worked with Deadmau5 and put out some really great tracks [I Remember]. What was it like working with Deadmau5? How has working with him affected or changed your own musical process?

It was cool. I think we have a lot of respect for one another and it was cool to actually collaborate on something. At that time he was still coming up as a DJ and wasn’t as established. But it was cool, I just kind of hit him up and he was open to it. It was a lot of fun and I’m sure we’ll get together again soon to work on something. Now it seems like both our schedules are so ridiculous that we just don’t have the time.

What other DJs out there today would you want to work with?

Well, I just collaborated with Tiesto on his new album Dynasty. I thought that was really cool because in our world he is still the biggest act that is out there so it was cool to work on a track with him called “Only You.” But if there’s anyone out there that’s in my musical world I just kind of email them and see if they want to try and put something together.

The list of remixes you’ve made is just incredible. What do you look for in a song when you are remixing?

It just has to be a good song. The tempo has to be somewhat in the same area because if it’s too slow then it makes it kind of impossible to remix. The vocals would kind of sound like chipmunks. It has to be the right speed and it has to be a good song. I mean, if it’s not a good song then I don’t want to be putting a good deal of time and energy in retooling it for the dance floor.

I remember a few months ago I had the chance to interview 2ManyDJs and I asked them the same question. They told me, “the song already has to be amazing so that we don’t have to do much.”  Would you agree with that?

It makes it easier, but there are a lot of songs that are amazing. Take for example some of the new Britney Spears songs that I’ve worked. The songs themselves are amazing, but the way they’re produced like the beats and textures around the song weren’t all that cool. They weren’t produced in any way that I thought was cool or in any way that would make my DJ crate. I mean, there are a lot of amazing songs that are produced very poorly. That’s actually what makes it easy is that there are so many amazing songs but they’re produced so poorly and all I have to do is flush out the good song.

EDC is coming up in a couple months. Can we expect another epic set from you at the L.A. Coliseum?

Yeah, yes you can. I am really excited for EDC. I think it’s one of the biggest and best parties in the world right now, and to have it here in my home state of California is awesome. So yeah, I’d say that I’m all about it. I’m putting a lot of time and energy into the way I’m going present my music that night.

Kaskade will be playing here in San Diego at 4th & B on May 29th.

photo courtesy theagencygroup.com

By John Sigler

Dedication is starting to pay off for St. Louis-based modern rock group, Cavo. Originally formed in early 2001, the group developed a local fan base in St. Louis through hard work and determination. After this early success the band faced a few setbacks that seemed to put their career on hold. In 2006, the band’s lineup solidified and they have been steadily picking up steam and climbing the charts ever since.

The group reached No. 1 on the Billboard Mainstream Rock Charts with their single, “Champagne,” off their first major label album, Bright Nights * Dark Days. Their third single, “Let It Go,” was featured in Transformers: Revenge of the Fallen. Cavo mixes up hard rock, alternative pop melodies and small doses of grunge to create a fist pumping sound. They’ve quickly become a staple for fans of groups such as Three Days Grace, Breaking Benjamin and Chevelle.

Last weekend the group opened for Daughtry and Lifehouse over at Sports Arena and had a very impressive set. Their music rang through crisp and clean. The instrumentation didn’t overpower the vocals and allowed for a perfect mix of direct rock. Perhaps lead singer, Casey Walker, stood out most in their performance. You could feel the emotion behind each song and he connected really well with the audience, which is an amazing feat as fans were still filing into the venue. Throughout the tour, it seems that many have viewed the band as an unheard of opener that might have generated a little bit of buzz. However, this weekend’s performance, and the continued growth by touring with Lifehouse and Daughtry, will undoubtably make Cavo a household name.