Now that spring is upon us, summer is just around the corner, which means many artists will start releasing music in hopes of landing the coveted “song of summer.” But before we look forward to those upcoming releases, let’s first reflect on how winter term has come and gone and take a look back at some of the best tracks released during the first quarter of the calendar year. January, February and March saw an abundance of releases from megastar artists such as The Weeknd, Kendrick Lamar, Drake and more.

Here are a few highlights from the list:

“Big Shot” — Kendrick Lamar with Travis Scott

Just when everyone thought Lamar couldn’t get any cooler, he decides to produce and curate a musical score for one of the year’s most popular and influential blockbuster films, “Black Panther.” Lamar’s record, “Black Panther: The Album,” produced a slew of hits from a variety of music’s biggest stars — not to mention that it perfectly fits in with the essence of the movie. The record is nothing short of terrific from top to bottom, making it hard to choose just one song, but “Big Shot” takes the cake. The track starts with a powerful scream — “Wakanda”  — which is the fictional country where Black Panther takes place, and then busts into a rambunctious, rhythmic beat that Lamar and Scott ride with creative spits.

“Bodys” — Car Seat Headrest

Maybe the most energetic track on the Seattle-based band’s most recent album, “Twin Fantasy,” “Bodys” features frontman Will Toledo dissecting oddities of dancing while simultaneously finding himself enjoying the act. In many ways, the song serves as an anthem for all who have ever felt the awkwardness of organized fun but also felt left out when not included in such activities. And as Toledo always does, he finds a way to capture the essence of a 20-something-year-old’s social anxiety in an upbeat and catchy melody.

“Look Alive” — BlocBoy JB feat. Drake

How Drake continues to make absolute banger after banger will never cease to astonish me. In a one-month period, the prolific superstar released two of the year’s biggest hits: “God’s Plan” (Don’t worry, God’s plan made the online playlist) and “Look Alive.” After a brief intro, the track’s beat drops and Drake begins riding it with the fast-paced chorus that leads right into his own verse.  And as usual, Drake finds himself flexing on the haters and hanging with the squad. Sounds like a pretty good life.

“Ghost Voices” — Virtual Self

This song comes from the “Virtual Self EP,” marking the first release from North Carolina-based DJ and producer Porter Robinson’s alter ego, Virtual Self. Much of the EP is both musically and thematically intense, but this track makes its way back into the dancy realm of neo-techno with a brighter and happier tone. Overlayed synths and a pounding bass keep the track moving forward in and out of breakdowns, and Porter was still able to fit in his signature clunky drum and bass breakdown about halfway through the song.

“Powerglide” — Rae Sremmurd feat. Juicy J

When thinking of contemporary artists who exclusively like music to party to, no one comes close to touching the polarizing hip-hop duo Rae Sremmurd. Comprising Swae Lee and Slim Jxmmi, and exclusively produced by the now legendary Mike WiLL Made-It, Rae Sremmurd glides (pun intended) over the bumping beat. And that’s not even to mention Juicy J’s perfect feature verse on the track, which produces some extremely quotable bars that are far too inappropriate to put in print.

Listen to the full playlist here:

The post Friday playlist: Best music released during winter term appeared first on Emerald Media.

Los Angeles-based rap collective and self-proclaimed boy band Brockhampton brought a lively, humor-filled performance to Portland’s Crystal Ballroom on Friday night. The concert marked the first time the group had performed in Oregon since its show at Euegne’s WOW Hall last October.

Just after 9 p.m., the band took the stage with great energy while performing “BOOGIE,” the lead single from its most recent album, “SATURATION III.” Each member wore an orange jumpsuit that, along with a painted blue face, has become an iconic look for the band. Several audience members were sporting similar outfits.

The collective frequently interacted with the audience throughout the performance, engaging in many sing-a-longs, call and responses and vulgar chants. Abstract stopped the performance toward the end of the set, jokingly claiming that the group was finished playing.

“We don’t have any more songs to play, Portland,” Abstract said. “It’s a damn shame, Portland. It’s a mother fucking shame.”

Abstract then opened the floor to the audience by asking: “Anyone got any questions for Brockhampton?” Like eager children at an elementary school show and tell, many crowd members threw their sweaty hands high into the air above their heads.

Abstract handed the mic to several fans to ask questions over the venue’s loudspeakers.

