To Be Heard celebrates their inception with Carrboro, Raleigh launch parties

To Be Heard is a new booking agency helmed by local
musicians Justin Ellis & Mark Connor

This weekend some of the most exciting acts in the North Carolina music scene will be coming together for two stellar bills split between The Cave in Carrboro and Slims in Raleigh, all to celebrate the kick-off of the brand new, musician-run booking agency To Be Heard. To Be Heard is helmed by Mark Connor (Owner of The Cave, member of SOON AD, Grohg, The Tomahawks) and Justin Ellis (member of Happy Abandon, Clockwork Kids, The Color Exchange) and the agency provides a unique perk that many other agencies are unable to boast, the owners are actually regularly touring musicians.

Night One will take place on 3/17 at The Cave and will feature Body Games, Davidians, Al Riggs & The Big Sad, Majestic Vistas, and Ravary. Night Two will take place at Slims and will feature Naked Gods, Wild Fur, S.E. Ward, Peter Vance (of Happy Abandon) and Fluorescence. Each show is $5 in advance, $7 day of.

These two shows serve as a means of highlighting the already robust roster that To Be Heard has gathered, ranging from shoegaze to punk to electronica to folk, the agency is already representing far reaches of the North Carolina scene. "The big thing with the roster for To Be Heard is that we wanted to feature bands that we think deserve to be heard on a larger scale," Ellis states, and they've wasted no time in working to get the word out on these stellar acts. Connor and Ellis have already begun booking nationwide dates for SE Ward, Happy Abandon, Wild Fur and Naked Naps while also helping to spearhead the Fluorescence album release show in Chapel Hill on 4/14.

As touring musicians, Ellis and Connor provide a unique perspective to the ever-changing realm of booking. With Connor serving as owner of the Cave and talent buyer at Slim's and both members having amassed a vast list of contacts throughout the country, the two not only understand what shows are worth pursuing but also how to maneuver through the negotiation process that may escape many musicians that just want to focus on their craft. Taking on 18 artists that range from the internationally acclaimed The Veldt to swiftly rising local standouts like Zack Mexico, Naked Naps and Body Games, To Be Heard has set some lofty goals for themselves to manage a roster brimming with such talent. But as Ellis puts it, it's always easier to handle these things when you've got a true dedication to the craft.

"At the end of the day, Mark and I actually enjoy doing this," Ellis states. "Booking a tour is like a puzzle that takes months to complete, and you get many setbacks on occasion, but when it's all done and announced - it feels great." Be on the lookout for a string of April shows in the Triangle from local favorites Naked Gods and head over to To Be Heard's website to get a full list of their roster and upcoming shows. You can also purchase tickets to The Cave and Slims in advance below:
The Cave
Slims

P.A.T. Junior releases video for 'S.O.T.B'

In 2017 I'd wager to state that North Carolina's hip-hop scene is stronger than it's been in the past decade. It seems like stand-out emcees have been popping up left and right, each one inhabiting their own unique niche, putting a personalized spin on the genre. However, in recent years it's harder to find someone that's had as compelling an evolution as P.A.T. Junior. I remember years back at a beat show in Nice Price Books when Oak City Slums shouted out to P.A.T, he jumped on the mic and swiftly spat some aggressive, yet entrancing bars. Back then the emcee showed promise, but now he shows prowess, bobbing and weaving through the rhythmic swings of a beat like a boxer planning his next hook.

P.A.T's live shows are also quite the spectacle, boasting a live drummer and DJ, P.A.T's energy is infectious, it's raw and unfiltered but isn't weighed down by glitz and glamour. That's why tracks like 'S.O.T.B', P.A.T.'S latest single, work so damn well. The beat itself is simple, a choppy piano riff that's on a continuous loop and frequently chopped and screwed. Every now and then a bass line will swell, hi-hats will chirp and pitch-changed vocals will accentuate particular lines.

While the song is a few months old, an accompanying video directed by Corey Reid was recently released that helps breathe new life into the song. Throughout most of the video P.A.T is lurking in shadows, playing to the song's bleak, dark aesthetic and frankly just looking really fuckin' cool. "Strategy's important," P.A.T touts, "you gotta choose whether to Bruce Wayne or throw the mask on 'em". With the skill and determination that we've already seen from him this year it's pretty clear which option P.A.T. Junior has chosen.

You can check out the video for "S.O.T.B" below and be sure to check out P.A.T's upcoming show at The Pinhook opening for Hotline alongside the up-and-coming producer, Trandle. Purchase tickets for the event here.

Ears to the Ground: "Bllondes" by Ghostt Bllonde

Earlier this year Ghostt Bllonde made the announcement that we'd all been waiting for, signing to a local label. When a band experiences such a meteoric rise in the scene, it's really only a matter of time until they get a crew behind them that can assist with plugging the hell out of their music in ways that bands couldn't even imagine. Negative Fun has done such for Ghostt Bllonde, giving them not only their first vinyl release, but helping them raise their profile throughout the region by pairing them and various other locals with more regionally focused artists on the east coast through their singles series.

When the band announced their Negative Fun signing they'd announced that there would be a collection of demos and unreleased singles, and evidently that time is nigh. This Saturday marks the 2nd annual Cassette Store Day, and while Nice Price Books is the only local participant in Cassette Store Day, that didn't stop Ghostt Bllonde and the Negative Fun crew from rolling out the stops for the event.

This Saturday at Nice Price, and also at Lunchbox Records in Charlotte, copies of Ghostt Bllonde's new cassette will be available for purchase in advance of the official release on Oct. 7. So in honor of the band's new release, we're lucky enough to be able to debut the lead single off of the release, "Bllondes."

Throughout the past year of the band's existence we've seen Ghostt Bllonde solidify themselves as a band who's got a powerful sense of direction and potential. Not only does Marc Kuzio and company know where they want this band to go, they know exactly how to get there. The doo-wop inspired anxiety-fueled vibes that were present on their early work have become somewhat dissipated in their more recent releases, traded in for a sleek swagger that exudes confidence and creativity. Trash-pop no more, "Bllondes" opens with a slow build of reversed guitar lines and vocal melodies before quaintly unraveling into a subdued song that explores some seriously catchy melodies and guitar grooves. Harmonies are abound, both creating rich textures and a full-bodied sound for Kuzio vocals. With harmonies and guitar lines subtly panned to and fro, the band sounds much more polished than before. Whereas their self-recorded lo-fi sound worked for their debut, it seems the band has realized that progression is key, and they're certainly progressing in bunches.

You can check out the single below and purchase the entire cassette in advance tomorrow at Nice Price Books for Cassette Store Day:

Show Review: Hopscotch Music Festival 2014

St. Vincent at City Plaza

I feel like every Hopscotch has just gotten better and better. Each year the lineup finds a new way to break down barriers, to pack in artists of every genre imaginable for one loaded, sometimes spastic three-day marathon of music (or four if you're some showzilla who knows no limits.) 2014, surely enough proved to be my favorite Hopscotch yet thanks to the all of its eccentricities and unforgettable performances. Though this is the first year I was unable to attend the Thursday and Friday day parties, there was still tons of music packed into that brief weekend that we all yearn so long for. Between the prodigal return of Lonnie Walker, T0W3RS' exhilarating full-band debut, and Valient Thorr bringing that Venus weirdness to City Plaza, there was plenty of local love going around downtown Raleigh. Regional acts were some of the most exciting of the festival, but that didn't stop folks like Lunice, Jamie XX, Ava Luna and others from bringing their 'A' game to this nationally acclaimed event.

