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  • Posted in Music on 10-12-2015

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Friday night, WAVVES sauntered on stage of the 40 Watt Club for a performance that left me conflicted. The good, the bad and the ugly came in wavves (get it?).

For starters, the crowd was bouncing off the walls before WAVVES was even close to hitting the stage. Mosh pits ensued when a sound tech was checking the microphones, and I knew it was going to be a wild set. However, the most exciting part about the performance was the crowd’s constant energy. It vibrated across the whole club and was able to ignite even the bartenders on their most popular songs. While I was able to enjoy their most famous tracks, “Way Too Much“, “Heavy Metal Detox“, and thier closer,  “Green Eyes“, the members of WAVVES never seemed excited to be in Athens. They rarely ever interacted- let alone connected – with the audience. There was a weird disconnect between the raving, crowd surfing, song chanting audience and the band (see low quality picture above).

Overall, the performance felt more like the crew was following a set list than truly enjoying the rock club atmosphere and rad music scene that Athens is never short on.

I know that if I had a crowd screaming my songs in full and overpowering my amps, I would be reciprocating that loyalty. However, the bassist, Stevie Pope, managed to snap a bass string after a hardcore performance of “Heavy Metal Detox”, claiming that it was his “first broken string in the six years he has been playing withWAVVES”. So maybe, chilled performances are just the band’s vibe, and in fact, this performance was the most hyped the band has gotten. Nonetheless, we came for a concert and left with busted ear drums. Check and mate.

If you enjoy a slightly mellowed version of Blink 182 and Weezer, I would definitely check out their new album,V, featuring “Way Too Much” and “Heavy Metal Detox“.


Rock on.

-Charlotte Norsworthy

  • Posted in Music on 10-7-2015

I made a last minute decision to go the Mountain Goats concert this Monday with a group of friends and a twin brother who were way bigger fans of the Mountain Goats, were all members of WUOG, and could talk endlessly about how great the Mountain Goats are. Some of them even have John Darnielle’s words inked on their skin.  I still love the Mountain Goats; they’re one of my favorite bands, but the music of John Darnielle inspires a rabid fandom that few groups can match or even dream of. This show proves why. The audience was incredible, one of the liveliest I’ve ever witnessed and Darnielle fed off the crowd’s exuberance; and he was maybe a little drunk which may explain why he was exceptionally personable. Between each track he went at great lengths to tell the story behind his songs, most of them anecdotes about pro-wrestlers and pro-wrestling terms—the main thematic content from his newest album, Beat the Champ—and encouraged us to follow pro-wrestling if only for the sake of understanding the band’s past and future catalogue.

The Mountain Goats were thrilled at the crowd’s enthusiasm for their new record and some other tracks ranging from Coroners Gambit to All Hail West Texas, Tallahassee, Sunset Tree, All Eternals Deck, and Transcendental Youth. The band played both Spent Gladiator 1 & 2, which like many Mountain Goats songs temper life-affirming optimism with the dark and desperate feelings that invades us.  John Darnielle has always written music for people on the fringes, forgotten heroes, and those who deviate in any remote way from the accepted normal standards of American life, but in doing so he reminds how universal it is to feel weird, and lonely American life can be.  By the end of the night everyone proudly yelled “Hail Satan” alongside John and Jeff and Cyrus and reminded us that the characters in “Best Death Metal Band in Denton” will always receive the warmest welcome in Athens.


By Tom Jurgens

  • Posted in Music on 10-7-2015



On a rather rainy and gross evening in Atlanta, I sought shelter at the historic Tabernacle. The venue alone is worth it. Dingy, stuffy, and chandelier- dazzling. “Standing Room Only” is the only way to do a concert if you ask me, and this one was no different. Ed Roland, lead singer of Collective Soul enters the stage strumming away at his acoustic as the rest of his equally talented crew joins him for a nostalgic yet vibrant performance.

The Atlanta based  band played the classics such as “December“, “Shine” , “The World I Know“, and “Run” while also debuting insta-hits from their newest album that just dropped on the 2nd, “See What You Started by Continuing“. Some of my favorites were “Hurricane” and “AYTA (Are You The Answer)”. The band incorporates their classic rock instrumentals into their new tunes while also implementing a new flare. Where some bands attempting to make a come-back decide to completely alter their sound, Collective Soul remains true to who they are both in their sound and their roots.

Even years later, Roland, 52,  is still owning the stage with his scissor kicks and microphone stand tricks. Brother and guitarist Dean supported lead guitarist Jesse Triplett’s flawless solos. Original bassist  Will Turpin took the platform next to drummer Johnny Rabb as they all exchanged inside jokes with their eyes. The band had several instances that demonstrated their brotherly love, which will be needed for this long U.S. tour they have ahead of them. Collective Soul electrified and touched the audience with a not-so-subtle reminder of how rock and roll should be.

If you dig classic rock, I strongly recommend you check out their new album, “See What You Started by Continuing“, out NOW!

Rock on.