“When are you and Jaden going to get married?” asked one fan in reference to recent rumors that Abstract and actor/performer Jaden Smith are dating.

“We’re getting married tomorrow. We’re gonna live stream it,” Abstract said in response.

“Who’s gonna be the first featured artist on a Brockhampton track?” asked another eager fan.

“Lil Uzi Vert,” Abstract said without a second of hesitation. But fans shouldn’t count on any of Abstract’s answers as official announcements as he is known to use often be sarcastic.  

After the extended Q&A break, Abstract quieted the crowd with a loud “shhhhhhh.” Not a single sound could be heard throughout the venue. That was until the band broke the silence by erupting into a rambunctious performance of “BUMP.”

The collective finished its initial set with a performance of “BLEACH,” by far the group’s most popular song from its most recent album, “SATURATION III.” After cutting the music, Abstract lead the audience in an a capella rendition of the song’s chorus. “Who got the feeling? Tell me why I cry when I feel it / Tell me why, tell me why,” the room echoed for an extended period of time.

The collective showcased its ability to span across multiple moods, taking the audience on a rollercoaster of highs and lows throughout the night. One moment would be filled with hysterical scream-rapping and the next with emotional ballad-like choruses.

Abstract left the stage after quickly thanking the crowd. Brockhampton member Bearface returned for a solo two-song set before Abstract returned to deliver an a capella melody of some of the band’s most popular songs.

The entire Brockhampton lineup returned to the stage, performing a lively rendition of “HEAT” as the night’s finale. Abstract thanked the crowd one more time before he and the rest of the band made their final exit.

“Portland, you’ve been an amazing crowd. We’ll be back! Bye,” he said.

Setlist

BOOGIE

QUEER

STAR

GUMMY

FACE

ZIPPER

SWAMP

GOLD

JELLO

SISTER

STUPID

JUNKY

SWEET

BUMP

Untitled TEAM EFFORT Track

BLEACH

Bearface set:

SUMMER

TEAM

Encore:

Acapella melody of LAMB, MILK, GOLD, BOYS and STAR

HEAT

The post Review: Brockhampton interrupts its own rambunctious performance for an extended Q&A with fans at Portland’s Crystal Ballroom appeared first on Emerald Media.

It’s not often a band releases its debut album 10 years into its career. A debut album usually marks the beginning of a band’s existence and a rite of passage into the music industry. So it was a bit odd when well-established electronic music trio Keys N Krates announced it would be releasing its debut album in the Winter of 2018, nearly a decade after forming.

The record served as a musical reset for the Toronto-based trio, who will perform at Eugene’s McDonald Theatre on Wednesday, Feb. 28.

“It was a hard reset in terms of the vibe of our music and a hard reset in the direction of us being more serious about recorded music,” Keys N Krates turntablist Greg Dawson told the Emerald. “We just weren’t really psyched on the direction the music was going in. And we just wanted to make music that was more for us personally and our friends.”

The record took over a year for Dawson and fellow bandmates Adam Tune and David Matisse to write and record. During this time, the band solely focused on revamping its sound. Throughout the writing process, the trio moved away from club-style remixes and put a stronger emphasis on cohesive material by adding warmth and texture to its sound.

After a year of anticipation, Keys N Krates released its debut record CURA on Feb. 2, 2018. Stylistically, the record is highlighted by the heavy use of samples from 1970s soul and disco music. CURA’s sound is similar to legendary hip-hop producer J Dilla, who is one of Dawson’s biggest musical influences.

“It’s something that we’ve always wanted to do, so the inspiration is very organic for us,” Dawson said in reference to the record’s sound. “That’s what we grew up on — that’s our first love. It felt right to draw from that.”

Keys N Krates’ debut album “CURA” serves as a reset for the band, who had begun to lose interest in its music. (Via Keys N Krates)

Dawson likes to refer to the record as the band’s new “mission statement” — a change of direction and a set of goals going forward. But the statement doesn’t just pertain to the recorded material: the group hit the reset button on its live performances too.

“One of the things we were thinking about along the way too was how we wanted to reshape our show and make it more of a concert and less of a DJ set,” Dawson said. “Although it’s still a dance party, it feels now more like you’re going to see a band.”

Reshaping a band’s live show is no easy feat, especially after a decade of crafting a successful performance style. In order to go through such an upheaval, Keys N Krates enlisted the help of Ben Dalgleish, one of the industry’s best professional stage show designers. Dalgleish helped design the stage production for Drake’s Boy Meets World Tour in 2017 and many other popular tours.