Thursday

De La Soul at City Plaza
Photo Credit: Agatha Donkar

Things started off late for me on Thursday as I showed up towards the end of an excellent display of showmanship from Toon & The Real Laww. This Durham based duo garners quite a few OutKast comparisons with their lyrical wit and brilliant, charismatic interplay. Throw in their stellar crowd participation antics and you've got one hell of a kick-off to this four-day festival. Things were immediately followed up by the hip-hop visionaries De La Soul, a set that even had the photographers in the pit dancing along with their cameras hanging down. While the evening got off to a hip-hop oriented start, I took off from City Plaza around twenty minutes in to catch the brilliant acts at Kennedy Theater. Body Games brought the venue to capacity as fans were entranced by Adam Graetz's mind-bending visuals. Last year they had one of the weekend's most memorable moments with a Michael Jackson cover, and surely enough they raised the bar once again this year with a "Kiss From A Rose" cover that everybody pretending like they knew the words to the verses. After Body Games came Marley Carroll, the Asheville-based producer with a knack for engaging yet trancey electronic sets. Carroll perfectly blends four on the floor house beats with spacey fills, turntable scratches and serene vocals. It was difficult to pull myself away from the dance marathon, but it's also important to take in some low-energy stuff throughout the weekend as well. Thus, it was next door to Fletcher to check out IIII, the drum-circle marathon that started out strong and ended up droning on.

The drum circle was rooted with an electronic drone that was gradually engulfed by the slew of drummers circled around the stage. It was a nice pause to sit down and mindlessly enjoy some instrumental music, but I'd hardly call it one of the weekend's highlights. It was a nice break regardless, and gave me everything I needed to soak in Deniro Farrar and Lunice with every ounce of energy possible. Deniro played to a small crowd, but you'd never know by the energy and showmanship that he displayed throughout the evening. Rapping about pampers while staring lanky photographers in the eyes, spitting out profanity laced statements that proclaim himself the king of cult rap. Frankly I wasn't expecting to enjoy this show as much as I did, but it was emanating heavy Danny Brown vibes, Farrar has a keen stage presence and knows how to get a crowd involved with his set. Regardless of whether he was simply sharing his brothers music or baring his soul on the mic, he's a man that knows how to get the people going. Farrar was also the perfect segway into Lunice, the early 20s trap wunderkind. Lunice provided a set filled with originals and remixes that ranged from a handful of Kanye West tracks to Future, mostly sticking to heavy rap throughout the night. While that made the pacing a bit difficult for those of us that danced throughout the whole set, it's one hell of a way to end an evening. Lunice had another surprisingly small set, but once folks planted themselves inside of Kennedy they stayed through the duration. A small pack of dedicated fans beats a crowd full of bored concertgoers any day.

Friday

Spoon at City Plaza

City Plaza once again kicked off the night's festivities and provided for some truly surreal moments. Getting the chance to see brand new Lonnie Walker tunes amidst a sea of thousands is something that fills folks like me with an immense amount of joy. I got into local music in late 2008 and Lonnie Walker were the kings of the scene, pounding out show after show of high-energy singalongs that struck your core as much as your sense of rhythm. While their newer tracks are a bit more subdued, they're just as powerful as the fan-favorites, making for an incredible comeback show for this high-profile local favorite. While the transition from hopped up, twangy indie rock into the art-rock auteur St. Vincent was a bit shaky, Annie Clark's guitar mastery more than made up for it. While I'm a huge St. Vincent fan the set felt a bit impersonal, perhaps it's the wide-open spaces of City Plaza or maybe it's the choreographed stage antics, either way the content was still precisely on-point. Fans of St. Vincent sang along in unison to favorites from her latest self-titled record, Strange Mercy and some deep older cuts as well. After what felt like a brief St. Vincent set, Spoon took the stage as the crowd was at its peak. Going into this kind of blase was the best thing I could have done, because Spoon frankly surprised the hell out of me with not only their live energy and performance but also by their songwriting. I've moved a bit past the straight-forward indie rock that they showcase but I'll be damned if they don't do it well. I left about a half-hour into the set though to trot over to The Pour House for one of my most anticipated sets of the weekend.

Dark Rooms at Tir Na Nog

Crowdsource kicked off my night of venue shows and proved to be one hell of a way to start the night's marathon. Blending sprawling midi-arrangements with pounding rhythms and stunning visuals, Crowdsource's crowd grew swiftly throughout the set and compelled all in attendance to get some dancing on. I ducked out early to head across the block for Enemy Waves, mostly because heavy psych-rock in a church is so Hopscotch it hurts. Seeing sax-lead psychedelic jams inside of a gorgeous church hall is something you can really only experience at a festival as unique as Hopscotch. It's one of the perfect examples of a show that seems to be totally bizarre on paper but brilliant once you step foot in the door. After a bit of jammage it was off to check out Celestial Shore at Fletcher, a set that was exactly as perfect as I'd imagined. Expansive indie-pop just works inside of this opera hall and made me yearn for more shows at such a gorgeously built venue. The acoustic lent itself to Celestial Shore's reverb-washed style and made for an excellent chill set to refresh your energy at. From there it was off to Tir Na Nog for Dark Rooms, arguably one of my favorite sets of the weekend. This was an invigorating set that blended dream-inducing violin lines and Daniel Hart's earnest, evocative brand of songwriting with some melodically focused indie rock. While I only caught the first four or five songs, it was a set that relied heavily on ambition and it paid off immensely, as their gorgeous harmonies and unique arrangements stuck with me throughout the weekend. I darted off from here to check out Mas Ysa, but sadly enough I almost immediately left as I simply couldn't get down to what I was so excited to see.

After a trek out to CAM, I decided (poorly) to see what was going on with Sun Kil Moon at the Lincoln. Apparently I walked in shortly after those fuckin' hillbillies got berated because the crowd was sparse and the vibe was all kinds of odd. I took that as my cue to check out what else was happening around town. I walked in for the last moments of Purling Hiss then booked it over to CAM to catch as much of NGUZUNGUZU as I could. After vibing for a while to their skittering remixes, I decided to check out the greatly hyped Clipping. over at The Pour House to end my evening, and man was that a great call. Jarring beats with a surprisingly smooth flow lead the sizable Pour House crowd to jumping, bobbing and swaying their way through the evening.

