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vertical axis

On his new solo album The Vertical Axis, Ian Crause, founding member of Essex band Disco Inferno, attempts to balance content with form.  Back in the Nineties, Disco Inferno created swirling music of immediacy, a reaction to a neoliberal England, a way of figuring out how to fit in a globalizing, postmodern economic and cultural landscape, with lyrics commenting on class, immigration, loneliness, and depression among other themes.  The music itself was carried by Crause triggering real-time samples with a midi-guitar, Rob Whatley doing the same but on drums, and Paul Wilmott grounding all the chaos with melodic bass lines.  On the Vertical Axis, Crause’s goals of form seem more realized, the content more thought out.  (more…)

letsbecops

We’re giving you a chance to see an advanced screening of LET’S BE COPS, starring Jake Johnson and Damon Wayans, Jr. (of New Girl fame).* See below for the download details. Get ‘em before they’re gone!

Tuesday, April 15, 7:30PM
Carmike 12, Athens
To redeem your passes, click here.
RSVP CODE: WUOGVNK6
2 passes per user. User must create a login name at www.gofobo.com to redeem passes.

*Seating is FIRST COME, FIRST SERVE and is not guaranteed. Please arrive up to 60 minutes prior to showtime to increase your chance of seating. Theater will begin seating roughly 30 minutes prior to showtime.

LET’S BE COPS: It’s the ultimate buddy cop movie, except for one thing: they’re not cops.  When two struggling pals dress as police officers for a costume party, they become neighborhood sensations.  But when these newly-minted “heroes” get tangled in a real life web of mobsters and dirty detectives, they must put their fake badges on the line.

rodan

Recirculated from F.U.N.K.,  an online home for the writing of Neil Kulkarni.

Read more of the A New Nineties: A U.S. Edition here

You should know better . You’ve been here long enough. Wasn’t it back in 31 when you hopped the Idlewild on Rose Island and stowed away to Louisville, the Fontaine Ferry Gun Shy still ringing in your ears? They changed her name to Avalon and you still hung on, through the floods of 37 and the winds of 74 and here you are, in 1992, about to get hit by a train, a creaking hulking stealthy truck of wonder called ‘Rusty’. You should know better than to be over Floyd’s Fork Creek this time of night. Unique acoustics round here. You can’t hear the trains coming. (more…)

It’s clear that the West Coast “won” SXSW when it comes to hip-hop. Atlanta and Chicago both made valiant efforts in showcasing lots of new and exciting talent (while New York was pretty much completely underrepresented unless you’re a huge A$AP fan) but Los Angeles, for lack of a better word, had this shit on lock. Kendrick Lamar, ScHoolboy Q and the rest of the TDE crew headlined one of the biggest nights of the iTunes festival; Acts like 100S took over the Fader Fort and went from almost no-name to “did you see that rapper with the beautiful hair?” in just a few days. However, it was DJ Mustard and his associated acts that really took over SXSW. Seeing just how pervasive these acts were throughout the week might just make someone believe the hype around the rise of “the new West Coast.” Here are my thoughts on some West Coast acts, all from Los Angeles, all brought up by DJ Mustard.

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future sxsw

Future
SPIN Day Party
Stubbs

While Future’s disappointing Ray Ban x Boiler Room “set” was a complete bust for any and all in attendance, his set one day earlier at Stubb’s was every super-fan’s dream come true. Every inch of his legendary Atlanta urban radio run during the last four or so years was covered, from his features on songs like “Bugatti” and “Racks” to his own smash hits like “Karate Chop” and “Move That Dope.” In direct opposition to the setlist full of bangers, Future seemed quiet and humble between tracks, taking every possible opportunity to show love to his fans. Towards the end of the set he performed a track entitled “Good Morning” that he had to scrap from his upcoming album Honest. He very awkwardly skirted around the details when explaining the track’s origin to the crowd but from what I can gather it sounds like Future might be owed a writing/co-producer credit on Beyonce’s “Drunk in Love.” This was a revelatory, spaced-out sex jam of the highest order that could have been the biggest hit of Future’s career.  “I don’t think I’ll ever perform that song again,” he said, letting out a huge smile, slowly floating back to earth.

 

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Mark Kozelek
Pitchfork Official Showcase
Central Presbyterian Church

A beeping microwave could sound warm and majestic in the Austin Central Presbyterian Church, so imagine how veteran songwriter Mark Kozelek’s mellifluous vocals and intricate finger-picking sounded. He and his drummer harmonized beautifully as they sound-checked an a capella version of “Oh Come All Ye Faithful” (a hymn) before moving into “Hey You Bastards I’m Still Here” (a song about Anton Lavey). If this was indeed intentional, it was the most subtle move Kozelek made all night. He expressed himself pretty clearly with a Benji-heavy set and some hilarious onstage banter. At one point he joked openly about Pitchfork at their own showcase, claiming Benji’s high score was “owed to [him] a long time ago.” Oftentimes though, he expressed more somber thoughts. Kozelek followed his Pitchfork jokes with a stirring performance of “Carissa.” His fingers danced deftly across the guitar strings and his voice resonated through the dim sanctuary as he lamented his cousin’s untimely death.

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The typical, popular Athens music narrative tends to start with B-52s, Pylon, bands mentioned in Party Out of Bounds, and continues to R.E.M. and Athens Inside Out Bands. Then, the narrative jarringly jumps to Elephant Six.  Often less mentioned are bands such as Mercyland, Porn Orchard, Bliss, Magneto, and Roosevelt, who formed part of a local Athens hardcore/post-hardcore scene. Besides Mercyland and Porn Orchard, these bands are largely undocumented, their existence betrayed by a couple of tracks on a compilation, FUEL: Seven Bands From Athens, Ga. , put out by Self Rising Records.  The compilation is indicative of an active, fervent scene, albeit one without many outside resources or media attention.  I sat down with Joe Rowe, the drummer of Bliss, to talk about Athens in the 90s.  Rowe currently leads a bands called The Goons and has played with bands such as The Glands.

Bliss 004Bliss 008

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We decided to do some spring cleaning with our website and may have gone a little overboard. With this fresh new start, the goal was to make the site simpler and easier to navigate (and hey, a bit easier on the eyes). There are several issues that still need to be fixed — with the Listen Live button being top priority — but we couldn’t wait any longer to show off the makeover!

Expect a lot more things now that we have our new site going: more content on the music blog, more video and media, a mobile-friendly version, and more interaction with you guys, our listeners and readers. We hope you enjoy our new look, and a sincere thank you in advance for being patient as we work out the kinks!

Edit: The Listen Live button is now working. Tune in!

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You know the deal. Here comes another year end list, this one highlighting the best local releases (anything from the state of Georgia) of 2013. Ranked in a mostly arbitrary fashion by local music director WIll Guerin, with special consideration to input from Patrick Boyle and Alec Livaditis, as well as a handful of other WUOG staffers. Don’t read too much into the individual rankings, we just put the numbers there so you’ll (hopefully) read the list. So go ahead and enjoy 20 of our favorite 2013 local releases, edited by Dafna Kaufman and Will Guerin.

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