Dalgleish agreed to design the stage production for Keys N Krates’ 2018 CURA tour. Days of collaboration went into creating the exact vibe that fits the tone of the record, but Dawson says the results speak for themselves.

“This is the craziest our show has ever been. The way we present the music, I’m super proud of,” Dawson said.

In addition to a state-of-the-art lighting show, the band also added a host of live instruments to its live set, including guitars, wind chimes and cymbals.

Since the release of the record, the trio has had time to reflect on its achievement. And Dawson, for one, is happy with the way everything has turned out.

“It’s a stepping stone for us to get better. There are things that I would do differently and I’m sure the other [band members] feel the same way, but I think we’re all really happy with it. It’s almost like a mixtape, like this is what we are trying to do going forward.”

Keys N Krates will perform at McDonald Theatre on Wednesday, Feb. 28. Doors will open at 7 p.m., and the show will start at 8 p.m. with Promnite and Jubilee opening. Tickets are $25 online, $29 at the box office.

The post Familiar faces, unfamiliar sounds: Electronic music trio Keys N Krates will return to Eugene with a new sound and stage show appeared first on Emerald Media.

I’m not ashamed to admit to the not-so-secret love affair I had with pop-punk throughout my middle school years and I know I’m not the only one. Nearly everyone born in the ‘90s experienced a pop-punk phase at some point in their adolescence. Songs with high-pitched catchy choruses about finding and/or losing true love were as popular as playing ZAP.

Though I no longer listen to this genre of music, I have no regrets. It’s true: Mistakes were made. But having the ability to make those mistakes meant more than the mistakes themselves. It’s time we recognize our past mistakes as a significant moment in our development into adulthood. And what better way to recognize such a moment in time than to relive it. Here’s a playlist that will get you feeling those middle school feels all over again:

“All The Small Things” — Blink 182

How is lead singer Tom DeLonge’s voice so annoying yet so perfect for the up-tempo style of pop-punk California trio Blink 182 is known for? DeLonge’s whiny vocal timbre perfectly navigates the song’s lyrical ambition of — yup, you guessed it — falling in love. As one of the most successful groups to come out of this genre, Blink 182 developed a formula for creating a perfect pop-punk song. And they showcase that ability on this track, which remains the band’s most popular hit.

“Sugar, We’re Goin Down” — Fall Out Boy

Nothing simultaneously emphasizes and deemphasizes a song’s lyrics more than screaming them at the top of your lungs so loudly that they become incomprehensible. No one utilized this screaming technique better than Fall Out Boy lead singer Patrick Stump. Apparently, Stump is singing “ We’re going down, down in an earlier round,” but all I can ever hear is “We’re going down, down budda budda da budda.” Either way, it’s impossible to not to get a feeling of nostalgia when the song’s intro fades away, leaving Stump’s hollow vocals to ask “Is this more than you bargained for?”

“Welcome to the Black Parade” — My Chemical Romance

You’re not a real member of the pop-punk fan club until they know all the words to “Welcome to the Black Parade.” The ballad became an anthem for angsty teens across the world and consequently became the band’s most popular song of all time. The song’s extended intro is reminiscent of The Killer’s “All These Things That I Have Done,” but way too emo to compete in the mainstream. The track still shot the band to new levels of worldwide popularity, though. Also, My Chemical Romance has to be the most pop-punk sounding band name ever.

“Gives You Hell” — The All-American Rejects

It would be a pop-punk playlist without the spit-filled middle finger to the face that is The All-American Rejects hit-single, “Gives You Hell.” This song is everything you ever wanted to say to your middle school best friend who betrayed you by stealing your girlfriend or boyfriend. I just can’t help but want to ask lead singer Tyson Ritter: Who hurt you? Stylistically, this song is a pop-punk masterpiece. A catchy chorus that includes scandalous profanity? Check. A breakdown that’s just the chorus shouted over simple percussion? Check. A feeling of satisfaction after screaming away all the frustration that came from your last relationship? CHECK.

“Fat Lip” — Sum 41

I can’t imagine a song that represents the terrible culture of angst and rebellion that was the 2000s for some of our generation than Sum 41’s “Fat Lip.” This might be lazy journalism, but you’ll know what I’m talking about once you read this section of the song’s lyrics: “I don’t want to waste my time, become another casualty of society / I’ll never fall in line, become another victim of your conformity and back down.” You can’t tell me those lyrics aren’t the most teenage frustration you’ve ever seen packed into a single stanza.