Saturday

Valient Thorr at City Plaza

The first full festival day for me was also of course the last festival day. Things got kicked off early with some delicious brunch from Fiction Kitchen and a few sets over at Legends. Family Bike, a new project from Karl Kuehn of Museum Mouth, stood out amongst the early sets but shortly after that it was time to post up at Trekky's day party for a bit. I walked in to see Hi Ho Silver Oh in the middle of their full band set, and frankly it was one of the best sets I saw all weekend. Last year I was floored by a stripped down set from Casey Trela, but finally seeing the full band experience got me totally sold. Their cover of Tom Petty's "Time To Get Going" was without a doubt the most beautiful track I heard all weekend, a sparse arrangement of a classic tune that ends in a subdued singalong. The rest of the day was great, including some great sets from Celestial Shore, Phil Cook and Caitlin Rose and a rooftop view of Lonnie Walker at Slim's, but Hi Ho Silver Oh definitely won the day parties for me. Things swiftly changed direction though once City Plaza started and the metal fans poured in in bunches. It was one of the most unique crowds I've ever seen at Hopscotch and it was fucking excellent. Valient Thorr has become one of my favorite bands to see live because they're just such excellent showmen. I'm not really the type to sit around and listen to them in my house, but I'll be damned if I won't throw my fist in the air when prompted by some dude from Venus. Death and Mastodon were equally impressive, but really when you've got Valient Thorr opening it's hard to live up to that kind of energy.

T0W3RS at The Pour House

As quickly as I fell into the metal hole I came back out to check out the highly touted set from See Gulls at Deep South. It was one in one out and packed wall to wall, which is always a fantastic feeling when you're checking out a swiftly rising local act. I'm sure the NPR coverage didn't hurt in terms of attendance either. See Gulls' gritty garage pop was an excellent way to transition into Y'ALL, a band featuring various regional musicians producing some pretty simplistic but interesting pop-leaning indie rock. After that I surprisingly decided to forgo the soft folk at Fletcher and rock out to some orchestral metal from Subrosa. I was surprised at how in to this band I was, but I feel that for my level of intoxication I shouldn't be too surprised. My drunken self did make a pretty excellent call though in foregoing a trip out to CAM to check out How To Dress Well (which I'd have positively balked at if you'd told me a week ago), to check out Ava Luna and T0W3RS at Tir Na Nog and The Pour House. T0W3RS put on hands down the most elaborate, engaging and all-around incredible performances of this year's Hopscotch. T0W3RS has kind of grown into the Hopscotch band for me, really. It started with a shoulder to shoulder day party at The Hive, grew into a psych-rock excursion at CAM and has ended up at electronically oriented indie pop mastery. Whether T0W3RS was cranking out the brilliant tracks from the forthcoming album TL;DR or pulling out Don Henley covers (seriously though, "Boys of Summer" was the last thing I'd have expected from this Hopscotch), the band was giving it 100% the entire time. Plus some of the most talented artists in the Triangle were rotating around the stage to provide support for what is already an impressive one-man show. So getting to see the T0W3RS experience as it should be was easily the most enjoyable aspects of this year's Hopscotch.

Jamie XX at CAM

Ending the night at Jamie XX though. I feel as if I need to type out a moment of journalistic silence in appreciation for how incredibly arranged that set was. Mastering the push and pull of energy, Jamie XX's pacing allowed fans to lose themselves in the melody or dance until they fall out. Frankly there was a good bit of both. Roaming throughout the venue one could find dance circles, crowd surfers, bathroom pot smokers and pretty much every type of person you could imagine just jamming out and enjoying the music. It was the perfect way to end this year's festivities. With us all under one roof raving.

Hopscotch Music Festival 2014 Itinerary: Day Three Itinerary

Usually by Day Three all pre-planned schedules are off for me. It's to wherever seems the most reasonable, comfortable, less-packed, etc. That's usually lent itself to some pretty incredible nights, but alas that's not the game plan this time. Saturday is arguably my favorite day of the schedule, and while I may not garner as much interest in the City Plaza hard rock-fest as others, it's still a ridiculous lineup from top to bottom. This will be the first day of the festival that I get to check out the Day Parties and I'll likely be bouncing between the Trekky/Hometapes Party at The Pour House, Reverbnation's Party at Deep South and Legends' Let Feedback Ring Party, a trio of shows that bring together some of the best locals and touring artists of the festival. After all of the day partying it'll be time to mosey on down to City Plaza for one of the most energetic, engaging metal acts I've ever had the joy of seeing.

Photo credit: Grant Golden

Valient Thorr at City Plaza @ 5:45 pm
Last year's CAM set from Valient Thorr was one of my favorite shows at Hopscotch, the dudes simply know how to put on a show. You're liable to see Valient Himself trotting around the stage with his badass denim jacket flailing to-and-fro as he manically mounts speakers and shoots imaginary cannons, and frankly who's not down with that? They'll be an excellent way to open the heaviest night of City Plaza in history, they're an easily palatable hard rock band that's got crowd control down pat. If you're thinking about skipping out on the early City Plaza shows on Saturday, then maybe reconsider to check this crew out.

Photo courtesy of Death

Death at City Plaza @ 6:50 pm
Death is one of those bands I've always had the pleasure of hearing about, so I know how iconic they are throughout the history of punk rock and music in general. Death is credited as one of, if not the, first black punk band and really helped fuel the uprising of Detroit punk in the 70s. They'd been broken up for decades, but in the past few years a reunion and acclaimed documentary A Band Called Death has thrust the band back into the spotlight. I'd imagine a lot of drunken flailing around to be going on close up at City Plaza, and most importantly a lot of really confused non-concert goers. People watching will be in its prime here folks.

Photo courtesy of Mastodon

Mastodon at City Plaza @ 8:15 pm
Little is left to be said of the massive metal band Mastodon. They've gradually ascended to mainstream stardom thanks to their consistently excellent releases since 2002's Remission, and since their beginnings they've been slowly expanding upon their sound to create a more broad appeal for fans. With Valient Thorr and Death opening up the evening, things will surely roll easily into Mastodon's highly anticipated set as the first metal headliner of the festival. Mastodon's City Plaza set feels like a true coming-out party for Hopscotch metal, the festival has long been home to some of the genre's most celebrated acts but never before have they been blasting throughout the streets of downtown Raleigh. If only that debutante ball could see us now.

Photo courtesy of See Gulls

See Gulls at Deep South @ 9:00 pm
When this lineup dropped See Gulls was one of the new local acts I knew that I had to check out. I'd heard rumblings of this female-centric garage rock group, but hadn't had the fortune of seeing them live until a few months back. Fronted by Sarah Fuller, formerly of The Big Picture, See Gulls boasts a seriously raucous live energy that puts a grittier spin on their already fuzzed out anthems. Songs that may have started out as little folk diddies are turned into full-on punk rock bangers. With Maria Albani (Schooner, Organos) on drums and Duncan Webster (Hammer No More The Fingers, Beauty World) and Leah Gibson (Lost in the Trees, Beauty World) on guitar and bass, this local supergroup of sorts is most definitely worthy of an early leave from City Plaza.