By Charlotte Norsworthy

  • Posted in News on 10-5-2015

by Thomas Long

National News / Economic Correspondent

Stock markets all over the world have not been doing well over the past few months. The DOW is down 12% from its highs, and many economies around the world are suffering. Can this, like the 2008 financial crisis, be attributed to “Capitalism” or the “free market” or laissez-faire economics? Many may say that yes, but this is an irrational viewpoint. No country, not even the US, has a free market that is devoid of extreme regulation and interventionism. This financial meltdown is caused by central banking and by Keynesianism. Keynes believed that government taxation and intervention into the economy was beneficial for the country as a whole. This idea is used by every government in almost every country across the world. The US now has the largest government the world has ever seen, and it intervenes in the economy more than ever before.

The Federal Reserve has created a stock market and demand bubble. The Federal Reserve prints money and artificially stimulates demand in the economy. This is like snorting cocaine. It is great for a very short period of time, but it is horrible for the long-term health and growth of the economy. The Federal Reserve has also kept interest rates at basically 0%, which, again, causes artificially high levels of demand and investing. These two things create a bubble in the economy itself. The State and the Federal Reserve have also done a lot to herd money into the stock market. If money is not put into the stock market, through a 401K or another retirement program, it is taxed by the State. This, of course, triggers people to herd their money into the markets for a higher return without doing any research. The Federal Reserve itself buys futures contracts that push the markets up, and this is all done through debt.

The US government has a monopoly over the money supply, gives corporate bailouts and subsidies, sets wages, regulates heavily, and redistributes wealth by force. The 2008 financial crisis and the present bubble in the economy were not caused by freedom. This was caused by Keynesianism and by the irrational idea that government is competent and that this entity should control and economy.

What’s new on WUOG? An ambient angel, slacker storyteller and a buncha folk-punk fellas…

Julia Holter – Have You in My Wilderness


Listening to Julia Holter’s fourth album, Have You In My Wilderness, was one of the most pleasurable experiences I’ve ever known. From the very first song I was captured by the beauty of Julia Holter’s voice and the symphony that accompanied her singing.  Have You In My Wilderness can be defined by how intimate it makes you feel. Holter is telling a story through her music, and there is something that feels extremely personal and touching as a result. This is an album that you play at the end of the night when you’re reflecting on how great the party was and how glad you were that all your friends came. Julia Holter has created a chamber orchestra pop album that is slightly more accessible then her splendid past works. The production on the album is extraordinary, and the intricacies of the music, due to great production, continue to complement Holter’s voice. Some tracks that really stood out to me are “Feel You”, “Sea Calls Me Home”, and “Everytime Boots”. 

–Will Jurgens

Kurt Vile – b’lieve i’m goin down…


Kurt Vile opens b’lieve i’m goin down with a ballad of desolation, and how his self-awareness from past albums crumbles when he merely looks at his own reflection. Vile’s bleak thoughts are delivered through humorous lyrics, meant to be listened to at night after everyone else has gone to bed. His deadpan vocals and guitar picking allow the listener to drift along to his conversational musings. Vile’s growth comes in the instrumentation as he incorporates more piano and banjo into his songs. Recorded at Joshua Tree and even in Athens, Vile uses less reverb, making it a lot lighter, but his emotional intensity is still as strong as ever. Vile claims “Wheelhouse” is the best song he has ever written, but “Lost My Head There” and “Pretty Pimpin’” are close rivals.

-Camilla Grayson

Front Bottoms – Back on Top


Back on Top is the fifth album from the indie-punk band, The Front Bottoms. Although the Front Bottoms are no strangers to the music business, this album is their first after signing to Fueled By Ramen after years with the small, independent label, Bar/None Records. With this label change, has come a change in sound. While staying true to their history of raw and revealing lyrics on most tracks, The Front Bottom’s newest album has a cleaner, and at times, more generic sound than that of the past. The newest album features slower tempos and more electric guitar than on previous releases. While The Front Bottoms have definitely not been lost, the album at times shows a side of The Front Bottoms that is a little too saccharine. One of these saccharine instances is “HELP,” which turned out sounding too common and not personal enough to be a quality Front Bottoms track. “Laugh Till I Cry” and “West Virginia” are the golden connections that link Back On Top to the group’s past, saving the band from losing their distinct sound in the void of the competitive indie-rock world. They both feature instrumental diversity and The Front Bottoms’ signature chaotically eccentric sound. Furthering the transitions from one album to another, “Ginger” almost sounds like a B-side off of Talon of the Hawk, with extremely quirky lyrics and even some trumpet on the track. “Cough It Out” is slower and sweeter than most that the band releases. It features a snare beat and a little keyboard to push it forward, but lead singer Brian Sella’s profound lyrics are really what drives the song to a new, yet somewhat nostalgic mark of success. “Historic Cemetery,” buried deep in the middle of the track list, is another standout. “Historic Cemetery” is more somber than the rest of the tracks, with haunting lyrics, acoustic, guitar, and even some recorded conversation. These songs add complexity to The Front Bottoms, proving they are more than one-trick pony. While there are some glaring faults on Back On Top, that’s what The Front Bottoms are all about; making music for the sake of making music, not with the goal of perfection in mind. While The Front Bottoms may not be recording out of warehouses or friend’s basements at 2A.M. anymore, the passion and creativity from those days are still apparent.

–Tori Benes