Listen to the full playlist here:

The post Friday playlist: Pop-punk throwbacks appeared first on Emerald Media.

Alabama Shakes’ frontwoman Brittany Howard and her latest side project Bermuda Triangle performed a casual, intimate set at a packed WOW Hall on Saturday night in Eugene. The performance marked the eighth and final show in an eight-day period for the trio, which kicked off its brief West Coast tour in Hollywood, California, on Feb. 3.

Following a hypnotic Afro-soul performance from openers Bells Atlas, Howard took the stage with bandmates Becca Mancari and Jesse Lafser just after 9 p.m. The trio was greeted with a rambunctious applause and a healthy dose of hoots and hollers from the crowd. After finishing the band’s opening track “Tear Us Apart” with a bicep flex, Howard addressed the audience. “This is my first time here. This is all of our times here,” she said. “Can you show us what it’s like in Eugene, tonight?”

Becca Mancari of Bermuda Triangle ends the show by making a triangle with her hands. Bermuda Triangle performs at WOW Hall in Eugene on Feb. 10, 2018. (Sararosa Davies/Emerald)

Shouts of admiration for Howard rang through the hall during even the slightest of silences. One enthusiastic fan even held a sign that read “Brittany” in bold letters. But by no means did Howard’s fame outshine or overcast Mancari and Lafser’s impressive musical talent. Bermuda Triangle’s performance felt like a true collaboration, not a one-woman act.

The trio’s musical ability was on full display — each member took turns on lead vocals and rotated through a host of acoustic guitars, banjos, harmonicas, drum pads and an upright double bass. But Bermuda Triangle’s hallmark talent is its vocal harmonies. On some tracks, Howard’s powerful vocals took charge, with Mancari and Lafser’s twangy harmonics providing a rich supporting vocal layer. Songs such as “Rosie” and “Bermuda Triangle” familiarized the audience with Lafser and Mancari’s twangy timbre.

Despite an impressive musical performance, technical difficulties and lapses in instrumentation kept finding their way into the set. But Howard’s informal and relaxed stage demeanour made those moments, which can often be awkward and embarrassing, an opportunity to share a laugh with the audience.

While humor and humility served as themes for the night, there were also sincere moments of gratitude and reflection. “We started this band as a joke,” Mancari said. “[But] these are the most talented women I know and it’s a joy to be on the stage with each other.”

“We really are real-life best friends,” Howard said towards the end of the performance. “This is our last show and I just want to say: what a beautiful thing we’ve done. We started this band by just drinking rose. We did one show, then we did some more shows, then we were like ‘Let’s go to the West Coast’ and now we’re here.”

After wrapping up its set just after 10 p.m., Bermuda Triangle left the stage and exited the venue through the backstage door. But the absence was short-lived. The trio quickly returned for a one song encore in response to a thundering pulse of clapping and stomping.

“I love this crowd. Fuck yeah!” Mancari said following the group’s final performance. The trio then thanked the crowd and shared a bow.  

Follow Zach Price on Twitter: @zach_price24

The post Review: Bermuda Triangle’s intimate performance brings laughs and love to Eugene appeared first on Emerald Media.

We made it. Well, we’ve made it halfway at least. Now that week five is behind us, winter term is officially halfway over. This leaves only five more weeks until finals week, then spring break and then the start of UO’s beloved spring term. That being said, these next several weeks won’t be easy. There’s no guarantee this recent run of fair weather will last, meaning there is plenty of time for your seasonal depression to resurface. So here’s a playlist to help everyone power through the second half of winter term.

The full playlist is embedded at the bottom of this post.

Here are a few highlights:

“I Will Survive” — Gloria Gaynor

Gaynor uses the song’s catchy, upbeat arrangement as a vehicle for sharing a story of personal triumph. In reality, Gaynor is singing of newfound freedom following a break-up with a longtime boyfriend. But the song’s lyrics can be just as relevant to your unhealthy relationship with winter term. “It took all my strength not to fall apart, trying with all my mind to mend my broken heart, I spent, so many nights feeling sorry for myself, oh I used to cry but now I hold my head up high,” she sings. Winter term might be tough, but in the wise words of Ms. Gaynor, you will survive.