Funkss at Pour House Music Hall @ 9:30 pm
When I first saw funkss amidst a sea of underage badkids that were boasting of the 40s and blunts they downed in the parking lot of a Yung Lean show, he served a messiah of sorts. Lifting me up from the shoulder to shoulder bro-sweat with their backwards snapbacks and psychedelic tank-tops and into a dark, yet danceable land of aggressive electronic music. It's a bit hard to categorize these songs, but there's really little need to as well. It's music that transplants you to a different headspace, allowing you to lose yourself in the deep rhythms and brooding melodies.

Photo courtesy of Alexandra Sauser-Monnig

Alexandra Sauser-Monnig at Fletcher Opera Hall @ 10:00 pm
It's always important to remember that Hopscotch is a marathon, not a race. While I'd love to stay at The Pour House and dance myself ragged until How To Dress Well/Jamie XX, it's impotant to pace yourself. That's why sets like this one are so damn important. Not only will one-third of the gorgeously harmonic folk trio Mountain Man be at Fletcher, but there'll also be cozy seats and probably quite a few nappers. But frankly, if you're literally sleeping on Alexandra Sauser-Monnig then you're making a huge mistake. This'll likely be comparable to the Angel Olsen set at last year's Hopscotch, a set filled with insanely quiet concertgoers soaking in the breathtaking sounds of this passionate folk singer.

Photo courtesy of How To Dress Well

How To Dress Well at CAM Raleigh @ 11:30 pm
I didn't think that picking How To Dress Well would be the hardest decision of my Hopscotch this year, but they're going up against the local superstar T0W3RS. T0W3RS will be pulling out all the stops with a special full-band performance at The Pour House that'll likely be filled to capacity. Unfortunately though, it's hard to always pick the beloved local over a high-profile touring artist that doesn't come through very frequently. How To Dress Well  is on the heels of What Is This Heart? a fully realized neo-soul/R&B work of art that surpasses any and all expectations I had of this highly touted songwriter. CAM is the perfect place for these low-end heavy croons to fill the airwaves, and with Jamie XX closing out the evening there's little reason to leave.

Photo courtesy of Jamie XX

Jamie XX at CAM Raleigh @ 12:30 am
For quite some time I was largely ignorant of the excellence of Jamie XX. I'd seen stories of his Gil Scott-Heron remix album, I knew he was the producer-side of The XX, but that was about it. I hadn't realized how incredible of an artist he was until I physically saw The XX at The Lincoln this past spring. The melancholy melodies up front were the last thing I was paying attention to, it was all about that thunderous bass and gorgeous synths that were making my brain shake and my teeth chatter. Jamie XX's work is crafted to envelop the listener, allow them to wrap themselves in these immense sounds that are arranged so minimalistically that it just works. Jamie XX can pick up a groove and run with it, and frankly a sweaty dance party is without a doubt one of the best ways to close out a Hopscotch. And I say that from experience.

Album Review: "Hidden Mothers EP" by Magpie Feast

Magpie Feast released "Hidden Mothers EP" on
July 13, 2014. Listen to it on their Bandcamp.

Nowadays if an artist is set to release a new recording there's usually quite a bit of pomp and fanfare. Album release shows, listening parties, you name it, basically any chance an artist gets to wedge their name in a new listener's ear is immediately pounced upon. That's what makes artists like Magpie Feast so refreshing, there's no self aggrandizing publicity that's filled with high praise from everyone and their mother. Magpie Feast relies solely on their music to do the talking for them, and dammit that music should be shouted from a mountaintop. Last year Magpie Feast's full-length Out of the Womb made its way to our Top 10 North Carolina albums list thanks to the band's rich storytelling, powerful instrumentation and blatantly awesome aura. Now the band has released a brand new EP Hidden Mothers rather unceremoniously. There was little more than a Facebook announcement to herald in the new release, but when you've got the deft songwriting skills that Matthew Southern and company do, you don't need a massive campaign to bring listener's to their knees begging for more.

Hidden Mothers EP isn't a grand departure from the act's previous work, but rather it finds the band digging deeper into the proverbial rabbit hole. There's much more orchestral string arrangements, but rather than adding grandiosity to these tracks they instead bring subtle layers of melody and harmony to the mix. The EP is bookended by two instrumental tracks, "Hidden Mothers Theme" builds tension and anticipation with a gradual build of acoustic guitar and rustic strings before slowly fading into the swaying sounds of "Moon Advises Crow." The three tracks that are nestled between these brief instrumental adventures are punctuated with sparse electric guitar and vibrant strings, yet driven by simplistic acoustic arrangements and Southern's quivering vocals.

"The Wolves Pt. 1" is arguably the track most indicative of Magpie Feast's prior sounds, it's filled with a myriad of compelling sounds that beckon the listener to dig deeper into the rather condensed arrangement. The banjo at the core of the song takes on an almost percussive element, it's harshly plucked and slowly drives the song along in addition to some distant percussive clatter and a particularly addictive wordless chorus.

By the time "The Mouse" rolls along we've yet to pass the ten-minute mark but it feels like the release has traversed a wide array of soundscapes, which makes the upbeat rhythms of the track feel all the more enjoyable. Vocal harmonies are much more pronounced and the track feels firmly rooted in traditional folk standards than the darker, somber tones of the rest of the EP. "The Mouse" transitions excellently into the equally upbeat, rambler "Goodnightshade,"a track that slowly unfurls with quaintly fingerpicked acoustic and ambient electric additions to end things on a dreamy, blissful note.

Hidden Mothers EP is a brief journey into the musical minds of Magpie Feast, clocking in under 15 minutes it's a nice teaser for the direction that the band may move forward with. There's plenty of new aesthetics that set this release apart from their previous work, but enough of their tried and true structure to placate fans expecting a riveting display of blues-folk goodness.

Ladies Who Lunch: New Reveille

The ladies of New Reveille are equal parts talented, and humble.  Speaking of each other’s talents, and of the commitment of the band, as well as the unconventional beginnings of New Reveille.  New Reveille grew from music written by Daniel Cook, the band’s founder, and banjo player.  Cook reached out through Craigslist for band members to bring the sound to life, and stumbled upon Amy Kamm.  Kamm, with no previous training, not only started working with Cook, but inspired him to write music centered on her voice.  While the ladies are quick to say that the band may have ”done things backwards," with live shows being their last step- this natural progression is nothing to be criticized.  For them, it is a force to be reckoned with.

Sitting down to lunch at Raleigh’s own Lilly’s Pizza last Sunday afternoon, Amy Kamm, Kaitlin Grady, and Autumn Brand discussed their new album Cannonball, and their Addy award winning video "Babylon."  While both the album and video are impressive, the context for each makes them stunning.  When Kamm reached out to Cook originally, she heard back within the hour, and they planned to meet.  Cook had already booked studio time, with the intentions of recording the material he had written.  Kamm and Cook began working together immediately, and Brand was hired to play violin in the studio.  Brand was impressed, and a few months later, was thrilled to join officially.  New Reveille was a "mysterious project," as Brand puts it, with no released music and no immediate performances.  Grady had joined in on the cello in much the same way, she was hired for studio time, and continued contributing.

Initially concerned they may be too similar, Brand and Grady hit it off, and blended into the "mysterious project," they were all becoming so invested in.  Both Brand, and Grady, wondered if they were "just session musicians, and not getting paid anymore."  Not only is this a testament to the heart of the band, but an interesting look into the uncertainty that this path held two years ago.  Kamm, who seems charmingly surprised to be the lead singer in an very much up-and-coming band, started singing in the shower, then at church, and when she saw Cook's Craigslist post she took a leap.  Kamm said that it seemed "too good to be true, but you never know."  New Reveille, is a charged take on country and folk.  With powerful harmonies on "Conway Shore," and the haunting, emotional tone of "Smoke and Mirrors," the vocal, and instrumental talent is undeniable.  It is surprising to think that songs with such depth, and passion, were recorded before a formal band had united. 

The recording project turned into New Reveille, and soon they were filming a music video.  Cook, who works for Myriad Media, had the concept for "Babylon."  The band, and Myriad,  brought it to life at Lake Gaston.  Filmed over the course of only one day, the ambiguous music video centers on a narrative of escape.  The production quality and raw energy are unmatched.  It is truly a grand entrance into the local, and national, music scene.  What may be even more noteworthy, is that New Reveille had not yet performed a live show.  While the members had run through the woods, surrounded themselves with torches, and Kamm even took a 2 a.m. swim for the production- they were still very much a "band in the making."  The two Addy awards and the national nomination the video received further proves the talent, and creativity, the members collectively possess.

Earlier this year, after releasing "Babylon," and their first album Cannonball, New Reveille played their first live show at Deep South.  Their sold-out debut proved that the well mapped out "quality over quantity" mindset is working overtime for them.  New Reveille, is in a very real way, creating a buzz.  A genuine buzz.  For the first few months of the band's "life," they had no photos on their public profiles, and no released music.  There were only rumblings of what could only be called a "project," at the time.  It seems that the music came before the band, and the band had time to grow, and plan before jumping into the scene.  To see a band so cohesive, and members so genuinely appreciative of the individual, warrants a respect.  The momentum behind New Reveille is palpable, and with their distinct sound it is hard to believe that their recent performance at Raleigh's Brewgaloo festival was only their fourth live show.  Grady notes that their method "seems to have been effective," and it would be hard to argue otherwise.   With a new album, and video ideas in the works, Grady adds that they are "marketing themselves in a unique way."  New Reveille is consciously not over-saturating the market.  With possible festivals in the future, New Reveille will be playing NC Hops on May 24th, and Oak City 7 on June 12th.  Don’t miss what happens when the music comes before the band.

Show Preview: Blue Sky Black Death w/ Marley Carroll & RBTS Win

Blue Sky Black Death will be performing at The Pour House
in Raleigh, N.C. on Thursday, Mar. 27 with Marley Carroll
and RBTS Win.

As the years have passed I've found myself getting more and more transfixed on the electronic music scene, it's silly not to really. Electronic music is quite simply the future, it opens up the musical vastness to anybody that's able to afford a laptop and a DAW and allows them to fine tune their own sounds down to every intricacy. That's what makes shows like this one so damn interesting, it's a night filled with electronic acts that all have remarkably different sounds but still mesh very well together. Thursday night at The Pour House will be home to some of the most exciting acts in the western North Carolina music scene along with an equally impressive production duo based out of Washington. While Blue Sky Black Death will be headlining the evening with their mind-numbing hip-hop based instrumental tracks, an equal amount of focus will be on Marley Carroll and RBTS Win for me.

Blue Sky Black Death have been making waves in the instrumental hip-hop scene since 2006, blazing a trail for themselves as one of the most impressive production duos on the scene by working with highly acclaimed acts like Jedi Mind Tricks, Gang Starr, Cam'ron and Awol One to name a few. Regardless of the hip-hop acts that have cosigned the duo, the proof of their talents lies within their immense productions. Stuttering synths bob in and out of the mix as their blistering hi-hats and pounding bass drive the tracks along, leaving the listener with an undying urge to bob your head until your neck gets sore. Many instrumental hip-hop artists can fall into simplicity, relying on trap-style beats and heavy sub-bass to draw in listeners, but Blue Sky Black Death packs the groove and swing to keep listeners interested.

Marley Carroll will be representing an entirely different end of the electronic spectrum, bringing mid-tempo IDM together with electronica, Carroll boasts an impressive musical range. Whether you're focusing on the straight-forward melody and rhythm or the densely packed productions, you're liable to fall in love with this music from this Asheville based producer. Carroll's most recently full-length Sings, combines heady beats with rich vocals to create a lush arrangement that's as pleasing to the dancer as it is to the introspective head-bobber. Carroll's pop-leaning IDM tunes place the producer's music in a field of its own, one that's surely going to be an absolute treat to see live.

Opening up the evening will be another Asheville based electronica act, RBTS Win. I remember seeing their name a while back and being initially turned off, seeing it as another group that fell into the "no vowels" fad, but I'll be damned if I didn't learn not to judge a book by its cover. RBTS Win produce an absolutely infectious blend of electronic music that, much like Caroll, combines danceable grooves with head-spinning melodies. Whereas Carroll leans more towards mid-tempo bangers, RBTS Win is geared towards a chill-wave inspired blend of soul, hip-hop and electronica. This production duo brings dizzying soundscapes to the table that are washed over with smooth vocal stylings and lingering hooks that you'll be humming for days. Make no doubt that I'm stoked to see Blue Sky Black Death, but finally getting the chance to see Marley Carroll and RBTS Win on the same night, that's enough reason alone to drag my happy ass out to the Pour House to take in these incredible tunes.

The doors open at 8:00 pm and the show begins at 9:00. Tickets are $12 in advance and $14 at the door, you can purchase them online at thepourhousemusichall.com

Show Review: Emancipator Ensemble w/ Odesza and Real Magic

Odesza performs at Lincoln Theatre

The scene at the Lincoln Theatre last Wednesday was certainly a sight to behold. While many may thrash the EDM scene for their heavy focus on rave culture, many also forget the showmanship and talent that is on display at much of these events. Were there scantily clad tu-tu girls? Of course. Did more than one person come up asking me, "Where the party's at?" Oh, most definitely. But that's all a side-note, acts like Emancipator and Odesza and Real Magic keep the thrill alive in this continually evolving scene. I've been to plenty of electronic shows and I've seen a lot of the same stuff over and over, some Top 40s hip-hop remixes, a few nostalgia tinged vocal samples tossed in and a whole lot of predictable bass drops.

However, the trio of acts that took the stage at Lincoln Theatre displayed the opposite end of the electronic spectrum. Though I came into Real Magic's set about two songs before it ended, his music effortlessly combined elements of contemporary dance music with deep yet soaring vocal melodies. The swiftly growing crowd was locked into Real Magic with pixie-winged dancers flowing through the crowd and tank-topped snapback wearing bros muttered about how good this dude was. Missing most of Real Magic's was really the only downside of this evening for me, but alas the Bonnaroo lineup announcement was in full force and I couldn't walk out without knowing whether or not I'd be belting out "Benny and the Jets" this June on the farm.