“Finish Line / Drown” — Chance The Rapper

There aren’t any two metaphors better suited to describe winter term than the feeling of drowning while simultaneously seeing the finishing line on the horizon. While Chance’s song doesn’t exactly align with that comparison, my point is: winter term is ironic. As the weeks pass, water levels begin to rise, eventually making its way past your waist and towards your neck. And just as you’re about to go under, the finish line appears. You take your finals and you head off to spring break. Just as God helps Chance through turbulent times, this song will help you through winter’s midterms and finals.

“Gotta Get Away” — The Black Keys

Sometimes the best way to beat seasonal depression is to travel somewhere where the sun is in season. Though it might not always be realistic to go on a last-minute weekend trip to San Diego, getting away from Eugene can benefit your mental health. Whether it’s a day to trip to a nearby beach town or a night at home with your parents in Portland, breaking your usual weekend routine is a good way to unwind and rest. Just as Black Keys’ frontman Dan Auerbach sings, “I went from San Berdoo to Kalamazoo, Just to get away from Eugene.” Well, he doesn’t say Eugene, but he could’ve.

“I Wanna Get Better” — Bleachers

This song is a little outdated for a playlist in 2018, but that doesn’t mean it isn’t increasingly fun to shout out the window of your car on a sunny February afternoon. While some songs fade into one-time summer hits, others become sunny-day classics. “While my friends were getting high and chasing girls down parkway lines, I was losing my mind,” Bleachers’ frontman Jack Antonoff sings — a relatable sentiment to any college student whose midterms comes right as Oregon’s weather suddenly decides to act like it’s May.

“Sunshine” — Atmosphere

While the lyrics from “Sunshine” may describe the all too familiar scene of waking up with a hangover, they don’t exactly capture the mood of a college student’s average Sunday morning. Atmosphere’s hit-single is far too upbeat to truly represent the morning after downing a bottle of Burnett’s vodka, however, it’s lyrics spark an exciting, new ideology: go outside! Oregon’s sunny winter days are limited, but they do exist and they have to be taken advantage of. There’s always going to be another homework assignment to do or midterm to study for — don’t let those stop you. Forget your homework, fail a midterm and realize “Sometimes you gotta give in to win,” as Atmosphere puts it.

Listen to the full playlist here:

Follow Zach Price on Twitter: @zach_price24

The post Friday playlist: Winter has come and (halfway) passed appeared first on Emerald Media.

Guitarist and lead singer John Gourley. Portugal. The Man sells out McDonald Theatre in Eugene, Ore. on Feb. 1, 2018. (Sarah Northrop/Emerald)

Portugal. The Man lit-up the sold-out McDonald Theatre Thursday night for the group’s first stop on its 2018 winter tour in support of its most recent record, “Woodstock.” It was also the band’s first performance since winning a Grammy for Best Pop Duo/Group Performance. 

The Portland-based indie rockers took the stage just after 10 p.m., shortly after Canadian indie-rock group Hollerado finished its opening set. Portugal took the stage and started a jam session that quickly led into the group’s cover of Pink Floyd’s “Another Brick In The Wall” — perhaps a nod to Eugene’s large population of college students. Either way, audience members of all ages joined the band in chanting, “Teachers, leave those kids alone!”

After riding the cover out for a few verses, the band decided to work its way into its own material, seamlessly transitioning into the upbeat “Purple Yellow Red and Blue.” Before moving into some of its older hits, the band performed a few of its most popular songs such as “Modern Jesus,” “Live In The Moment” and “Feel It Still.”

While much of Portugal. The Man’s recorded material is upbeat and poppy, the band’s live performance took on a different life entirely. The band featured a heavy dose of distorted rock accompanied by flashing strobes and rotating lights in the dimly-lit room.  

Bassist Zachary Scott Carothers. Portugal. The Man sells out McDonald Theatre in Eugene, Ore. on Feb. 1, 2018. (Sarah Northrop/Emerald)

Throughout the show, psychedelic projections of distorted human forms and blobs of moving color were shown on a large screen behind the band. Occasionally, the projector would feature a few words from Portugal. The Man, including the opening credits in which the band admitted to having poor stage banter and that the projector would replace that aspect of the show. Later, the projector checked to make sure everyone in the audience was doing alright and asked if anyone was “smoking some weed?” 