Real Magic performing at Lincoln Theatre

When Odesza took the stage it was clear that the crowd was in for a treat. The duo set up their two Akai APCs and dazzled the crowd with a heady blend of bass heavy dance tunes and smoothly melodic structures. Whether it was a chopped and screwed vocal pattern turned into a rhythmic center or encompassing, airy synths that glide over tight percussive arrangements, Odesza's tunes were completely enthralling to the hundreds in attendance. Halfway through their set I paused my ridiculous dance routine and scanned the crowd, noticing the shoulder to shoulder dance party taking place around me. The Seattle-based production duo repeatedly noted how hyped up the crowd was and whether they were churning out favorites from their My Friends Never Die EP or brand new tracks, the fans were just as enthusiastic in their hoots, hollers and gyrations.

Odesza served as a perfect segue into Emancipator Ensemble. While I was certainly expecting an explorative live arrangement from these guys, my expectations were completely blown out of the water. I've always knocked the "jam" scene, and even when I saw Pretty Lights with a live stage set-up at Mountain Oasis last year it just simply didn't do it for me, they latched on too long to the strong melodic sections and they became repetitive and valueless. Emancipator Ensemble served as a blueprint for how to properly arrange live electronic music. Douglas Appling, brainchild of Emancipator, was planted firmly behind his laptop and beat pad, churning out heady synth melodies that were further fleshed out by the enchanting violin, drums and groove-inducing bass.

A buddy of mine soberly remarked "This music makes me feel like a jellyfish," I may have laughed and brushed it off at the time but it was almost too accurate to be hilarious. The songs felt free-form and flowing despite their structure and the infectious rhythms drove the packed out Lincoln Theatre to uninhibited dance. As the band threw out "Minor Cause" a densely packed piece of electronic wonder, the crowd's excitement reached its tipping point. Watching all of these parts come together in a live setting, with impressive video projection and light shows at that, was nothing short of whimsical and left me with an intense desire to see this set again. Emancipator have set the bar high for live electronic acts for me, it was an incredibly immersive experience that broke down the fourth wall of electronic music and made it much more than the perceived "dudes pushing buttons on stage." Any electronic detractors should check out a show like this one and then try to tell me that there's no talent involved in this genre.

Show Preview: Emancipator w/ Odesza and Real Magic

Emancipator Ensemble will perform at
The Lincoln Theatre on Wednesday, Feb. 19 w/
Odesza and Real Magic

If you've been paying attention to the local scene lately, then you've certainly caught on to the incredible music that Younger Brother Productions is bringing to the area. Whether it be booking for WKNC's weekly Local Band Local Beer or the slew of other exciting events that Craig Reed is bringing to the area, there's reason for you to pay attention to what Younger Brother's got going on. Lately there's been a surge in dance-driven tunes brought to the area by Younger Brother, and that burst continues this Wednesday night at The Lincoln as Emancipator brings a live band along to Raleigh with him for what's sure to be an enthralling trip-hop affair.

The night begins with Real Magic, an experimental pop group based out of California. Real Magic will serve as a way for attendees to dip their toes into the dance sphere as this electro-washed pop music combines elements of shoe-gaze and beat music to craft warm, dense arrangements. There's equal parts psychedelia and exploration as there is four on the floor, dance-ready drum beats. Real Magic will serve as an excellent start to what's going to be a phenomenal night of music. It's one of the strongest parts of this lineup, there's a wide range of sounds on display for Wednesday night's bill but they're all falling under an electronic umbrella that ensures each act a solid built-in audience. While there may not be droves of fans singing along to some of these shimmering tracks, they'll still be dancing with just as much ferocity to the infectious rhythms.

After Real Magic comes Odesza, an act a bit more entrenched in the EDM scene than Real Magic. Odesza is a Seattle-based production duo that's only been making music together for a few years now, but their cohesion and clear artistic vision would never give that away. Glitchy vocals wash over shuffling beats, peppered with crisp snares, crunching bass lines and bouncy synths. While Real Magic will offer more of a standard live electro set, Odesza will serve as a musical bridge to Emancipator, blending hip-hop influences with electronic foundations for a groove-inducing set of energetic tunes. Pitchy vocals, drawn out bass lines and effervescent instrumentation will help get fans warmed up for the wide-open expanses of the Emancipator Ensemble.

One of the key draws for Wednesday's show is Emancipator's live set-up. Emancipator has long been known for his heady, glitch-hop tracks that are as introspective and brooding as they are dance ready. The down-tempo tracks of Emancipator are filled with brilliant arrangements, they're deeply layered songs that contain just enough girth to pan out awesomely with a live band. If you're a fan of modern electronic music then you've probably seen countless acts lost in their headphones and MacBooks, too busy pounding away on their MIDI controllers to really provide a warming and engaging set. Thus, the live electronic scene came to fruition, and Emancipator sits atop the scene with his engaging four-piece live set-up. Meshing electric violin with bass, guitar and drums, Emancipator's ethereal melodies shine brightly in the live setting.




Doors open at 8:00 pm and the show begins at 9:00 pm. Tickets are $15 in advance and $18 at the door. To purchase tickets or for more information on the show, head over to LincolnTheatre.com.

Show Review: Perfect Pussy with Davidians and Whatever Brains

Perfect Pussy at Kings Barcade

I am constantly surprised by the Raleigh hardcore scene which may indicate that I am not as familiar with it as I believe myself to be. This was clear to me on Thursday night's show when Davidians broke out into their set. Davidians is comprised of some former members of Double Negative, a band that really defined the hardcore scene in Raleigh.

The band is pretty much defunct as of 2012 but luckily for die-hard Double Negative fans, Davidians holds the future. When they stepped up on the stage to play their set, you could feel a surge in the crowd. They played a solid hardcore set (although I am not the greatest judge of that...) that was energetic and lively. The whole crowd seemed to sway in unison to their scuzzy guitars and frenetic rhythms.

Whatever Brains at Kings Barcade

Up next were my absolute favorites, Whatever Brains. I always forget just how talented these dudes are but every time I see them play, I am totally blown away.  As they walked out they requested the lights to be turned off and they begin weaving their magic with a gradual build up of noise. Whatever Brains manages to create this incredible wall of sound but each sound is very distinct and they constantly build on to this wall of sound with new sounds. If I totally lost you here, they are basically very talented musicians that manage to create a brand of punk-rock that is totally unique, implementing a slew of synths along with traditional punk-rock instrumentation. This show did not disappoint.


Finally, the infamous Perfect Pussy took the stage. This blog post comes so late because I had to really meditate on what I thought of this show. The band looked like very nice people but when they started playing, the only thing that was audible was their synth-noise-making machine. I came in knowing from their EP that the vocals would be indecipherable however I did not expect to hear nothing at all. All that said, the band was lively and their stage presence was really intense and I could tell they were super into it. Overall, I got the hardcore show experience but I would've loved to hear more of the female fronted vocals.