The night reached its peak when the band decided to interlude “The Nightman Cometh” from FX’s hit-series “It’s Always Sunny in Philadelphia” — a crass comedy popular among college-aged viewers. Audience members immediately joined the band in chanting “Dayman, fighter of the Nightman, champion of the sun, you’re a Master of Karate and friendship for everyone” as soon as they realized what the band was doing. 

Many students and Eugene community members who were in attendance had work or school the following day, but it didn’t affect the loud, lively atmosphere at the McDonald Theatre for Portugal. The Man made it clear that this week, the weekend started on a Thursday.

The post Review: Portugal. The Man lights up McDonald Theatre in first performance since winning Grammy appeared first on Emerald Media.

Pregame. House show. Party. 21’er. Bars. Bars. More Bars. After party. Kickback. Then the brutal walk back home. If the type of night described above sounds familiar to you, then you know that sometimes nothing sounds better than belting songs aloud with friends after a long night of raging. But the problem is everyone is usually too drunk to find the right song. So here’s a playlist for those nights in which your morning has already been surrendered to a heavy hangover and it’s time to go home.

Check out the full playlist at the bottom of this post.

Here are a few playlist highlights:

“Take Me Home, Country Roads” — John Denver

This song might be a bit slower tempo-wise, but with the help of your blacked-out friends, it can easily turn into a perfect walk back from the bars anthem. Denver’s bellowing vocals are full of reminiscence and a longing for home — similar to one’s longing for bed at this point in the night. So throw your arms around your friends’ shoulders, throw your head back and let John Denver lead the way home.

“Mr. Brightside” — The Killers

Everyone knows this song. Well maybe not everyone, but everyone who is anyone knows it. The Killer’s 2004 hit has lasted the test of time, and it can still be heard blaring from fraternity house basements as the night starts to wind down. Though you might have to come out of your cage a little to sing this song, but hopefully you’ve been feeling just fine and want to be down ‘cause you want it all. Okay, that’s enough lyrical puns, but it made my point.

“Drunk Drivers / Killer Whales” — Car Seat Headrest

To be clear, this is not a suggestion to drink and drive. In fact, it’s quite the opposite as lead singer/songwriter Will Toledo’s lyrics state: “If you want to go home, you can call a taxi.” Regardless, Car Seat Headrest’s 2016 breakout hit makes for the perfect late night sing-a-long. At heart, its content is quite dark and nihilistic, but its catchy chorus caters to a drunk group that can quickly pick up the lyrics.

“Goosebumps” — Travis Scott

No lyrics fit the mood of a late night jam session better than Travis Scott’s “Goosebumps” second verse: “Oh no I can’t fuck with y’all, yea when I’m with my squad I can’t do no wrong.” Though not 100 percent accurate, the feeling of invincibility does increase with the size of your squad. And even for those who don’t know every word to this track, its chorus is so simple yet catchy that anyone can learn, no matter how long they have been under a rock.

“God’s Plan” — Drake

Drake’s most recent the single broke the record for Spotify’s most streamed song in the U.S. upon its release day, according to Billboard.com. The fact that a song is popular doesn’t usually mean it’s the best song, but this time it does. Drake implores all the hit-making techniques on this track. A catchy intro with a bass drop halfway through the verse, lyrical innuendos hint that Drake is the G.O.A.T. and a sudden cutout where everyone listening can shout: “She say, ‘Do you love me?’ I tell her, ‘Only partly.’ I only love my bed and my momma, I’m sorry.”

Listen to the full playlist below:

The post Friday playlist: You’re drunk, go home appeared first on Emerald Media.

In this episode from the Emerald Podcast Network,  Associate Arts and Culture Editor Zach Price sits down with Oakland-based electronic music producer Zach Krane to discuss Krane’s transition from a nine-to-five job to a full-time DJ, releasing his debut album and his first headlining tour.

Krane’s team gave the Emerald permission to use  “Hallow”, “Feel It”, “Next World” and “Nobody But You” from Krane’s debut album, “Fallout,” in this podcast. Check out the release in its eternity on Spotify and listen to more of Krane’s music on SoundCloud.com

Listen to the full interview above. This transcript has been condensed and edited for clarity.

This episode was produced by Alec Cowan.

Emerald: How has this tour been compared to other tours you’ve been on where you weren’t the headlining act? Does your approach change?

Zach Krane: Everything else has either been DJ nights, soft ticket nights or doing support for larger acts.