Show Preview: Perfect Pussy w/ Whatever Brains & Davidians

Perfect Pussy will perform at Kings Barcade in Raleigh
on Thurday, January 7 with Whatever Brains & Davidians

Well the holidays are finally over, school is starting again and I suppose its time to stop having fun….or not. Thursday’s show at Kings will keep your energy high and your feelings on edge, if you will even be able to hear what Perfect Pussy’s Meredith Graves has to say.  Don’t be offended by the vulgar band name because Graves’ lyrics speak honestly and passionately personal experiences under a wave of jarring noise from her band members’ instruments.

The openers for this show are Davidians and Whatever Brains. Davidians remain anonymous in the Internet sphere and perhaps rightfully so, preferring a different route than most blog-famous bands. The next band is a solid staple within the hardcore/punk scene in Raleigh and one of my favorite local bands, Whatever Brains. With a brand new record on Sorry State Records, released just last year, Whatever Brains has critical acclaim across the country. They have a unique sound that is composed genre-bending noise and a nonchalant attitude about their success.

Last of all is the best of all, the new buzzband in the hardcore scene, Perfect Pussy. Hauling all the way from Syracuse, New York, this band had humble and hilarious beginnings. Posing as a fake band for an indie movie to recording a short EP, Perfect Pussy has become one of the most talked about bands in the blogosphere. As a band thats already been reviewed by Rolling Stone, they don't have more than four songs on bandcamd but the songs are easily some of the best hardcore songs I've heard in a while. Maybe its because I'm a girl, but when a girl screams in a hardcore band, with poetic lyrics nonetheless, its hard to resist.

Doors open at 8:30 and the show begins at 9:00. Tickets are $8 and can be purchased online at Kings' website.

Show Preview: Os Mutantes w/ Capsula

I have seen amazing things in the Triangle. I've seen Beach House open for Vampire Weekend, Akron/Family bring their sense of weird to the Oak City, The Flaming Lips shoot lasers at the capital building; hell, man, I've seen our state's capital grind to a halt and erupt into a blocks wide and miles long music festival (on more than one occasion). That being said, I am always flabbergasted by the things that happen here. A close friend mentioned Os Mutantes were going to be at the Pour House and I thought that, for sure, he must have read something wrong. I had to check the Pour House's schedule AND the Stagger to be absolutely certain. Yes, Os Mutantes will actually be at the Pour House on November 22nd.

Os Mutantes, 2013.
Denise Truscello/NPR First Listen

Being active for 50 years, give or take a few hiatuses, Os Mutantes have had plenty of time to gather around themselves a pretty large following. Beck, Flea, and Of Montreal frontman Kevin Barnes all count Os Mutantes among their influences. The Talking Heads' David Byrne and his world music label Luaka Bop have made a career-cum-hobby of preserving and re-releasing their music.

Os Mutantes emerged at an interesting point in Brazilian history, to be certain. As the world became hip to Brazilian bossa novas and its antecedent sambas, Brazil became hip to the psychedelia and avant-gardism that was gaining popularity the world over. Thus, the tropicália movement was born, a fusion of the external influences and traditional Brazilian culture. Squarely in the middle of the movement, nearly from its onset, Os Mutantes stood head and shoulders above the rest.

Now, the sole consistent member of the band, Sérgio Dias, brings Os Mutantes to the Triangle after the April release of Fool Metal Jacket. Jacket is first Mutantes release since 2006's Haih Or Amortecedor, which signaled the end of a 35-year absence from the studio and the second album with the new lineup. NPR's Jasmine Garsd voiced her hesitance, "Like many fans, I braced myself for Mutantes 2.0, but was pleasantly surprised to see their madness has aged well. These are the weirdos who survived every Latin American apocalypse..."

Capsula in a press photo.

The Mutants (as we'd say in 'Merica) bring with them Capsula, also hailing from Brazil. To purport myself as a Capsula scholar and profess fanaticism would be disingenuous, to say the least. However, in doing research about them for this very article (yes, the one you're reading (wow such meta)), I have become intrigued by their music and excited to see them perform. Described as garage-glam, the band took their indie credibility and released a song-for-song cover of Bowie's seminal Ziggy Stardust and the Spiders from Mars, aptly named Ziggy Stardust, in 2012. Crushing through classic tunes with steady beats, fuzzy guitar, and an attitude reminiscent of the Thin White Duke himself, the band proves their point fairly early on. They're good, they're really good, and certainly deserving of your attention.

Rolling Stone magazine's senior editor David Fricke chose to highlight Capsula's latest release Solar Secrets in his "Fricke's Picks" column. Calling it a "dynamic compression of the Who, the Cramps and Sonic Youth in a high tide of psychedelia" seems to cement them as an obvious choice to open for Os Mutantes, as they've done on many dates of their latest tour.

With tickets going for $20 pre-sale and $25 at the door, you'd be remiss, even with all of the other opportunities in the Triangle, to neglect attending this performance. How often does the good fortune of seeing a legendary Brazilian psychedelic band and their glam-rock progeny inside our very own beltline for a mere Andy Jackson turn its head? Exactly. I will see you there.

Album Review: You're On The Wrong Drugs by The Lollipops

“I’m over the bah bah bahs,” Iggy Cosky says. And the gritty garage of October’s You’re On The Wrong Drugs demos has his band, The Lollipops, pushing in different directions for sure. Since The Lollipops broke into the Triangle music scene last year, they’ve been known for their melodramatic pop dazzlers with catchy choruses about love.

But on the opening track “Call the Doctor,” Cosky proves that The Lollipops are capable of so much more. “Call the Doctor” is a fuzzed out, frantic two minute rager. There’s a dizzy guitar riff that holds down the track while Cosky screams over it. This is not a dreamy love song. “Some people might think I’m losing it,” Cosky says. But he insists that You’re On The Wrong Drugs shows a natural evolution into something that he says is “not as polite or tame” as the old Lollipops.

This past summer Cosky listened to a lot of Jay Retard and Fela Kuti, with the former influence showing up in the demo’s interludes. The terse interludes are Cosky’s interpretation of what he calls “sex funk.” “I took an Afro-beat approach,” Cosky explains, “The grooves are syncopated. The bass is locked in with the drums.” “There’s a riot going on” is just shy of a minute, closing out the demo, lingering with the listener, leaving them wanting more.

And more is to be expected with the ever prolific Cosky. He’s already in the works on a side project called Julius Ransome, which he self describes as “RnB/Funk that may take a Kraut Rock/Jazz direction.” More Lollipops demos will be released soon as well, one will be folky and the other will be more electronic. But if You’re On The Wrong Drugs is a preview of the new Lollipops, where ever Cosky leads them next will be exciting to see. 

Listen to You're On The Wrong Drugs here.