Something like this though is really fun because I get to play as much of my own music and weird stuff as I want, which really fun. And know that people are more trusting, more energetic and they’re looking for that too. They’re looking for what they know my sound to be. So yeah, it’s cool. It feels really gratifying and validating.

I play a lot of unreleased music of mine, and that’s always a little risk because people have never heard it, they don’t have the melody in their head, they aren’t sure what to expect but I think with a tour like this I have a lot more liberties to push people a little bit.

E: I’d also like to ask you about your musical background. How did you get into DJing and the electronic music scene and how difficult was it to transition from working a regular job to becoming a full-time musician?

ZK: I remember my first booking request came in and it was really confusing. My only exposure to DJs had been weddings and bar mitzvahs so I had to figure out what was going on. It was like $300 bucks to go DJ in San Francisco and I sort of just tricked myself, I was just like ‘I’m just going to say yes.’ I had to learn how to DJ using Ableton in like two weeks, and I just did it and it was really nerve-racking, but it was really funny. I was suddenly being exposed—it was the first time when a part of me was like, ‘oh I can make money off music?’

So that just kept growing and after a little bit of time, I was really careful about when I transitioned from having a salaried job to this, just because I’m a bit of a planner. It was at the point where I could say ‘alright, I can feed myself and pay my bills and in a year if I’m not optimistic about the fact that it’s growing and catching up to what my life was, then I’ll quit. Then a year later I was really optimistic and so I stuck in it, and that was a couple of years ago.

E: I’d like to shift gears a little bit and congratulate you on the release of your debut album, “Fallout. Can you tell me a little bit about what the writing and recording process like for the album?

ZK: This might be true for other people too, but it just starts with a song or two that I feel like I want to take this sound and grow it more. It started with a couple of singles and I thought to myself, ‘oh you know this will make a nice little EP package.’ And the more I kept working on it and sketching it just kind of grew and grew that it got to the point I had to remove songs off of it because it kind of spiraled out of control.

E: Now that you’ve released your debut album and headlined your first solo tour, what next for Krane?

ZK: I’ve got a bunch of singles in the works, that I’m not going to talk too much about. I got a remix package for the album, and we got most of the tracks back with some really cool names on it. Some big names and some really small names, but it’s really fun to hear these songs completely reinterpreted.

I’m working on some apparel stuff to take some of the Krane graphic design and branding. A lot of people have been bugging me for merchandise and clothes and stuff like that so I’ve always procrastinated it because I’m not just going to hire some designer to slap my logo on a shirt and call it a day. I want to do something special so that’s coming along and will come pretty soon actually and the clothing is looking really cool. And then another album in the works that I think is still me, but try to do something different. Not because I’m like letting go of a sound, but I just want to do a different sort of project.

E:  What are your career goals or aspirations?

ZK: Just to be involved in music as my career. I think it’s a humble but it’s hard. Being a producer and a DJ is awesome, but the primary thing is being able to think about music all day, being involved in the creative process, this is one way to go about that. I would love this to continue, I’m just realistic to know that it could end. People could lose interest and that’s okay. If I’m not doing interesting stuff anymore that’s my fault. Being able to take something that I’ve spent so much of my free time thinking about, making, analyzing, listening to, being a fan, and now having that as my way of making money and every dayy is incredible. So if I’m involved in music for my nine to five in five to ten years, I’m so happy.

Follow Zach Price on Twitter: @zach_price24

The post Podcast: Electronic musician KRANE on his first headlining tour and the release his debut album, “Fallout” appeared first on Emerald Media.

When Robby Hauldren and Freddy Kennett of Louis The Child performed at Eugene’s WOW Hall in December 2016, they were just another promising electronic music duo. That night, the duo filled the cramped, sweaty concert hall with a variety of trap remixes and house beats through their two-hour performance. But the show was marred by a lack of energy as the Chicago musicians were forced to perform without their pyrotechnics because their equipment truck was stranded in a snowstorm. Even without a full stage show, the young duo’s natural talent showed they had the potential for stardom.

On Dec. 6, almost a year after their first Eugene visit, Louis The Child performed in front of a nearly-sold-out McDonald Theatre with a host of rotating lights, ceiling to floor LED screens and heavy-duty CO2 cannons. Hauldren and Kennett had experienced a year of exponential growth, both in popularity and as musicians. The hopeful up-and-comers had transformed themselves into bonafide stars.

“Stuff is changin’,” Hauldren told the Emerald. “The whole tour in general has been a huge step up in every way for us. Our production is a lot bigger, we have a bigger team and I personally think the whole music part of the show is a lot better than the past sets.”

Indeed, stuff changed for Louis The Child in 2017.

The duo released two singles and a handful of remixes in 2016 after touring for the majority of the year, but 2017 was their biggest year yet. In February, Hauldren and Kennett opened the third leg of Madeon and Porter Robinson’s “Shelter” European tour —  a significant personal achievement for the duo as they first met at a Madeon concert in Chicago.

In late March, Louis The Child released the “Love Is Alive” EP. The six-song EP features three new tracks and three previously issued singles. The release showcases their knack for blending musical genres. Some songs mix hip-hop with light synths, grooving bass and soft drum pads while others follow more traditional electronic-pop verse-build-drop arrangements.

Kennett sings on “Go,” marking the first time the duo featured their own leading vocals on a song. The duo quickly recorded the track in a Los Angeles studio last year. Just as they were about to finish their first session and break for dinner, Kennett started playing the song’s riff on a synthesizer. And by the time the next artist who had booked the studio showed up, Hauldren and Kennett had finished writing the song.

“It was just cool ’cause we just sat there and wrote it, both of us together,” Hauldren said. “Nobody else was involved really, which is a good feeling — when no one else is there to chime in.”

Hauldren and Kennett are almost always on the same page, though it might be difficult to see just by looking at them. Tall and lean, Hauldren stands above Kennett like a skinny giant. Hauldren has short, curly hair that is usually hidden under a Louis The Child dad hat; Kennett’s hair is long and unkempt. While Kennett’s stage attire often includes a jersey from one of Chicago’s professional sports teams, Hauldren prefers overalls and a t-shirt.

Though they might appear vastly different, the similarities are there. Kennett and Hauldren are constantly predicting the other’s next move while on stage. And in the studio, an idea by one often sparks ten more from the other. They build and benefit from each other, and their music thrives from this symbiosis. Their songs are cohesive and coherent, a crucial aspect to their recent rise in popularity as that ability has separated them from the field of electronic musicians.

And with popularity comes demand. The duo hit the road following the release of their EP and haven’t looked back. Their 2017 “Last to Leave” tour spanned across North America, a brief European tour and stops at some of the nation’s most popular summertime music festivals such as Electric Daisy Carnival and Bumbershoot. As the venues grew in size, so did the support from fans.

“It’s been fun to go into bigger rooms and still have the same kind of energy that people have always had and see that people are connecting with the music in the way we’ve always wanted them to,” Hauldren said. “That’s that shit you dream of — hearing people sing all the words. It’s like, finally, it’s happening!”

While festivals offer the duo an opportunity to win over new fans, Hauldren says that smaller venues, such as the McDonald Theatre, often lead to a more authentic Louis The Child experience.

“These people are here for us, so we can take our time and build it the way that we really want to build it and give people certain songs at certain times — give them these moments and take them on more of a ride,” Hauldren said. “I’d like to think [people] care more at our shows than maybe at a festival where some of the crowd may have never heard of us.”

Now that the year is over the duo’s touring schedule is more relaxed, allowing them to focus more on recording and releasing an album. Hauldren said Louis The Child will drop its debut album in 2018, hoping for a summertime release. They currently have a private playlist of about 30 songs they are considering for the album, but they are still writing more.

Fans will have to wait on the album, but Hauldren promised that Louis The Child will release more new music before it drops. They released their most recent single, “Last To Leave,” the Friday following their show in Eugene. “The plan is to come out swinging in 2018 and just drop a bunch of music; we’ve been sitting on a lot of stuff for a while,” Hauldren said.

At only 21 and 20 years old, Hauldren and Kennett have many years ahead of them in which they can continue to learn and develop as musicians. Hauldren admits that it’s hard to know exactly where their musical careers will take them, but he and Kennett still have aspirations for Louis The Child to make it to the top.

“It’s definitely a goal for us to be playing arenas, have songs on the radio, have number one songs, win Grammys — the whole thing. ’Cause why not?” Hauldren said. “Dream big and aim for it. We feel we’re up to the challenge and if we fall short, at least we fuckin’ tried.”

Follow Zach Price on Twitter: @zach_price24

The post Louis The Child has arrived: The Chicago duo are now one of electronic music’s biggest rising stars appeared first on Emerald Media.