Listen to new music from Julius Ransome below:

Show Preview: Laura Reed w/ Chit Nasty Band

Laura Reed performs at The Pour House
in Raleigh, NC on Friday, August 23

Laura Reed's music is like a conglomeration of many different musical styles. One can feel the vast array of influences oozing from her music, the structure follows that of a typical singer-songwriter but as she's grown as an artist these songs have received far more pomp and fanfare. The South African born songwriter cut her teeth in the North Carolina based band Deep Pocket, an act with a similar soulful base much like her current output. Deep Pocket received a fair bit of attention, they performed at Shakori Hills and played quite a few high profile shows. However, none of the work with Deep Pocket amounts to the magnitude of Laura Reed's new solo excursions.

Reed hooked up with Nashville based producer Paul Worley (Dixie Chicks, Lady Antebellum) and suddenly her music flourished. Worley connected Reed with the Grammy Award-winning songwriter Shannon Sanders (India.Arie, John Legend) and the two began working on Reeds forthcoming solo album The Awakening. The album couldn't be more aptly titled, as working with Sanders has given Reed's music the boost that it needed to reach the masses. Reed's quintessential messages of hope, unity and inspiration are still found in bunches, but the songs pack a heavier punch. The Awakening's lead single "Wake Up" is the perfect example of this, the song is filled with vibrant rhythms, robust melodies and a constant, snapping drumbeat that compels listeners to tap a foot, nod their head or let loose in uninhibited dance.

That's the sort of honesty that's being conveyed through Reed's music, it's an innate desire to spread joy. Reed has recently been opening for acts like India.Arie, Miguel and Anthony Hamilton, but this Friday night she'll be tearing down The Pour House with her rambunctious take on soulful R&B. The Chit Nasty Band will be opening the show, another funky, groove-driven band that promises to bring a vivacious live set. The show begins at 10:00 pm and tickets are $8 in advance and $10 at the door.

The Bottom String's Hopscotch Itinerary

Hopscotch Music Festival is exactly one week away and the region is buzzing with excitement for the festival's second year, topped with legendary acts like The Flaming Lips and Guided By Voices (playing what's allegedly their last show of the reunion), Hopscotch is breaking boundaries in the Carolina music scene.  These boundaries aren't being broken just because of the gigantic bands that will be gracing the City Plaza stages on Friday and Saturday, but instead because of how centralized of a focus there still is on local bands and the local scene.  It's hard to choose between so many incredible acts over the weekend, but luckily we've taken on some help from friends and fellow writers (on our sister site Myxem) in Terry McElhennon and Kyle Bement to make sure that we cover as much of the festival as physically possible.  While the age limitations prevent me from checking out everything I want to see (alas, just one more year!), here is The Bottom String's official Hopscotch Itinerary.

The Bottom String's Hopscotch Day Party Schedule

Hopscotch is just over a week away and quite frankly I'm finding it hard to contain my excitement for the whole thing.  The festival has been dropping LPs off at random locations in downtown Raleigh, continually having Day Party announcements and even had a few names drop and get added to the lineup a few weeks ago (The Light Pines being the most disappointing loss for me), so the excitement and hype is all finally going to be coming to a head when next week's festivities kick off on Thursday.  Thursday recently had Day Parties added onto it with an insane amount of music going on at Sadlack's Heroes, a 307 Knox hosted show with the likes of Pink Flag, and a Raleigh Denim/Flander's Gallery show highlighted by a Gray Young appearance.  Hop around town on Thursday if you're free to catch some of these awesome free sets to get you pumped up for the night's festivities.

Surfer Blood, Wye Oak, and Free Energy capture the crowd at Deja Fest + Jack The Radio's Bottom String Session

Through the pounding heat and pounding rain, Deja Fest pulled through and provided for an awesome free event in downtown Raleigh that got me sufficiently stoked for Hopscotch in September.  The festival was put on by Deja Mi, a mobile media sharing app that allows users to share their concert footage and the like on their iPhones or Droids so you can check out what's going on all over town.  It's a pretty nifty app once all of the kinks get worked out and you get over the fact that you're looking at a bunch of people's camera quality pictures, but either way it's provided for a pretty awesome outlet in terms of a great free event for Raleigh.  Bands like Wye Oak, Free Energy, and Surfer Blood stuck out throughout the day but there were quite a few surprises throughout the lineup.

Hopscotch Music Festival announces Day Parties + Ed McKay Artist and Author Series

Hopscotch Music Festival is held from September 8-10
in downtown Raleigh, headlined by The Flaming Lips
and Guided By Voices

It's been a big week for Hopscotch, not only did Guided By Voices announce that their September performance in Raleigh would be their farewell performance, but Hopscotch also announced some of their free Day Parties and their Ed McKay Artist and Author series.  The Ed McKay Artist and Author series will feature some headlining artists joining in on some of the most exciting parts of Hopscotch, I mean who can turn down seeing Wayne Coyne discuss "The Limits of Pop Music" or John Vanderslice and Patterson Hood discussing "The Power of Narrative Songs".  Not only does the Artist and Author series deliver but we've also got some awesome Day Parties going on this year between two features from DiggUp Tapes on Friday and Saturday and some of last years favorite's such as Trekky's Daydream, Hometapes' Friend Island, and much, much more.


The Ed McKay Artist and Author series last year featured names like Chuck Dee, Andrew Whiteman (Broken Social Scene), and local Grammy-winning producer 9th Wonder, but this year's boasts even bigger and better names for the unique and invigorating series that gives the fans a bit closer of a look into these artist's perspectives.


Hopscotch's second year of Day Parties continue to bring the heat as well, there's some incredible lineups already set up and even more to be rolling out between now and September.  Some highlights include The Rosebuds & Friends outside of The Lincoln Theater with The Rosebuds, Hammer No More The Fingers, Ben Sollee, and The Big Picture just to name a few.  DiggUp Tapes Saturday show has a pretty awesome lineup as well with Lonnie Walker, Birds of Avalon, Quiet Hooves, Thank You, and surprise guests.  Check out the full list of Day Parties below along with the Ed McKay Artist and Author series information.  You can get more information about Hopscotch Music Festival from their website at http://www.hopscotchmusicfest.com.  The number of All-Show 3 Day Passes are dwindling though so pick one up while you still can!

deja Mi announces free festival in downtown Raleigh with Surfer Blood, Wye Oak, and more

deja Fest, held on July 22 and 23 is a
free music festival held in downtown
Raleigh in cooperation with Hopscotch

deja Mi announced the lineup today for their absolutely free two day festival to be held in downtown Raleigh in cooperation with Hopscotch and it's packed with awesome local and nationally touring artists.  With names like Surfer Blood, Free Energy, and Wye Oak,  Deja Fest will be held on July 22 and July 23 in various venues around downtown Raleigh with the Friday night festivities kicking off at Tir Na Nog, The Pour House, Slim's, Kings Barcade and Neptunes Parlour from 6:00 p.m. to 2:00 a.m.  Saturdays music will be starting at 1:00 p.m. on East Cabarrus St. outside of The Lincoln Theater and music will last until 2:00 a.m. with the afterparty taking place inside of The Lincoln Theater.  Deja Mi is a new media sharing application for sharing experiences via photo and video and Deja Fest will be coinciding with launch of their website and mobile application.

The lineup and schedule for Deja Fest are as followed: